Order from us for quality, customized work in due time of your choice.
Introduction
The critical examination of popular social trends is an essential component of analytical social science research. It makes it possible to qualitatively identify and measure not only sentiments peculiar to individual groups and communities but also for the population as a whole. The best medium for the contemporary and relevant study is virtual platforms hosted on the Internet, as digitalization becomes increasingly integrated into the social life of humanity (Highfield 315). The key demands, needs, and forms of the new ethics can be found when observing communities on social networks, including Facebook, Twitter, or other platforms. In this context, an excellent academic strategy is to observe the microcultures that are fandoms of famous artworks. Among others, Bronies fan culture is a telling example of the observed social mismatch between the object of inspiration and interest and the demographics of the community. For instance, the initial expectations for the target audience of the cartoon My Little Pony were not fully met since the animated TV picture about the friendship and travels of the horses had a focus on children and girls in particular. Nevertheless, the cartoon has developed and deeply rooted a fan community representing men between the ages of 14 and 35. Thus, it can be postulated that the characters, animation style, and story ideology became a broad historical sensation for the Internet community.
An even greater social sensation was the actual emergence of the Bronies, which were an apparent contradiction to the original expectations of the series authors. Initially perceived as new humor, the sheer number of fan pages created by adult men with a passion for My Little Pony soon became the subject of serious debate. In this sense, the key research question was to determine the nature of this fascination: whether it was an expression of New Sincerity or an erotic manifestation of pedophilic tendencies in a wide swath of individuals. In any case, the Bronies have received ample academic oversight, so an in-depth study of social trends and the driving forces behind the creation of the fandom seems possible.
Although the fandom of people into My Little Pony culture is not generally limited to men, it is historically represented by members of that particular gender. This fact is fundamental in raising the moral question of the ethics and legitimacy of such interests. Obviously, for a modern developed society, there can be no prohibitions on interests, topics, and hobbies (Dunne 1296). Any man can be inspired by and committed to those materials that resonate in his mind: even if these works have initially been regarded as genuinely childish or feminine. In general, it should be noted that gendered attachments and expectations are gradually no longer relevant to society, but on the contrary, active integration and diversity are encouraged. In this regard, the Bronies phenomenon is of high interest because it essentially shows one of the surprising social trends. The present research paper raises already mentioned and new questions in an attempt to explain the origins of this fandom. As a consequence, the purpose of this paper is to broadly summarize the available information in order to understand the ideals and philosophy of what is called the Bronies.
Background Information
Since the advent of the Internet, the interaction between individuals has increased markedly. Whereas previously, the formation of new microcultural groups and communities was complicated primarily by the geographical remoteness of people and the impossibility of online communication, with the development of digital technology, these barriers have collapsed (Highfield 334). As a consequence, a large number of virtual communities of interest began to appear, uniting people from all over the world with different socio-economic and cultural statuses but nevertheless having a common commitment to the object of inspiration. The phenomenon of fandoms is an illustrative example of this change. As is academic, this paper views fandom primarily as a subculture consisting of fans and adherents of a fictional work of fiction (Hills 857). The principal features of such associations are common interests, symbolic manifestations, and active participation of participants in online forums and social networks.
My Little Pony fandom has a fascinating history, beginning, as usual, with denial and defense. More specifically, the appearance on television of Hasbro Studios animated series about the nature of friendship initiated the development of controversy. For nine years of the shows existence, viewers watched the journey of an anthropomorphic pink unicorn trying to learn what friendship is (Peralta). This focus of the TV work expectantly creates a sense that the filmmakers and screenwriters are targeting a generally childrens audience. However, My Little Pony differs from purely childrens works, which do not raise fundamental problems of life but fulfill only an entertainment function by the depth of character development and ambiguity of the plot development. All of this eventually led to a broader fan community than expected initially.
