Sechs auf einen Streich (Six with one Blow, 2007—) is a German live-action TV series of fairytale adaptations, shown on Das Erste Deutsche Fernsehen. The seasons air yearly during Christmastime. The first season consisted of six episodes (hence the title). Initially concentrating on stories by The Brothers Grimm, the series has now adapted other authors too. Currently the show has sixteen seasons and 56 episodes, with the seventeenth season due December 2024.
- Adaptation Expansion: Since many fairytales involved are several pages long, it’s inevitable.
- Informed Species: Probably for pragmatic reasons, Talking Animal major characters usually look fully human but are treated as animals In-Universe.
- Named by the Adaptation: In most cases, characters who are Everyone Calls Him "Barkeep" in the original story get a name in the corresponding episode (such as the nameless princess from King Thrushbeard getting called Isabella).
- Pragmatic Adaptation: In defiance of the very quick romance in most of the originals, every couple gets at least some moments that show their relationship actually progressing.
Tischlein deck dichBased on The Brothers Grimm's tale The Table, the Donkey, and the Stick
Brüderchen und SchwesterchenBased on Brother and Sister.
- Abhorrent Admirer: The evil ugly stepsister is genuinely attracted to the king himself more than to his title and wealth.
- Adaptational Villainy: The stepmother cold-heartedly poisons the children’s father to inherit his money. In the fairytale, there is no mention of her having a hand in his death.
- Bait the Dog: In the beginning, the stepsister plays happily with the main characters and the stepmother is sweet and loving towards them. Just as one begins to think this will be an Adaptational Heroism adaptation and someone else would be the villain... Adaptational Villainy above ensues.
- Calling the Old Man Out: The stepsister, at one point, bitterly tells the stepmother that someone so skilled in curses and potions could have found the time to make their own daughter prettier.
- Love at First Sight: Played straight by the king and defied by the Sister. She tells him right away she has to know him better before agreeing to marry him.
Der FroschkönigBased on The Frog Prince
König DrosselbartBased on King Thrushbeard.
- Adaptational Karma: Downplayed. When Isabella learns her husband has tricked her, she gives him a good slap. They reconcile quite soon, of course.
- Break the Haughty: The whole premise of Richard's plan is to get Isabella to be more humble and see beyond appearances.
- Canon Foreigner: Thrushbeard's father, Ottokar, and sister, Maximiliane, don't appear in the fairytale.
- Tomboy Princess: Maximiliane walks around in a man's clothing and practices fencing with her brother.
- Young Love Versus Old Hate: The adaptation gives the couple another set of problems in making their fathers each other's enemies.
Frau HolleBased on Mother Holle. It borrows some traits from the 1977 German adaptation.
- Adaptational Attractiveness: Luise is very pretty.
- Beauty Equals Goodness: Subverted with Luise, whose beauty, if anything, only contributes to her lazy and vain character. Double Subverted in the end: Frau Holle pours pitch over her, and as she repents, with every good deed a bit of the pitch vanishes.
- Heel–Face Turn: Luise reforms in the end, thanks to Frau Holle.
- Parental Favoritism: The mother favors and spoils her younger daughter.
- Related in the Adaptation: Marie is living with her birth mother and full-blood sister, rather than stepmother and stepsister.
Das tapfere SchneiderleinBased on The Brave Little Tailor
SchneewittchenBased on Snow White.
- Adaptational Early Appearance: Probably an ubiquituos trope in Snow White adaptations – unlike in the original, the prince appears (in disguise) early in the film and shares a romantic moment with Snow White.
- Death by Adaptation: The original tale never mentions Snow White's father the King again after he remarries. In this version, he dies of a heart attack when he realizes his wife was Evil All Along and his daughter was (as he believes) killed by her.
- Dies Wide Open: Snow White, after she eats the poisoned apple.
- Evil is Petty: The Queen orders the portrait of Snow White's mother to be thrown away, just to make sure there's no one whose rank equals hers.
- Horrible Judge of Character: The King genuinely thinks his new wife loves him. He only realizes how wrong he has been when she gloats about Snow White being "away forever". Even Snow White wises up a lot earlier than that.
- King Incognito: The Prince first appears in disguise working as a servant to the Huntsman, because he wants Snow White to love him for who he is.
