Rating:
Pinkie Pride has to be an episode that will rank among the
favorites for most fans of the series.
It’s pieced together from a number of earlier episodes, but outdoes all
the sources. Most of the opening is
basically a reprise of A Friend In Deed, and the wall-to-wall songs are a
second attempt at a failed facet from Magical Mystery Cure. Pinkie Pie reminisces about her earlier
parties (seen in the pilot, Party Of One, The Cutie Mark Chronicles, and A Canterlot
Wedding), and the teaser has a surprise shoutout to Over A Barrel. A depressed and introspective Pinkie was also
seen during Too Many Pinkie Pies, and the goof-off nature of the episode
arguably has roots in Griffon The Brush-Off.
But by not trying to do too much, these parts all fit together quite
nicely. Despite a surprise story credit
from series director Jayson Thiessen, Pinkie Pride is basically handed over to
the animation and music departments, who again pack in a season’s worth of
work. The songs’ inspirations are as
varied as the story’s (with “inspiration” often meaning stolen), but their
up-tempo nature pushes them through.
Even though they are in the Broadway style of narrating action, the
episode calls out for this many songs much more than Magical Mystery Cure
did. If the big-budget aspects were all
there are to Pinkie Pride, the episode wouldn’t rate nearly so highly, but Amy
Keating Rogers finds time to explore Pinkie’s character in the midst of all the
partying. Everyone else suffers as a
result, and there’s an odd feel of detachment throughout. But Pinkie Pride is mostly meant as a good
time, and few episodes of the series can count as successes in this particular
area. Maybe it’s not my personal idea of
one, but the spirit cannot be denied.
Pinkie Pride revolves around Rainbow Dash’s upcoming
birthday party, and the introduction of a mysterious stranger named Cheese
Sandwich (Weird Al Yankovic, holy fuck).
Despite the Eastwood-like appearance, Cheese fancies himself the top
party planner in the land, so Dash’s celebration is the perfect next gig. Naturally Pinkie Pie was already in charge of
it, so a Magic Duel of sorts soon erupts as to who will complete the
preparations (the stakes are less dire this time, but not to Pinkie). At first, Pinkie Pie appears ready to give in
to the professional (who quickly impresses the town), but a few moments of soul
searching confirms that she is in the right line of work.
The “battle” is impressive for both sides, but after
dropping a papier mâché cake onto Dash, Pinkie Pie has a surprising realization
(one that neglected to happen in A Friend In Deed). Since Dash isn’t having fun, Pinkie forfeits and
cedes the planning to Cheese. Even
though it wasn’t a stipulation, Pinkie leaves town, but is soon stopped by her
friends. They want her back for the
party, and amazingly so does Cheese. He
admits to her that it was a young Pinkie Pie party that inspired him to become
a planner, so the two decide to join forces instead. The forthcoming celebration is as epic as was
hoped for.
In some ways, Pinkie Pride plays like a 22-minute version of
the “Glass Of Water” song in the previous Three’s A Crowd. Alternately, it also seems to be only (yet
perfectly) a showcase for Yankovic.
Unquestionably the highlight song is “The Goof Off”, which is a polka
medley typical of those found on all his albums. But despite the singing, Yankovic didn’t
contribute any music or lyrics to the show.
Daniel Ingram was in charge of both throughout, and the style fits the
guest character and mood.
But Pinkie Pride is thankfully much more than a promotional
appearance for Yankovic (who did have an album come out later in the
year). Despite being known for parodies,
Yankovic proves himself an able performer here, mastering both a dark and
lighter tone of voice for Cheese while singing as well. Like de Lancie before him, Yankovic fits
right into the series but doesn’t draw attention to himself as a “featured
guest”. His lines are delivered excellently,
and he creates a likable character where it otherwise probably wouldn’t have
happened (such as Cranky, who wasn’t even trying to take over Pinkie’s
role). Also helpful is that Shannon
Chan-Kent matches Yankovic’s delivery word for word in the songs, so that the
two do seem like equals.
The success of Pinkie Pride is not just in the bewildering
display of animation and wordplay, but in the introspective moments Rogers is
able to find in between all of this.
We’ve seen Pinkie question herself before, but never has she realized
her effect on others. Cheese’s similar
moment near the end is even better, as every great artist was almost certainly
inspired by those that came before them.
This can be a tough realization for anyone courting originality, but
even the most revolutionary of auteurs probably started from other works they
enjoyed. Coincidentally, Pinkie Pride
embodies this very ideal, as it takes failed premises from earlier episodes and
proves they can work under the right circumstances.
While critics and people in general may believe that good
art equals things they like and vice versa, this cannot always be the
case. Pinkie Pride is not typical of the
other episodes I have given good ratings to, or admittedly to most of the
series. It is a mini-Broadway show with
a thin plot and questionable songs, and is as much a rehash as revelation. But it could also have gone wrong in many
ways. How much input Yankovic had into
the material is unknown, but his spirit undoubtedly elevates the episode even
if only from a musical standpoint.
Because of its nature, Pinkie Pride is not an episode I expect to truly
like, since the music (a prime focus of the show) is not exactly
top-notch. But I also have to admit that
it’s an achievement in many areas. The
animation is nothing short of spectacular, and this is the single best use of
music in the entire series. Using
previous ideas was risky, but it pays off as both a second chance and
justification. Six songs in twenty
minutes isn’t too much after all, and such an episode can be built around
Pinkie Pie without her feeling like a selfish insane disaster. She is capable of growth which doesn’t
involve losing her sanity, and despite always seeming like the perpetual black
sheep of the mane six, can also inspire others.
Even if the revelations aren’t entirely original, Pinkie
Pride is the long awaited good episode centering around her. It’s a confounding yet glorious expression of
everything she is as a character. All of
the others (outside of Cheese) are unfortunately just set pieces, as the
multitude of songs had to come at some expense.
But this is one of those times I have to admit that a good episode has
been produced despite my feelings. It
may not rank among the best episodes as a whole, but certain parts are
definitely landmarks.
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