Among the
rules which control My Little Pony, a
prominent one appears to be that romance is disallowed. While there are some
examples of romantic relationships between characters on the show, and while
occasionally infatuation is used as a gag, actual romantic relationships are
strictly forbidden around the main characters, and side characters who are in
romantic relationships tend to either have their relationship downplayed or
exist solely in the background. While this is prominently a good thing, as it
allows the show to avoid some of the stereotypes usually piled upon shows aimed
at young girls, it also reduces the number of stories which the show could
potentially consider, and leaves an empty space where a very real part of a
considerable majority of people’s lives would be.
Perhaps the
most prominent example of a romantic relationship in the show is the marriage of Princess Cadance and
Shining Armour, whose own wedding comprised the finale of the second season.
Within the vast majority of their debut appearance, the two were separated,
with Cadance replaced by the evil changeling Chrysalis, who had taken her form.
While they spent time together after being reunited, the vast majority of their
ensuing appearances have been apart, to the extent that there is not a single
scene in season four where the two are in the same room. Season five’s “Slice
of Life” does allow them to snuggle, but that it only happens in such a unique
episode as that calls attention to its absence elsewhere, and the lack of this
makes it a lot harder to care when, later on, they are shown to be having a
child. The other prominent couple, the Cakes, who are also married, are
decidedly minor characters who have had a declining number of appearances since
the first two seasons.
Some
episodes, such as “Hearts and Hooves Day” and “Simple Ways,” use infatuation as
a sense of humour, in the form of a love potion and Rarity’s crush on a
Canterlot trendsetter, and his own crush on Applejack, respectively. However,
in neither case did the infatuation in question evolve into a relationship,
with the two ponies in question (Big Mac and Cheerilee & Rarty/Applejack
and Trenderhoof, respectively) become a couple. In fact, they very clearly went
their separate ways, even considering how the former two teased the Cutie Mark
Crusaders in that episode’s final scene. Infatuation is something the show very
rarely takes seriously, which is again most prominent in the fourth season.
Throughout the entirety of that season, there is not a single sincere example
of romantic love.
This isn’t a
bad thing. The existence of romance in shows aimed at young girls is something
of a cliché, stereotyped as girls fawning vapidly over some boy in episodes
with no real substance. Avoiding the stereotypical pitfalls of media for little
girls is one of the show’s major successes, and the absence of romance also
contributes to the show’s promotion of female independence. Each of the main
characters exists and thrives without a boyfriend (or girlfriend, but this show
is heavily heteronormative), and this sends the subtle message to young girls
that they too don’t need a relationship in order to live a good life.
Certainly, the show passes the Bechdel Test, and allowing characters to exist
primarily in and of themselves is good for the existence of strong characters
in general.
In the Equestria Girls spinoff movies, where a
romantic subplot was introduced around Twilight Sparkle and a new character,
Flash Sentry, the unspoken rule against romance is abandoned, and yet the
writers’ lack of skill or experience in writing such a subplot becomes very
obvious in the first film’s woefully underdeveloped attempt. In general, these
films suffer for this subplot, which lends further credence to the idea that the
show proper is better off for avoiding romance whenever possible. However, more
successful examples have occurred in
the show, specifically in season 5’s “Hearthbreakers,” wherein Big Macintosh is
paired with Pinkie Pie’s sister, Marble, to great success and acclaim. Even in
that situation, however, the successful execution of that romantic subplot was
compromised by the show’s emphasis on the marginal family relationship between
the Apples and the Pies, making the couple seem more incestuous than it
actually is. Even when giving speaking roles to a pair of background characters
who were popularized in the fandom as being in a same-sex relationship, the
show insisted on painting their relationship as “best friends,” which, despite
arguable overtones, is at least a significant missed opportunity, if not
outright erasure.
Despite the
show occasionally suffering from avoiding depictions of romance, the net
benefits do significantly outweigh the drawbacks. And yet, despite the benefits
the show gains from avoiding romance, the franchise has a vibrant and populous
shipping community. In part this is likely due to habits gained from media
which emphasizes romance more as well as from shipping in other fan bases
online, but it’s also worth noting that, for many people, romance is an important
aspect of their lives. I don’t feel any impulsion to be in a relationship, but
many others do, and so they might value romance more than I do. Fans who enjoy
romance are forced to make their own, and thankfully the show provides some
very strong character dynamics which are ripe for extrapolation. As a show
which ignores the entire realm of possible romantic stories, it gives writers
of fanfiction a lot to work with. This is still a show with plenty of possibilities for romantic stories, even
if it (perhaps rightly) chooses to avoid them. With so many people in the world
who enjoy romantic stories, it’s inevitable that a number of people would wish
to see them with the characters of My
Little Pony.
The
separation of these stories from the show proper is a good thing, to be sure.
The show largely benefits from not telling romantic stories, although introducing
them in proper moderation would likely make the show’s world all the richer.
And yet, there’s plenty of room in this universe for romantic stories, and when
the show doesn’t choose to go down that route, it’s on more creative viewers to
find it for themselves. In spite of the few areas wherein My Little Pony is poorer for its refusal to acknowledge romance, it’s
largely a beneficial decision on the part of the show, allowing for stronger
characters and messages of female independence, as well as helping it avoid the
pitfalls of the shows it is contrasted favourably with. Should this show seek
to incorporate romance? Perhaps not. But that doesn’t mean that romance doesn’t
belong in this universe.
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