- Spared by the Adaptation: The Queen isn't killed in the end, but simply banished by Snow White, who refuses to execute her because she doesn't want to be like her.
RapunzelBased on Rapunzel.
- Adaptational Context Change: In the fairytale, the mother randomly had a craving for rapunzel and the father immediately took to stealing it from Gothel's garden (without any mention of him even trying to acquire it legally). Here, the rapunzel is explicitly a Fantastic Drug and the witch deliberately gets the mother addicted to it, at first giving it away freely and then suddenly locking up the garden wall, forcing the father to resort to stealing.
- Adaptational Early Appearance: The prince gets A Minor Kidroduction and meets with Rapunzel when both are still children.
- Adaptational Heroism: Aside from only daring to steal the herb as a last resort, Rapunzel's father adamantly refuses to give up his child until the witch coldly tells him that both mother and child would die without the magical herb. There's no mention of him trying to stand his ground in the fairytale.
- Adaptational Intelligence: Instead of the convoluted escape plan the two lovers think up in the original, the prince simply brings a rope ladder... only for Rapunzel to have second thoughts about leaving her "mother".
- Ascended Extra: In the fairytale, Rapunzel's parents disappear from the plot after she is taken from them. Here, they leave their village and end up working for the prince's family.
- Forgotten First Meeting: Thanks to the witch erasing Rapunzel's memory of her childhood meeting with the prince, it becomes this trope for her.
- Terrible Interviewees Montage: The prince is presented with three prospective brides to choose from. In quick succession, all three end up looking ridiculous while trying to impress him (one tries to sing but is tone-deaf, another attempts acrobatics but fails, and another sings in a shrill No Indoor Voice).
Der gestiefelte KaterBased on Puss in Boots.
- Alliterative Family: The three brothers are called Hermann, Hubert and Hans.
- Amazingly Embarrassing Parents: The king constantly tries to find a husband for Frieda and is extremely unsubtle about it when he peppers Minkus with questions about the age of "the Count of Carabas" and whether he is a hero.
- Evil Laugh: Abaddon bursts into laughter pretty frequently during his Evil Gloating spiels.
- Evil Wears Black: Evil Sorcerer Abaddon and his mooks are all dressed in black.
- Forced Transformation: Abaddon has a habit of turning people (both his subjects and his own henchmen) into dogs.
- Gratuitous French: Probably as a nod to the story's origins, Minkus loves lapsing into French in his human form.
- Named by the Adaptation:
- The Princess is now called Frieda.
- The King is called Otto.
- The Cat himself is called Minkus.
- Red Is Heroic: Minkus's human form is dressed in bright red.
- Trademark Favorite Food: Princess Frieda loves partridge. Minkus uses the fact when he brings freshly-caught partridges as a gift from "the Count of Carabas".
DornröschenBased on Sleeping Beauty.
- Adaptational Heroism: The witch of all people. Rather than being a witch, she is Maruna the Fate Fairy, and while she does curse the princess, she is later shown reacting calmly and with an approving smile to the curse being lifted.
- Asshole Victim: The arrogant Prince Eric, who tries to fight his way through the hedge of thorns around Princess Myrose's castle, but is killed.
- Gilded Cage: Princess Myrose grows up extremely sheltered, with no friends her own age, due to her parents' efforts to protect her from the curse. In one scene during her childhood, she stares sadly out through the cage-like bars of the castle gates watching peasant children play.
- Purple Is Powerful: Maruna the Fate Fairy, when not in disguise, wears a magnificent purple dress.
- Really Royalty Reveal: Combined with Secret Legacy and Hidden Backup Prince. The young hero, Fynn, is apparently just an orphaned stable boy, raised by his stable master uncle. In the end, after he wakes Princess Myrose (which only a prince was supposed to be able to do), his uncle reveals that Fynn is really a prince, raised incognito for his own safety after his grandfather and father both died in the thorns trying to reach Myrose themselves.
Die GänsemagdBased on The Goose Girl.
- Demoted to Extra: The King has a much reduced role, with most of his important actions going to the Prince and Conrad instead.
- Family-Unfriendly Death: Narrowly averted. As in the original story, Magdalena falls for the Original Position Fallacy and inadvertently gets herself sentenced to a gruesome demise. However, Elisabeth intervenes at the last minute and provides a more merciful punishment for Magdalena.
