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  "publishedAt": "2026-02-28T12:59:24.000Z",
  "site": "https://hexbear.net",
  "tags": [
    "blorp visual cuisine",
    "Erika3sis",
    "blorp",
    "2 comments",
    "www.doesthedogdie.com/media/79293",
    "www.imdb.com/title/tt8050756/parentalguide/",
    "this booklet",
    "an7gc.ca",
    "www.tongva.land",
    "“An Indigenous Perspective On The Chicano Movement”"
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  "textContent": "submitted by Erika3sis to blorp\n6 points | 2 comments\n\n\nblorp.bot.nu/o/visual_cuisine\n\n※Use a VPN and make sure you have a Hexbear account. Be aware that “Latin” in the subtitle track lists refers to non-SDH English subtitles due to technical reasons. Let’s thank Aer once again for all her good work in providing these uploads and subtitles for us.\n\nThe second Saturday this year where the Seps have invaded a foreign country, fuck me, or really fuck them. But at least we have our Pony Nights as a source of levity, huh.\n\nThe rest of this post may contain spoilers.\n\nWhat's the chef cookin' tonight?\n\n# _**My Little Pony: A Very Minty Christmas**_ Continuing our foray into Pony History, I have chosen this as our representative sample of the much-maligned G3. This movie is often considered to be the best thing to come out of G3. Some might argue that a Christmas special is inappropriate for late February, to which I say there’s still snow outside my window, and when there’s snow, it’s Christmas. Plot description from IMDb: >When Minty breaks a magic candy cane, she must make it right by going to the north pole so that Christmas can come to Ponyville. But is the magic of Christmas in Ponyville already? # _**My Little Pony: Pony Life**_ Between the end of Friendship is Magic and the start of G5 was this short series, _Pony Life_. I think this show is best described as the _Teen Titans Go_ -ification of FiM, although TTG was at least as I understand it (I haven’t seen it) a bit overhated by cartoon YouTubers and such, and eventually managed to find an identity with some quality. _Pony Life_ was on the contrary much more short-lived and pretty damn forgettable, and was followed by a G5 that was itself only moderately less short-lived and forgettable. Description from Wikipedia: >The main setting of Pony Life is Sugarcube Corner, a bakery operated by Pinkie Pie that she and her friends Applejack, Rainbow Dash, Twilight Sparkle, Rarity, and Fluttershy often use as a hangout. The series explores comedic, slice-of-life stories that they experience, primarily while hanging out at Sugarcube Corner. The series uses an art style based on Japanese chibi. As a reboot, it has no continuity with Friendship Is Magic, allowing for the existence of new characters (such as Potion Nova and Octavio Pie, Pinkie Pie’s brother) and the omission of certain other characters from the original series. # _**The Owl House**_ Plot description from IMDb: >Accidentally sent to the world of the Boiling Isles before a trip to summer camp, a teenage human named Luz longs to become a witch and is aided by rebellious Eda and pint-sized demon King.\n\nContent warnings\n\nContent warnings for _My Little Pony: A Very Minty Christmas_ include: * Sad animals * Destruction of a priceless artifact * Characters nearly fall to their deaths * Christmas * Natural bodies of water * Smoke or haze * A character leaves without saying goodbye No content warnings are available for _My Little Pony: Pony Life_. Content warnings for _The Owl House_ include: * Implied child abuse and domestic violence * Stand-in for alcohol * Animal abuse, death of a pet * Stalking * Bugs, bees, spiders, and snakes * Characters are drugged * Potential sexual harassment * A character’s mouth is covered * Body horror, bodily transformation * Children in peril * Et cetera You may wish to read a more comprehensive list of content warnings here: * www.doesthedogdie.com/media/79293 * www.imdb.com/title/tt8050756/parentalguide/\n\nLand acknowledgement\n\n# **_My Little Pony: Pony Life_ was produced on Ojibwe land** _**My Little Pony: Pony Life**_ was produced by Entertainment One (now Lionsgate Canada) based in the city of Toronto, part of Anishinaabewaki/Ojibwewaki, the homeland of the Anishinaabe/Ojibwe people. The specific Ojibwe group native to the Toronto area is the Mississaugas of the New Credit First Nation, whose website provides this booklet explaining their perspective on the 1787 “Toronto Purchase” and Treaty 13. The Mississaugas of the New Credit were unsurprisingly screwed over by this “sale” and treaty, sued the Canadian government in 1986, and reached a compensatory agreement with the Canadian government in 2010, in