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* MoralEventHorizon: The maid crosses this by having Falada slaughtered.
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* ValuesDissonance: The story's portrayal of royalty (the widowed queen, princess, king, and prince) as the "good guys" while the servants are the antagonists (the chambermaid and goose boy) can seem a bit iffy to modern audiences, with the Unfortunate Implications that the upper classes are inherently kinder and more moral than the common folk. Shannon Hale's [[Literature/BooksOfBayern 2003 YA retelling]] rectifies this not only by [[AdaptationExpansion adding]] sympathetic, invaluably helpful servant characters to the story, but by making them the protagonists of the sequels.
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* ValuesDissonance: The story's portrayal of royalty (the widowed queen, princess, king, and prince) as the "good guys" while the servants are the antagonists (the chambermaid and goose boy) can seem a bit iffy to modern audiences, with the Unfortunate Implications UnfortunateImplications that the upper classes are inherently kinder and more moral than the common folk. folk.[[note]]See the explanation for the etymology of the word "villain" on the DesignatedVillain page.[[/note]] Shannon Hale's [[Literature/BooksOfBayern 2003 YA retelling]] rectifies this not only by [[AdaptationExpansion adding]] sympathetic, invaluably helpful servant characters to the story, but by making them the protagonists of the sequels.
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* AlternateCharacterInterpretation: Adaptations tend to give the serving maid different motivations for ordering such a cruel execution:
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* AlternateCharacterInterpretation: AlternativeCharacterInterpretation: Adaptations tend to give the serving maid different motivations for ordering such a cruel execution:
Changed line(s) 5,6 (click to see context) from:
* ValuesDissonance: The story's portrayal of royalty (the widowed queen, princess, king, and prince) as the "good guys" while the servants are the antagonists (the chambermaid and goose boy) can seem a bit iffy to modern audiences, with the UnfortunateImplications that the upper classes are inherently kinder and more moral than the common folk. Shannon Hale's [[Literature/BooksOfBayern 2003 YA retelling]] rectifies this not only by [[AdaptationExpansion adding]] sympathetic, invaluably helpful servant characters to the story, but by making them the protagonists of the sequels.
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* ValuesDissonance: The story's portrayal of royalty (the widowed queen, princess, king, and prince) as the "good guys" while the servants are the antagonists (the chambermaid and goose boy) can seem a bit iffy to modern audiences, with the UnfortunateImplications Unfortunate Implications that the upper classes are inherently kinder and more moral than the common folk. Shannon Hale's [[Literature/BooksOfBayern 2003 YA retelling]] rectifies this not only by [[AdaptationExpansion adding]] sympathetic, invaluably helpful servant characters to the story, but by making them the protagonists of the sequels.
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* ValuesDissonance: The story's portrayal of royalty (the widowed queen, princess, king, and prince) as the "good guys" while the servants are the antagonists (the chambermaid and goose boy) can seem a bit iffy to modern audiences, with the UnfortunateImplications that the upper classes are inherently kinder and more moral than the common folk. Shannon Hale's [[Literature/BooksOfBayern 2003 YA retelling]] rectifies this not only by [[AdaptationExpansion adding]] sympathetic, invaluably helpful servant characters to the story, but by making them the protagonists of the sequels.
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Changed line(s) 5 (click to see context) from:
* ValuesDissonance: The story's portrayal of royalty (the widowed queen, princess, king, and prince) being inherently kinder than the servants (the chambermaid and goose boy) can seem a bit iffy to modern audiences. Shannon Hale's [[Literature/BooksOfBayern 2003 YA retelling]] rectifies this not only by [[AdaptationExpansion adding]] sympathetic, invaluably helpful servant characters to the story, but by making them the protagonists of the sequels.
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* AlternateCharacterInterpretation: Adaptations tend to give the serving maid different motivations for ordering such a cruel execution:
** She is too stupid to realize the king is talking about her.
** She realizes the situation but is trying to play dumb, possibly to trick the king.
** She believes the real princess came forward with her story but wasn't believed, and is hoping to finally get rid of her once and for all.
** She is too stupid to realize the king is talking about her.
** She realizes the situation but is trying to play dumb, possibly to trick the king.
** She believes the real princess came forward with her story but wasn't believed, and is hoping to finally get rid of her once and for all.
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Changed line(s) 1 (click to see context) from:
* ValuesDissonance: The story's portrayal of royalty (the widowed queen, princess, king, and prince) being inherently kinder than the servants (the chambermaid and goose boy) can seem a bit iffy to modern audiences.
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* ValuesDissonance: The story's portrayal of royalty (the widowed queen, princess, king, and prince) being inherently kinder than the servants (the chambermaid and goose boy) can seem a bit iffy to modern audiences. Shannon Hale's [[Literature/BooksOfBayern 2003 YA retelling]] rectifies this not only by [[AdaptationExpansion adding]] sympathetic, invaluably helpful servant characters to the story, but by making them the protagonists of the sequels.
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Added DiffLines:
* ValuesDissonance: The story's portrayal of royalty (the widowed queen, princess, king, and prince) being inherently kinder than the servants (the chambermaid and goose boy) can seem a bit iffy to modern audiences.