RumpelstilzchenBased on Rumpelstiltskin.
- Baby Be Mine: This version makes it clear Rumpelstiltskin plans to adopt the baby, as he is shown preparing a crib and even a mobile.
- Decomposite Character: The original king. Now it’s the old king who demands the gold and his son who marries the heroine.
- Heel–Face Turn: The king becomes much nicer in the end and befriends the miller.
- Plot Allergy: The king develops a severe allergy to gold, which forces him to abdicate in favor of his son and in addition ensures he will never force Lisa to spin gold again.
- Try to Fit That on a Business Card: Trying to guess Rumpelstiltskin’s name, Lisa gathers an enormous collection of male names from across the land (and beyond, since John, Paul, George and Ringo somehow find their way to the list). And she gives all of them to her son. She’s still saying his full name when the credits finish rolling.
Die Bremer StadtmusikantenBased on The Bremen Town Musicians
Die kluge BauerntochterBased on The Brothers Grimm's tale The Peasant's Wise Daughter
Das blaue LichtBased on The Blue Light (a version of The Tinder Box).
- Adaptational Heroism: The soldier has been mistreated by the king and merely wants to teach him a lesson by temporarily stealing whatever the king values most. He doesn't foresee that it turns out to be the king's daughter; and instead of abusing her like in the original, he treats her in a friendly and gentle way, so that she asks to be brought to him again.
- Adaptational Villainy: The witch plots to trap the soldier into marriage.
- Mythology Gag: The magical servant from the blue light suggests making the princess work like a housemaid for the soldier, which is what happens in the original story. Here, though, Jakob rejects the idea at once.
Die Prinzessin auf der Erbse
Des Kaisers neue Kleider
Jorinde und JoringelBased on Jorinde and Joringel
AschenputtelBased on The Brothers Grimm's version of Cinderella.
- Adapted Out: The second stepsister. Here there's only one, Annabella.
- Anti Interference Lockup: When Prince Viktor arrives with the slipper, the Stepmother locks Aschenputtel in the cellar, but her friend Johanna lets her out just in time.
- Death by Adaptation: Aschenputtel's father is alive and prominent in the Grimms' tale; here, as in most other Cinderella retellings, he's dead.
- Disguised in Drag: One of the young "ladies" trying to ensnare Prince Viktor at the ball is clearly a young man in a wig, dress, and heavy makeup.
- Lighter and Softer: The stepfamily's eyes aren't pecked out by doves in the end. They're just abandoned by all their farm workers, who head off to the palace with Aschenputtel and the Prince. Stepsister Annabella still has her toe cut off to make the slipper fit, though.
- Meet Cute: Aschenputtel and Prince Viktor meet twice in the woods before the ball, without her realizing his identity. Both meetings are comical: the first one involves a runaway litter of piglets and an ill-placed mud puddle, while the second features a spilled sack of flour that makes them both sneeze repeatedly, and both meetings have plenty of banter between the two lovers-to-be.
Die SterntalerBased on The Star Money.
Die zertanzten SchuheBased on The Twelve Dancing Princesses.
- Adaptational Heroism:
- In the fairytale, the princesses seem to never care for the people who get hanged after failing to solve the mystery of their dancing. Here, they are very remorseful about Anton's upcoming execution and think up several ways to save him.
- In the fairytale, the princess whom the soldier picks as a bride apparently has no say in the matter. Anton declines to marry Amanda unless she loves him.
- Adaptational Job Change: The hero is a puppeteer rather than a soldier. In a Mythology Gag, the Hofmeister presents him to the king as a soldier.
- Chic and Awe: Anton starts saying "How ugly the princesses must...", only for twelve gorgeous princesses to appear in the windows and on the walls of the castle. He lamely finishes "...be" when it's clear he's already giving Amanda a Longing Look.
- Cloud Cuckoolander: Anton talks with his two puppets, and quite earnestly, it seems. He can't give it up even in the presence of the king.
- Excessive Mourning: The king is still in deep mourning for his wife who died several years earlier. It's the reason why his daughters have to keep their dancing a secret.
- Love at First Sight: Anton and Amanda are immediately smitten when they see each other (bonus point that it happens during Anton's Shirtless Scene).