which the Canadian government gave CAD 145M to the Mississaugas of the New Credit. This translated to CAD 20K to each of the 1,842 adult band members while the rest of the funds were put in trust. This, of course, is just one settlement through one settler-designed legal system, so it bears repeating that Mississauga history did not end in 2010. Anishinaabe history more broadly certainly did not end in 2010, the Anishinaabe having the biggest territory of any Turtle Island Indigenous nation north of the Rio Grande. The Mississaugas live near Niigani-gichigami (Lake Ontario) and Waabishkiigoo-gichigami (Lake Erie); the Mississaugas of the New Credit more specifically live near Mazina’iga-ziibi (Credit River). I should say that the “Missi” in “Mississauga” is in fact the same as in “Mississippi”, _misi_ means “big” in Ojibwe; the _ziibi_ in _Mazina’iga-ziibi_ is also the same as the “sippi” in “Mississippi”, that part means “river”. # **_The Owl House_ and _My Little Pony: A Very Minty Christmas_ were made on Tongva land** _**The Owl House**_ was animated at Disney Television Animation’s studio in Tovaangar, the unceded homeland of the Uto-Aztecan-speaking Tongva people. More specifically, the animation studio in question is located in Glendale, Los Angeles County, near the historical Tongva villages of Wiqanga, Tujunga, Hahamongna, Ashwaangna, and Maungna, between the Verdugo and Santa Monica mountains whose springs had long provided fresh water for the Tongva. _**My Little Pony: A Very Minty Christmas**_ was animated by SD Entertainment, which you’ll notice is right next to a bunch of things named Topanga. This Topanga name comes from Tongva _Topaa’nga_ , likely meaning “the place above”: the _topaa’_ root probably comes from the neighboring Chumash language, with Topanga Canyon with its Topanga Creek a bit south of SD Entertainment’s offices being the border between Tovaangar and the Chumash homeland to the west of it. George W. Kirkman’s 1938 map of Los Angeles County indicates that SD Entertainment’s offices may have been built practically directly on top of a historical Tongva village, with several other villages nearby, but I’m having some amount of trouble finding out what those villages were called. In any case, the streets of Los Angeles were built by the slave labor of Tongva people arrested by settler police for “vagrancy and public drunkenness” after Seppoland annexed Tovaangar without treaty. The Tongva people today are still unrecognized by the governments of California and Seppoland, while the California Natives who did sign treaties with Seppoland never had those treaties ratified. This lack of Indigenous treaties in California presents unique legal challenges for the state’s Natives compared to Natives elsewhere in Seppoland. ___ # **Conclusion** The economic prosperity of Toronto and Los Angeles that allowed animation industries to develop in these cities necessarily has its basis in the continuous and systemic disposession of Natives from their land that I’ve just described. The Native groups in these areas had no say in approving the construction of the animation studios or production companies in question, and see none of the profit generated by the cartoons drawn on their land. And although piracy avoids putting money directly into the pockets of settler capitalists, unpaid fan labor _such as_ pirate uploading still contributes to the overall values of the intellectual properties in question, just as any other labor adds to the value of any other commodity. The Ojibwe and Tongva peoples still exist and still live in their homelands today. They still fight, as they have for centuries, to exercise their sovereignty over their homelands and their resources. These nations are not monoliths nor are they in any way static: these nations are stratified by class like any other nation under capitalism, they adapt new technologies to their needs like any other nation, and like any other nation they have individual members intersected by every axis of oppression and each with their own individual perspectives. Here are some relevant charities: * an7gc.ca * www.tongva.land I would also recommend listening to “An Indigenous Perspective On The Chicano Movement”, as it is very relevant to the topic of Mexican colonization of the Southwest and its lingering impact on the settler-colonial contradiction in e.g. Tovaangar today. SOLIDARITY WINS THE FREEDOM OF NATIONS!\n\n* * *\n\n_♫ Uniting nations at the speeeed of liiiiight ♫_\n_[epic sax solo]_\n_♫ Station of the '20s — TV☆3SIS! ♫_",
  "title": "Giddy up! We're watching My Little Pony: A Very Minty Christmas (2005) + Pony Life E1~3 + Owl House S1E13+14 on Blorptube @ 11 PM CET / 5 PM EST"
}