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What I tend to do with a character is define “moods” that they have and switch them between them as needed. (See: Rarity, who rapidly switches between at least three rather exaggerated moods.)
The problem with a lot of dramatic work is that every character shares a particular “mood”: generically theatric, and they all switch to that mood at the same time, so they lose their personality. I don’t mind if Twilight herself has a pretty classical theatric mood, which I usually interpret as her trying super hard to be someone Celestia and her friends can rely on and be proud of, but you can’t let a character’s least objectionable mood dominate their screentime, and you certainly can’t let everyone have the same mood at once.
Transformers: Prime did a wonderful job of letting characters keep their colorful personalities during drama. Wheeljack is a particularly good example.
Edited
Indeed. There ARE ways one can introduce character development and still focus on the endearing parts of a character but….I never got the impression that the writers had even had a clue of how to do that with Twilight.
Cartoons tend to be best when they focus on having endearing characters with endearing flaws, and not on forcing ham-fisted concepts of “character development” that basically amount to stripping their personality.
Twilight is at her best when the script doesn’t try to make her a preachy, perfect saint.
Rainbow lasers of friendship are only illogical in our world. Her world has different logic, so what is illogical to them is different as well.
“Why doesn’t Jack just Rainbow blast the gaint?”
Edited