- Unusually Uninteresting Sight: The king is weirdly on board with eleven formerly cursed princes bursting out of nowhere and embracing his eleven remaining daughters.
- Villainous Crush: The Hofmeister has one on Amanda, who, like the rest of the princesses, finds him ridiculous.
- Weddings for Everyone: Not only do Anton and Amanda marry in the end, but each of the princesses is paired up with her beloved prince.
RotkäppchenBased on Little Red Riding Hood.
Schneeweisschen und RosenrotBased on Snow-White and Rose-Red.
- And the Adventure Continues: While Snow-White has the traditional Happily Ever After royal wedding, Rose-Red and Kasper ride away to see the world.
- Dies Differently in Adaptation: It's not specified why the girls have a Disappeared Dad in the original. Here, he is killed in the Thirty Years' War.
- Rebel Prince: Kasper, who falls in love with Rose-Red, is considered the black sheep of the family for his adventurous nature and dislike of court life.
- Related Differently in the Adaptation: While the sisters' husbands are brothers in the original tale, here they are cousins.
Hänsel und GretelBased on Hansel and Gretel.
- Adaptational Angst Upgrade: A minor case with Hänsel and Gretel. In the original story, there is no mention of any strife between them, while here, Hänsel occasionally belittles Gretel for being a "fearful hare".
- Adaptational Attractiveness: The witch, an old hag in the story, is young and very beautiful. Even after her true colors get revealed and she turns out to be uglier, she is still in no way a hag.
- Adaptational Heroism: Although the stepmother still decides to abandon the children, before that, she fervently tries to fetch a good price for the wood, something her literary counterpart never did. However, it backfires, since her attempts to raise the price result in the merchant refusing to trade altogether.
- Adaptational Intelligence: Unlike in the original fairytale where both children fall for her trick, Hänsel mistrusts the witch from the start and only reluctantly goes inside the gingerbread house after Gretel (who is completely taken in) goes there first.
- Adaptational Sympathy:
- The stepmother's lack of love for the children is shown to be not solely her own fault, since Hänsel and Gretel constantly bring up the times when "Mama was alive", even when the stepmother is doing nothing wrong, and blame the stepmother for the famine even though she has nothing to do with it.
- The witch was abandoned by her parents in the woods. She even gets a Hidden Depths moment when she is reminded of that day by the stormy weather and almost opens up to Gretel.
- Ascended Extra: The father does practically nothing in the original. Here, he actively searches for the children and gets a romantic subplot with Canon Foreigner Marie.
- Because You Were Nice to Me: Gretel is kind to the witch’s sentient chair (after she discovers it is sentient), and the chair helps her fight the witch.
- Berserk Button: It's almost impossible to offend Marie... unless you call you a witch.
- Brooding Boy, Gentle Girl: A non-romantic example with the more moody and aloof Hänsel and the sweet and cheerful Gretel.
- Cloudcuckoolander: Marie can be a bit... off, what with her, for example, giving magical berries to the children's father and causing him to briefly turn green, all because she mixed up these berries with ordinary blueberries by accident. It's part of a Red Herring, since for quite a while, the viewer isn't aware it's not the witch.
- Evil Twin: The witch to Marie the kind and sweet forest wisewoman.
- Face–Heel Turn: Happened long ago to the witch, courtesy of her parents. They abandoned her in the woods, and she began to hate them, until there was nothing left in her but the hatred.
- Freudian Excuse: The witch was abandoned by her parents in the woods. Downplayed, since her sister suffered the same fate and nevertheless hasn’t grown evil.
- History Repeats: Many years ago, Marie and her sister were abandoned by their parents in the forest.
- Non-Human Sidekick: Marie and the witch each have one in the form of a duck (and their ducks are called Jakob and Wilhelm respectively), except that the witch has turned hers into a toad.
- Light Is Good:
- The first definite sign that Marie and the witch are different people is when Marie goes into the bright sunshine and smiles happily.
- Marie's house is a pure white tent.
- Not His Sled: The witch doesn’t fall for Gretel’s “how does one bend towards the oven” trick.
- Red Herring: At first, it seems that the witch has tracked down the children's father and is now either stalling him or planning to curse or trap him, until it's finally revealed it's not the witch but her twin sister Marie.
- Spared by the Adaptation: Instead of dying, the Wicked Stepmother simply leaves her husband.
