After getting stuck in the mud, Clark pops the hood of his off-brand truck for a look. Inside, we see the problem: it’s powered by a group of extremely lazy horses. He asks them to get back to work but they refuse. He resorts to begging, and they relent under one condition: he must sing for them. Clark has no choice but to sing the magic song. Upping the ante, they order him to dance too. A horse hits play on a boom box recording of the song and Clark dances like a pony boy.

He’s in the middle of his humiliating dance when a Nissan Titan pulls up. Slightly bemused, the Titan driver offers help. They move Clark’s cargo across to the Titan. The Titan’s best-in-class standard horsepower sees them through the mud with ease, saving the day for an embarrassed but relieved Clark.

The casting entertainment started with the bro-ponies. We were looking for equine features: large ears, eyes, noses, nostrils and mouths. Long limbs, large bellies, long faces. But just as importantly, we were looking for comedic chemistry. The timing of individuals in the group as they played off each other to form the perfect Brony squad: The Leader, The Gangly Enforcer, The Oafish Follower, The Pretty Boy, and a vital cog but easy to miss, The Completely Passed-Out Guy.

The other half of the equation was their victim: Clark. Where the temptation was to cast the Ford driver as a macho Texan, easy to humiliate with a song and a dance, there was much greater comedic potential in the Joshua Hoover tack. As a result, we cast a likeable and vulnerable character, someone whose humiliation makes you squirm more because you empathize with him.