The Bronies phenomenon is of heightened academic interest because it possesses the necessary and sufficient traits of a typical fandom. Not only is it a virtual community of people of interest, but its sphere of influence extends beyond the Internet. In fact, activists hold annual festivals, forums, and other events dedicated to expressing their love for My Little Pony. At such events, individuals, including men, often dress up as characters from the cartoon, not only to show their affection for the fictional universe but also to express themselves creatively. By now, the Bronies have an extensive network of platforms and mediums through which individuals can communicate as part of script discussions and personal theories. In addition to the official website, Bronies communication is also carried out on YouTube, Twitter, Facebook, or forum-type platforms such as 4chan or Reddit. In addition, at the peak of the fan communitys popularity, a documentary was released telling the story of the oddities in the target audience of the animated series (John de Lancie). As a result, the Bronies should be seen as a classic example of fandom with, in contrast, a paradoxical demographic. Actually, the post-irony and inconsistency of the fan community were embedded in the name: the Bronies are a symbiosis of brothers and ponies. Consequently, the Bronies should be seen as a strictly masculine association that is into the My Little Pony series.
For the purposes of this discussion, it will be interesting to clarify what exactly is the driving force behind the formation of such a controversial community. The best strategy is to consult academic sources that have studied the phenomenality of this fandom. Figure 1 clearly illustrates the dynamic nature of the research devoted to this problem. It is clear, however, that overall the number of citations has had an increase over the past seven years, meaning that the effects of the paradox between expectation and practical realization in the context of My Little Pony are intriguing to academics. At the same time, it is clear from Figure 1 that the total number of topical papers is not that high, which may be due to the narrow focus of research and the seemingly unseriousness of the subject of study.
On the contrary, to consider a critical examination of the phenomenality of the Bronies as unhelpful or unscientific is not a good strategy of sociological research. As it is known, the measurement of popular social metrics should be based on a wide variety of methods that qualitatively describe patterns. As a consequence, neglecting an agenda as relevant as mens fascination with childrens cartoons seems strategically flawed. At the same time, the study of the Bronies effect is also gender-associated. In addition to identifying the source of the male attachment to a story about little pink unicorns and horses, of great interest is the potential inclusion of women in the fandom. It is crucial to determine whether women can become full participants in this fandom if they show a genuine interest in My Little Pony or whether their participation is stifled by the sexism and misogyny of the fans. In addition, the nature of this interest needs to be established: it is very likely that women do not have such a passion for My Little Pony, and therefore the Bronies are an aggregation of a purely male population.
Analysis and Discussion
Of primary interest in this study is the identification of the primary mechanism that triggered the formation of gendered attachment to artwork. It is likely that the context of My Little Pony was initially geared toward little girls and young girls who might be attracted to pink and shiny things (Jones 123). Figure 2 shows the broad gamut of typical colors: the excess of bright and pink hues most likely only justifies the initial focus on a female audience. In this case, it is relevant to note that with the development of television programs, the significant effect of viewer segregation has been paired with the commercialization of projects. In the face of increased competition for viewers attention, authors try to create the most convenient and engaging show format possible. This solution can be implemented through the plot, storyline, protagonists, and even picture colors (Flückiger 210). As a consequence, the niche division of television programs has an economic engine (Burdfield 128). To put it another way, the focus of the My Little Pony universe on girls was initially justified by the authors desire to create a commercially successful project. It was expected that young girls watching the series would be able to associate themselves with the characters and get involved in the story.
The authors initial expectations were not known to have been met, as it became apparent with the advent of the Bronies that men were no less interested in the animated series. It is possible to assume the main reasons for this increased enthusiasm, illustrating the apparent mismatch between gender roles and objects of interest (Hunting and Hains 3). Thus, it is very likely that men are driven by masculine self-deficiency, overt or latent homosexuality, or a sense of self through humiliation. On the contrary, it is just as likely that Bronies show casual interest in the film because they are fascinated by the complex plot and the general themes raised by the narrative. Since no unequivocal answer has yet been found and is unlikely to be established, given the diversity of causes and community opinions it is appropriate to consider the range of fundamental ideas regarding the driving forces behind the Bronies effect.