- Took a Level in Badass: Gretel starts off more timid than her assertive brother, as well as a Clingy Child (which is natural since she is several years Hänsel's junior). She becomes the one to defeat the witch.
- Transflormation: Whenever a witch's captive attempts to escape, they start to turn into a tree as soon as they are thirty-three steps away from the house. Gretel almost meets that fate and barely escapes by turning around. In the end, many other captives who attempted to run away are turned back.
- Weakened by the Light: Sunlight is painful to the witch, and even her house is kept mostly dark.
AllerleirauhBased on All-Kind-of-Furs, The Brothers Grimm's version of Donkeyskin.
Vom Fischer und seine FrauBased on The Fisherman and His Wife.
- Adaptational Nice Guy:
- In the original, Ilsebill does nothing but bully and boss around her husband. Here, while she does get Drunk On Power, even in her emperor and Pope stages she makes it clear that she loves him.
- As king, Ilsebill decides to outlaw flounder fishing as thanks for the magical flounder granting her wishes. She does no such thing in the original.
- Adaptational Sympathy: Ilsebill's earlier demands aren't made out of mere selfish greed — when she wishes first for a nicer house and then for a palace, she genuinely wants both both herself and Hein to live more comfortably, and when she wishes to become a king, it's after her aristocratic neighbors scorn her.
- Babies Ever After: By the end, Ilsebill realizes she is pregnant.
- Be Careful What You Wish For: When Ilsebill is the Pope, she confesses she feels terribly constrained by the heavy elaborate clothes and is tired of the smell of frankincense. Not to mention the beyond weird Sexless Marriage she now has with Hein.
- Hotter and Sexier: For a children's fairytale film, and compared to the rest of the episodes — certainly. Hein and Ilsebill duck under the blankets with the pretty transparent implication they'll have sex, and later, when Ilsebill is the Pope, she rejects Hein when he reaches out to her at night.
- She Is the King: Like in the original, Ilsebill becomes the king, the emperor, and the Pope.
- Wacky Cravings: Hein and Ilsebill get the first hints of her pregnancy thanks to her craving unusual foods.
Das Mädchen mit den SchwefelhölzernBased on The Little Match Girl.
Die kleine MeerjungfrauBased on The Little Mermaid.
- Adaptational Alternate Ending: The little mermaid Undine doesn't die in the end. It turns out that Mydra, the witch, only made her believe she would die if the prince married another as a Secret Test of Character: by refusing to kill the prince even to save her own life, she proves that she already has a soul. So she remains human, gets her voice back, and sets out to explore the world.
- Composite Character:
- The little mermaid has two sisters instead of six.
- Undine loves exploring, while in the original it's the trait of one of her sisters.
- Dance of Romance: Subverted. Nikolas and Undine share a first dance, complete with romantic music… but moments later, Nikolas makes it abundantly clear he sees Undine as a sister and loves Anneline.
- Loves Me Not: Undine uses pearls to find out whether the prince loves her. Mydra points out the tears of the sea weren't the best choice for that.
- Named by the Adaptation: The mermaid is named Undine, her sisters Aquarella and Melusine, the prince is called Nikolas, his bride Anneline, and the sea witch is Mydra.
- Unnecessary Makeover: In a last attempt to win over Nikolas, Undine changes from her riding attire into a beautiful dress… only for the prince to casually admit she looked better before that.
Der Teufel mit den drei goldenen HaarenBased on The Brothers Grimm's tale The Devil With the Three Golden Hairs.
SiebenschönBased on a tale by Ludwig Bechstein from his Deutsches Märchenbuch collection.
Sechse kommen durch die ganze WeltBased on How The Six Made Their Way In The World.
Die drei FedernBased on the Grimm's tale The Three Feathers.
Von einem, der auszog, das Fürchten zu lernenBased on The Story of the Youth Who Went Forth to Learn What Fear Was.
Die SalzprinzessinBased on the Grimm's tale Princess Mouseskin and other tales of the "Love Like Salt" type.
Nussknacker und MausekönigBased on The Nutcracker and the Mouse King.
- And This Is for...: The Nutcracker says "This is for Marie!.. this is for her sugar figurines!.. this is for her favorite book!.. and this is for me!" as he strikes at the Mouse King.
