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 eleven seasons and 46 episodes, with the twelfth season due December 2019.
Tischlein deck dich
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 childrens father to inherit his money.
- 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.
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 Richards plan.
- Canon Foreigner: Thrushbeards father, Ottokar, and sister, Maximiliane.
- Tomboy Princess: Maximiliane walks around in a mans 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 others enemies.
Frau HolleBased on Mother Hulda. It borrows some traits from the 1977 German adaptation.
- Adaptational Attractiveness: Luise is very pretty.
- Beauty = 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.
- HeelFace 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 Schneiderlein
Der gestiefelte Kater
DornröschenBased on Sleeping Beauty.
- Adaptational Heroism: The witch of all people. Rather than being a witch, she is 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.
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.
- Decomposite Character: The original king. Now its the old king who demands the gold and his son who marries the heroine.
- HeelFace Turn: The king becomes much nicer in the end and befriends the miller.
- Try to Fit THAT on a Business Card!: Trying to guess Rumpelstiltskins 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. Shes still saying his full name when the credits finish rolling.
Die Bremer Stadtmusikanten
Die kluge Bauerntochter
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.
Die Prinzessin auf der Erbse
Des Kaisers neue Kleider
Schneeweisschen und RosenrotBased on Snow-White and Rose-Red.
- Adaptational Villainy: The dwarf, apart from turning the prince into a bear and being a jerk to the girls, is also interested in stealing the royal treasure.
- 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.
- Unrelated in the Adaptation: Downplayed. While the sisters' husbands are brothers in the original tale, here they are cousins.
Hänsel und GretelBased on Hansel and Gretel.
- 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 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.
- 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 witchs sentient chair (after she discovers it is sentient), and the chair helps her fight the witch.
- Brooding Boy, Gentle Girl: A non-romantic example with the more moody and aloof Hänsel and the sweet and cheerful Gretel.
- Evil Twin: The witch to Marie the forest fairy.
- FaceHeel Turn: Happened long ago to the witch, courtesy of her parents.
- Freudian Excuse: The witch was left by her parents in the woods. Downplayed, since her sister suffered the same fate and nevertheless hasnt grown evil.
- Good Stepmother: The ending implies Marie is soon to become one to Hänsel and Gretel.
- History Repeats: Many years ago, Marie and her sister have been abandoned by their parents in the forest.
- Non-Human Sidekick: Marie and the witch each have one in the form of a goose.
- Not His Sled: The witch doesnt fall for Gretels how does one bend towards the oven trick.
- Spared by the Adaptation: Instead of dying, the Wicked Stepmother simply leaves her husband.
Prinz Himmelblau und Fee LupineBased on a tale by Christoph Wieland from his Dschinnistan collection.
- Creepy High-Pitched Voice: The witchs 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 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 hasnt 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 boxs design). Even her father thinks it absurd and says she should be content with simply a pretty-looking ordinary tree.
- HeelFace Turn: The princess, from a haughty Royal Brat to compassionate and loving.