In the context under consideration, it is interesting to pay immediate attention to the possible manifestation of male insecurity. Every time society is confronted with an apparent mismatch of gender roles, this triggers a legitimate conflict of perception of reality. Although such ideas are not relevant to todays changing agenda, men in the guise of unicorns can still provoke doubt and criticism from society. It is sufficient to refer to Figure 3 for this assertion to be confirmed. An ordinary man dressed up in colorful hair and ears like the shows protagonist can cause ridicule and mockery from non-fans or anti-fandom.
Consequently, the discrepancy between the traditional role of the Western male breadwinner and his fascination with colorful cartoons can cause a wave of hatred and rejection in society. In turn, this generates obvious conclusions which are not necessarily true about the sexual inadequacy of such men. In other words, such fans may be suspected of homosexuality or even pedophilia, and thus it is appropriate to speak of a sexualized context of infatuation. There has been a study that has shown that, in reality, the masculinity of such individuals is degraded, and therefore the Bronies community is represented mainly by abused and unsuccessful men (Bailey and Harvey 340). Although the results of this study may raise doubts about the bias and low effectiveness of the methodology more specifically, participants comments on the form were observed this view should be taken into account.
Overall, these views find development through another equally intriguing hypothesis. Fascination with the plot is likely the main driving force behind men watching the series. In this context, it is appropriate to highlight Robertsons research showing that the anthropomorphism of protagonists is a serious motivator for viewing (Robertson 35). Since it is often a difficult task to create complexly developed human characters, endowing animals even mythical ones with human traits has not only comparable ease but also greater appeal. The prototype of a little pink unicorn may seem to a male fan to be a reflection of a naive and frivolous girl. Consequently, the Bronies representative may manifest his latent masculinity through character love, especially in the case of love failures in the real world (Robertson 21). This brings to mind the general failure of Bronies fans as men in the traditional image.
The possible pedophilic tendencies of male My Little Pony fans have also been the subject of much discussion, including among journalists. In more detail, Schlichter wrote about the terrible trend of modern society encouraging such hobbies (Schlichter). In this statement, it was evident that for the journalist, the mechanism of internal conflict between his ideas about masculinity and the hobbies of other men for such series was triggered. Generally speaking, it must be recognized that the suspicion of sexual dysfunction forms the basis of the criticism directed at the Bronies. While the nature of such criticism is self-evident, it is essential to recognize that it is neither confirmation of natural disorders in men nor is it consistent with the current agenda.
The best term to describe the effect of the emergence of the Bronies phenomenon is the New Sincerity. Whereas society was formerly governed by mechanisms calculated to conform strictly to traditional gender roles and general expectations from outside, by the current moment, such ideals are no longer relevant. The philosophy of the new sincerity is built on the humanistic assumption that every individuals life must be built on sincerity and a new social ethic (Dunne 1300). Thus, according to the ideals, there is nothing shameful or demeaning about mens fascination with My Little Pony. On the contrary, an open declaration of ones interests even those that do not correspond to traditional views is encouraged and welcomed by the public. In turn, such virtual communities allow people to show support and concern for one another and form applicable social bonds (Horovitz). In this regard, it is appropriate to conclude that the Bronies fan community can be seen as a progressive and neoliberal association that possesses the features of new sincerity.
Finally, the final question of this study was an attempt to determine the possibility of womens participation in the Bronies community. It is important to note that this question cannot have an unequivocal answer, as it involves a purely personal relationship between Bronies representatives and the female audience of My Little Pony. On the one hand, the Bronies are built on the ideals of tolerance and sincerity, and therefore it is reasonable to expect full recognition of women as full members of the fandom. Any girl or woman who has an interest in the story should not feel pressured or prejudiced by the male audience of the animated series. Women who are already part of the community identify with the Bronies, not the children. This is crucial, given ones desire to belong to a particular social grouping (Vella et al. 600; Horovitz). On the other hand, the term Bronies itself refers to a male fan fraternity, and therefore womens participation in it seems inappropriate. However, this view does not deny that women can be interested in My Little Pony, but it prevents them from belonging to the Bronies. Thus, approximately 80% of the entire community is represented by men with an average age of 21, according to statistics (Hooves). Thus, the answer to the question of female fan participation in the fandom is ambiguous and should hardly be subjected to severe research.