- Bait-and-Switch: Marie's mother scolds Marie and says that at her age, she had no time to think of childish games. Her father agrees… and clarifies that the two of them thought only of dancing.
- Berserk Button: Unless you want to make King Mauserinks really lose it, don't call him a rat.
- Creepy Child: Due to Informed Species, Mauserinks spends the majority of the episode as a Soft-Spoken Sadist teenager with a claw on his hand and a highly disturbing fixation on grabbing Marie.
- Creepy High-Pitched Voice: King Mauserinks has a very high, almost squeaky voice.
- Gilligan Cut: Fritz suggests looking at the Christmas tree early and Marie firmly says they should wait. Cut to them sneaking off to see the tree.
- Growing Up Sucks: Subverted. Marie isn't happy to find a new and less childish oufit among her presents and loves dolls and playing, while her mother tries to get her to act more mature. In the end, however, Marie indeed becomes more mature and composed but keeps her imagination and idealism (not to mention that her belief in the impossible has saved the day).
- Happily Ever Before: In-Universe. Drosselmeyer ends the backstory of the Nutcracker at the moment when Pirlipat gets her beauty back and everything looks sunny. He only finishes the sad story to Marie when the rest of the family leaves.
- Significant Wardrobe Shift: For Christmas, Marie is given an elegant dark dress more fit for an adult and isn't very enthusiastic about it, spending the majority of the episode in a frilly childish-styled one. After her romantic journey to the Sugar Land with the Nutcracker, not only does she change into the new dress, but she also changes her Quirky Curls into a Prim and Proper Bun.
- Supernatural Light: Every time right before the mouse attacks begin, the house gets filled with eerie pale light.
Prinzessin MaleenBased on Maid Maleen.
- Adapted Out: Maleen's servant who helps her break out of the tower is nowhere to be seen.
- Adaptational Badass: Since she has no maidservant in this film, Maleen breaks out of the tower all by herself.
- Adaptational Explanation: The war that ravages the kingdom of Maleen's father doesn't happen randomly like in the original: it is already being planned when Maleen is locked up... and one of the chief advocates for the war is Prince Raimund whom the king wanted Maleen to marry.
- Adaptational Heroism: The prince in the original believes Maleen is "locked in the tower or dead", and yet makes no effort to at least find out her fate. Konrad goes to fetch her as soon as the seven years draw to a close, but by the worst luck they miss each other and he sees her shawl on a grave and believes her to be dead.
- Adaptational Job Change: Or title change, in this case. The prince from the original fairytale is now a poor Landgraf, hence the king forbidding him to marry Maleen.
- Adaptational Intelligence: More like "adaptational lack of a dumbass moment". In the original, Maleen's face is perfectly visible when she marries the prince in his bride's place, and the prince actually recognizes her but thinks she can't be Maleen since the latter is locked up or dead. Here, Maleen wears a veil, and since Konrad is 100% certain his beloved is dead, even the familiar voice and mannerisms unsettle him but don't lead him to a definite conclusion.
- Adaptational Nice Guy: The prince in the original fairytale shrinks back in terror when he sees how ugly his bride is (before he learns the extent of her actual villainy). Konrad, after a momentary startle, talks to Walpurga normally.
- Adaptational Sympathy: Walpurga gets both this and Adaptational Villainy. In the fairytale, the false bride's ugliness is treated as just another sign of her villainy. Here, Walpurga has an enormous birthmark on her face that has already frightened off four suitors, and it's firmly played for sympathy. In addition, she needs to marry ASAP because otherwise her brother gets her inheritance.
- Adaptational Villainy: Since her original counterpart's chief motivation is too sympathetic for modern audiences, Walpurga is also hit with this trope. Not only does she force Maleen to stand in her place at the wedding and tries to have her executed for "stealing" Konrad's gift, but she also tries to poison Konrad, even though his lands are poor and would add little to her magnificent inheritance.
- Black Widow: Walpurga intends to murder Konrad right after the wedding.
- Spared by the Adaptation: Walpurga is banished rather than executed like in the original.
Der Prinz in BärenfallBased on Bearskin.
Prinz Himmelblau und Fee LupineBased on a tale by Christoph Wieland from his Dschinnistan collection.
- Creepy High-Pitched Voice: The witch’s voice is shrill and squeaky.
