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Valiente, Christian; Rasmusson, Xeno (2015). "Bucking the Stereotypes: My Little Pony and Challenges to Traditional Gender Roles". Journal of Psychological Issues in Organizational Culture. 5 (4): 88–97. doi:10.1002/jpoc.21162.
"[Shining Armor] is brainwashed by the shape-shifting antagonist, Queen Chrysalis, who has taken the form of Princess Cadence, his love interest. Even with a pack of male ponies on screen, the main dialogue and action belong to the females Twilight and the shape shifter. [...] Episode 26 of season 2, “A Canterlot Wedding (Part 2),” concludes the wedding story arc and the plot of devious shape-shifter Queen Chrysalis is revealed and the issue resolved, with emphasis on action. With groom-to-be Shining Armor in his weakened and brainwashed state, and Twilight now imprisoned with the real Princess Cadence, Queen Chrysalis continues with her plan to invade Canterlot with an army of male changelings. This episode contains examples of all three challenges to gender stereotypes, but especially features women driving the action and dialogue while males are rendered inept or under the command of females."
Fletcher, Kevin (2018). "My Little Pony, Communalism and Feminist Politics". Orienting Feminism. Cham: Palgrave Macmillan. pp.25–42.
"The producers give Shining Armor the traits of a romantic hero, but he is under the grasp of Queen Chrysalis, who is impersonating Cadance and feeding on Shining Armor’s love. The disordered female behaviour exhibited by the fake Cadance/Queen Chrysalis is open to retrogressive readings in a manner similar to evil Disney queens. Queen Chrysalis’ transformation at the wedding to her “native” form—a decaying mare with insect wings—draws upon Maleficent’s transformation scene in Sleeping Beauty (Buena Vista Distribution, 1959). Chrysalis is “mother” to the changeling horde, and, in the later episode “To Where and Back Again” (6.25 and 6.26), the Changeling Kingdom resembles a termite mound—Joanna Russ notes that matriarchal societies are often modelled on termites in science fiction (1980, 5). These elements contribute to the function of “A Canterlot Wedding” as a retrogressive text. However, the producers signal that they are conscious of the post-feminist programme of “having it all”—a discourse set in motion by post-feminist texts that construct work and social connection as binary choices. This awareness occurs through the lyric track of “This Day Aria Part 2.” Queen Chrysalis sings: “Everypony I’ll soon control,/Every stallion, mare and foal,/Who says a girl can’t have it all?” The post-feminist programme of “having it all” is thus rendered dangerous because it is associated with an evil queen figure."
Blue, Jen A. (2014-10-25). "You're going to LOVE me! (A Canterlot Wedding)". My Little Po-Mo: Unauthorized Critical Essays on My Little Pony: Friendship Is Magic Season Two. pp.227–233.
"Queen Chrysalis does: posing as Cadance, working her way into control of a captain of the Royal Guard, and then taking out Celestia as soon as she reveals herself. But once she brings down the shield, the rest of the Changelings behave like a bog-standard invading army. Except for some brief moments in their fights with the Mane Six, they largely don’t even bother to transform into ponies, relying instead on physical force and the ability to shoot laser beams from their horns. Another, related reading, and one more in keeping with prior episodes, relies on the fact that unlike the ponies, who come in a wide variety of colors and a handful of shapes, the Changelings all have the same coloration and only two body models, Chrysalis and everyone else. With the exception of their queen, the Changelings are interchangeably identical, and thus anonymous. They devour love and destroy community, attacking everything they see without motive, besides enjoying the destruction. They are, in short, a not entirely inaccurate depiction of Internet trolls. This reading, however, ignores both Chrysalis, who is anything but anonymous, and the eventual resolution, in which an outpouring of love drives off the Changelings. This seems overly optimistic as a means of dealing with trolls, even for Friendship Is Magic. [...] Chrysalis, in other words, has no capacity for love, and no humanizing desires at all—not for the glamor of a dress, the taste of cake, or the comfort of companionship. All she cares about is power, to possess, control, and dominate others."