Conclusion
In conclusion, it should be noted that works of fiction often form virtual communities of interest called fandoms. My Little Pony fandom is inconsistently represented by male adult audiences, which raises doubts about the reason for this fascination. The paper argues that potential sources of interest could be sexual frustration, male self-deficiency, or simple fascination with the story. In addition, a unique role is given to shaping the agenda through ideals of new sincerity. In this way, the Bronies form a unique social phenomenon, illustrating the practical failure of ideas of traditional gender segregation. Given the nature of the community and the cartoon series, as well as the public mood, it can be expected such effects to increase for the foreseeable future. True, the number of fans of existing tolerant communities and the number of works without gender identity will continue to increase.
References
Bailey, John, and Brenna Harvey. That Pony is Real Sexy: My Little Pony Fans, Sexual Abjection, and the Politics of Masculinity Online. Sexualities, vol. 22, no. 3, 2019, pp. 325-342.
Bronies: The Extremely Unexpected Adult Fans of My Little Pony. YouTube. 2020. Web.
Burdfield, Claire. Finding Bronies the Accidental Audience of My Little Pony: Friendship is Magic. The Journal of Popular Television, vol. 3, no. 1, 2015, pp. 127-134.
Clarivate Analytics. Web of Science, 2021. Web.
Dunne, Stephen. Murketing and the Rhetoric of the New Sincerity. Journal of Marketing Management, vol. 34, no. 15-16, 2018, pp. 1296-1318.
Fallon, Kevin. Inside the Bizarre World of Bronies, Adult Male Fans of My Little Pony. Daily Beast, 2019. Web.
Fluckiger, Barbara. Color and Subjectivity in Film. Subjectivity across Media: Interdisciplinary and Transmedial Perspectives, edited by Maike Sarah Reinerth and Jan-Noel Thon, Routledge, 2017, pp. 145-161.
Highfield, Tim, Stephen Harrington, and Axel Bruns. Twitter as a Technology for Audiencing and Fandom: The# Eurovision Phenomenon. Information, Communication & Society, vol. 16, no. 3, 2013, pp. 315-339.
Hills, Matt. From Fan Culture/Community to the Fan World: Possible Pathways and Ways of Having Done Fandom. Palabra Clave, vol. 20, no. 4, 2017, pp. 856-883.
Hooves, Derpy. Brony Infographic: Interesting Facts about Bronies. Brony. n.d. Web.
Horovitz, Rachael. Everyones a Nerd About Something: Inside the World of TV Superfandom. Rolling Stone, 2020. Web.
Hunting, Kyra, and Rebecca C. Hains. Im Just Here to Enjoy the Ponies : My Little Pony, Bronies and the Limits of Feminist Intent. Popular Communication, 2021, pp. 1-14.
Jones, Bethan. My Little Pony, Tolerance is Magic: Gender Policing and Brony Anti- Fandom. The Journal of Popular Television, vol. 3, no. 1, 2015, pp. 119-125.
My Little Pony | A Canterlot Wedding Part 1 | My Little Pony Friendship is Magic | MLP: FiM. YouTube. 2021. Web.
Peralta, Jake Michael. My Little Pony: Friendship is Magic-Season 1 Synopsis. Reel Rundown, 2020. Web.
Robertson, Venetia Laura Delano. Of Ponies and Men: My Little Pony: Friendship is Magic and the Brony Fandom. International Journal of Cultural Studies, vol. 17, no. 1, 2014, pp. 21-37.
Schlichter, K. Terrifying New Trend: Grown Men Who Dig My Little Pony? BrietBart, 2012. Web.
Vella, Kellie, et al. A Sense of Belonging: Pokémon GO and Social Connectedness. Games and Culture, vol. 14, no. 6, 2019, pp. 583-603.
Order from us for quality, customized work in due time of your choice.