- My Beloved Smother: The queen tries to have her son under her constant control and is convinced she is only acting for his own sake.
- My God, What Have I Done?: The queen realizes her mistakes when the witch nearly kills Himmelblau.
- White Hair, Black Heart: The vicious witch looks like a young woman with long blond hair.
Das singende, klingende BäumchenBased on several fairytale motives from stories by the Brothers Grimm and the infamous German film of the same name.
- Bait-and-Switch: Just when one might think the princess has finally had a Heel Realization… she sobs she is just sad she hasn’t got the singing tree.
- Engagement Challenge: The princess issues one to the prince, ordering him to bring her a singing, jingling tree (she gets that idea from her music box’s design). Even her father thinks it absurd and says she should be content with simply a pretty-looking ordinary tree.
- Heel–Face Turn: The princess, from a haughty Royal Brat to compassionate and loving.
Das Märchen von SchlaraffenlandBased on The Brothers Grimm and Ludwig Bechstein's The Tale of Cockaigne.
Hans im GlückBased on the Grimm's tale Hans in Luck.
- Adaptation Expansion: A major case of one, and inevitable since the original tale is very short with barely any plot. Most notably, Hans gains a Love Interest whom he keeps stumbling into throughout his journey.
- Hair of Gold, Heart of Gold: Hans has golden hair and is extremely kind-hearted, optimistic and naive.
- True Blue Femininity: Gentle ladylike Elisabeth is dressed in blue.
- Uptight Loves Wild: Easygoing Hans falls in love with Proper Lady Elisabeth.
Das Wasser des LebensBased on the Grimm's tale The Water of Life.
Der SchweinehirtBased on the Hans Christian Andersen tale The Swineherd.
Das Märchen von die RegentrudeBased on Theodor Storm's The Rain Maiden.
Die Galoschen des GlücksBased on Hans Christian Andersen's The Galoshes of Fortune.
Die drei KönigskinderBased on The Three Royal Children by Johann Wilhelm Wolf and Wilhelm Busch.
Das Märchen von den zwölf MonatenBased on the folk tale The Twelve Months.
- Agent Peacock: The life of Queen Klara and the entire existence of the twelve months are at stake... and June is still meticulous about what to wear for his meeting with Luise and Valentin. He argues with July over whether a black or a pink top hat suits him better.
- Bad Habits: The Frost Prince disguises himself as "Monk Martin" to win Queen Klara's confidence.
- Benevolent Mage Ruler: Queen Klara, at her full power, is a kind and fair queen and also a sorceress without whom the calendar can't function.
- Easily Forgiven: February is let off without so much as a slap on the wrist, and the months and Klara readily assure him that he isn't The Unfavorite among them as he believed.
- Endless Winter: The Frost Prince and February plan for the old twelve-month order to be gone forever and for the world to be stuck in eternal cold.
- Evil-Detecting Dog: Queen Klara's dog barks and snarls when she is about to drink the poisonous tea. Sadly, she pays it no heed.
- Heel–Face Turn: February, initially in league with the Frost Prince, starts having second thoughts about their plan as the queen withers further. The final straw is when the Frost Prince grabs the classic Villain Ball and reveals he never planned to share his power with February.
- Icy Blue Eyes: The Frost Prince's eyes flash bright blue whenever he is (especially) angry.
- Living Prop: All the months except February, March, June, July, and September are only seen as part of the background in the months' house and garden.
- Only Sane Woman: Save for the queen's dog, Luise, for more than half of the movie, is the only one who feels "Monk Martin" is downright shady.
- The Resenter: February allies himself with the Frost Prince because he is tired of his month always being shorter than the rest and fears that the other months look down on him.
- Sickeningly Sweethearts: June and July cuddle, dance together, and constantly call each other pet names.
Helene, die wahre BrautBased on Ludwig Bechstein's Helene and The Brothers Grimm's The True Bride.
Das Märchen von goldenen TalerBased on The Tale of the Golden Thaler by Hans Fallada.
Der starke HansBased on the Grimm's tale Strong Hans.
Der Geist im GlasBased on The Brothers Grimm's The Spirit in the Bottle.
ZitterinchenBased on a tale by Ludwig Bechstein from his Deutsches Märchenbuch collection.
Die GänseprinzessinBased on The Brothers Grimm's The Goose-Girl at the Well.
Die verkaufte PrinzessinBased on old Bavarian legends.
Das Märchen von der ZauberflöteBased on The Magic Flute.
- Adaptational Backstory Change: In the opera, Tamino is a real prince. This version of Tamino is an orphan who survives by being a con artist, and only poses as a prince.
- Adaptational Badass:
- Already not a Shrinking Violet in the opera, Pamina is even more of an Action Girl, not only tricking her guards to make an escape but actively fighting them off and later taking up arms to defend Sarastro.
- Monostatos in the opera is a Sycophantic Servant who is only able to threaten those weaker than him. He is a lot more assertive and confident here, working to help the queen much more efficiently.
- Papagena takes a more active role in fighting off the Queen, even saving Tamino and Papageno's lives.
- Adaptational Early Appearance: Pamina crosses paths with Tamino and Papageno before they even come to Sarastro's castle.
- Adaptational Heroism: Monostatos gets some. Although he rather creepily compliments Pamina at his first appearance (probably to let the audience know who he is), he never makes any advances towards her later, never indicates he wants her hand in marriage in return for his betrayal of Sarastro, and in an open battle, he is either surprisingly gallant or too slow to be dangerous: when Pamina faces him in the final showdown, she gets distracted several times but he never uses the chance to kill or capture her.
- Adaptational Wimp: Sarastro barely does anything at all. In the opera, though he is a rather problematic character with ambiguous morality to modern audiences, he at least does give orders that advance the plot.
- And I'm the Queen of Sheba: When Pamina tells the guard of the Queen's castle gate that she is the princess, the guard counters: "And I'm the prince of Dschinnistan". Tamino interrupts, saying: "No, that's me".
- Canon Character All Along: The friendly maidservant who helps Pamina turns out to be Papagena.
- Creepy Crows: Monostatos has a raven which he uses to correspond with the Queen.
- Damsel out of Distress: Pamina is able to escape Sarastro's castle before Tamino and Papageno even come near it.
- Dark and Troubled Past: Tamino's village was burned down in a war, leaving him with a fear of fire. He wishes to become a prince so that he could protect the smallfolk from further destruction.
- Did You Actually Believe...?: The Queen scoffs at Tamino for believing that she'll let him marry Pamina.
- Demoted to Extra: Papagena is even less there than in the opera, although she is more proactive.
- Maybe Ever After: Unlike in the opera, it isn't spelled out that Tamino and Pamina end up together. The last we see of them, she looks at him and says that perhaps she doesn't need a prince.
- Mistaken Identity: At their first meeting, Tamino mistakes Pamina for a peasant girl.
- Mythology Gag: Tamino claims to be a prince of Dschinnistan — a nod to the title of Christoph Wieland's fairytale collection Dschinnistan that served as inspiration for The Magic Flute.
- Race Lift: In the opera, Monostatos is a black Moor, while the lead characters are all presumably white; Papageno is terrified of Monostatos at first because he's never seen a black man before. In this version, Monostatos is white, while Papageno is black and Tamino's actor is of Moroccan descent.
- Related Differently in the Adaptation: The Queen of the Night is Pamina's stepmother rather than her real mother.
- Skewed Priorities: The Queen barely acknowledges that Pamina is back at home, safe and sound, instead getting angry that the sun circle hasn't been retrieved.
- Spared by the Adaptation: The villains are imprisoned rather than fall into infinite night.
- Standard Hero Reward: Deconstructed. The Queen promises Pamina's hand to Tamino, but:
- Papageno points out that she can go back on her word when she finds Tamino's not a real prince, and Pamina might not even want the marriage anyway.
- Likewise, Pamina gives Tamino a Death Glare when he casually tells her he intends to marry her (when he doesn't even truly know what she looks like, since he is at that point unaware of her identity).
- Naturally, the queen goes back on her word even quicker than in the opera.
- Surprisingly Realistic Outcome: Tamino and Papageno see Pamina's portrait, but, unlike in the opera, neither of them recognizes her when they meet her in person — since the portrait isn't a perfect likeness (for example, showing Pamina's hair as darker than it really is), and Pamina gets covered in mud and leaves after her escape through the woods. Likewise, the guard at the Queen's castle's gates doesn't recognize her until she washes her face.