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* AdaptationalAlternateEnding: In the original story, the princes remain cursed in the underground land after the soldier reveals the princesses' secret, and the princesses presumably never see them again. Here, they're freed and marry the princesses in the end.
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* AdaptationalAlternateEnding: In the original tale, the animals never make it to Bremen, but find the robbers' house so comfortable that they decide to live there and give up their dream of becoming musicians. In this version, they do reach Bremen, where they sing at the wedding of the [[CanonForeigner young human lovers Lissi and Johann.]]
* AdaptationalRelationshipOverhaul: The original story is an EveryoneMeetsEveryone plot, where the donkey first sets off for Bremen alone, then meets the dog, and then they meet the cat, and then the rooster. Here, they all come from the same farm, and they all set out together from the start.
* HumanFocusedAdaptation: The original tale focuses only on the four animals. This version adds a human romance between the daughter of the farmer who owns the animals and a servant boy, who are separated by the girl's WickedStepmother (who also wants to kill the animals), which leads to the girl joining the animals on their journey.
* AdaptationalRelationshipOverhaul: The original story is an EveryoneMeetsEveryone plot, where the donkey first sets off for Bremen alone, then meets the dog, and then they meet the cat, and then the rooster. Here, they all come from the same farm, and they all set out together from the start.
* HumanFocusedAdaptation: The original tale focuses only on the four animals. This version adds a human romance between the daughter of the farmer who owns the animals and a servant boy, who are separated by the girl's WickedStepmother (who also wants to kill the animals), which leads to the girl joining the animals on their journey.
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* DemotedToExtra: Papagena is even less there than in the opera, although she is more proactive.
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** Papagena takes a more active role in fighting off the Queen, at one point saving Tamino and Papageno's lives.
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** Papagena takes a more active role in fighting off the Queen, at one point even saving Tamino and Papageno's lives.
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* AdaptationalHeroism: Monostatos gets some. Although he rather creepily compliments Pamina at his first appearance (probably [[PragmaticAdaptation 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 [[LetsFightLikeGentlemen gallant]] or [[HarmlessVillain 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.
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* MaybeEverAfter: 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''.
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* SparedByTheAdaptation: The villains are imprisoned rather than fall into infinite night.
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* AdaptationalBadass: Already not a ShrinkingViolet in the opera, Pamina is even more of an ActionGirl, not only tricking her guards to make an escape but actively fighting them off.
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* AdaptationalBadass: AdaptationalBadass:
** Already not a ShrinkingViolet in the opera, Pamina is even more of an ActionGirl, not only tricking her guards to make an escape but actively fighting themoff.off and later taking up arms to defend Sarastro.
** Monostatos in the opera is a SycophanticServant 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, at one point saving Tamino and Papageno's lives.
** Already not a ShrinkingViolet in the opera, Pamina is even more of an ActionGirl, not only tricking her guards to make an escape but actively fighting them
** Monostatos in the opera is a SycophanticServant 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, at one point saving Tamino and Papageno's lives.
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* AdaptationalWimp: 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.
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* CanonCharacterAllAlong: The friendly maidservant who helps Pamina turns out to be Papagena.
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* ActionGirl: Already not a ShrinkingViolet in the opera, Pamina gets an AdaptationalBadass upgrade, not only tricking her guards to make an escape but actively fighting them off.
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* AdaptationalBadass: Already not a ShrinkingViolet in the opera, Pamina is even more of an ActionGirl, not only tricking her guards to make an escape but actively fighting them off.
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* CreepyCrows: Monostatos has a raven which he uses to correspond with the Queen.
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* DidYouActuallyBelieve: The Queen scoffs at Tamino for believing that she'll let him marry Pamina.
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* RelatedDifferentlyInTheAdaptation: The Queen of the Night turns out to be Pamina's stepmother rather than her real mother.
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* RelatedDifferentlyInTheAdaptation: The Queen of the Night turns out to be is Pamina's stepmother rather than her real mother.
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** Naturally, the queen goes back on her word even quicker than in the opera.
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* AndImTheQueenOfSheba: 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".
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Changed line(s) 324 (click to see context) from:
* RelatedDifferentlyInTheAdaptation: The Queen of the Night is Pamina's stepmother rather than her real mother.
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* RelatedDifferentlyInTheAdaptation: The Queen of the Night is turns out to be Pamina's stepmother rather than her real mother.mother.
* SkewedPriorities: The Queen barely acknowledges that Pamina is back at home, safe and sound, instead getting angry that the sun circle hasn't been retrieved.
* SkewedPriorities: The Queen barely acknowledges that Pamina is back at home, safe and sound, instead getting angry that the sun circle hasn't been retrieved.
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* SurprisinglyRealisticOutcome: 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.
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* SurprisinglyRealisticOutcome: 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.
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* DamselOutOfDistress: Pamina is able to escape Sarastro's castle before Tamino and Papageno even come near it. The only reason they don't call it a day and turn back is that in this version, the Queen has also asked them to retrieve the sun circle.
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* DamselOutOfDistress: Pamina is able to escape Sarastro's castle before Tamino and Papageno even come near it. The only reason they don't call it a day and turn back is that in this version, the Queen has also asked them to retrieve the sun circle.
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* DamselOutOfDistress: Pamina is able to escape Sarastro's castle before Tamino and Papageno even come near it. The only reason they don't call it a day and turn back is that in this version, the Queen has also asked them to retrieve the sun circle.
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* MistakenIdentity: At their first meeting, Tamino mistakes Pamina for a peasant girl.
* MythologyGag: 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''.
* MythologyGag: 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''.
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* StandardHeroReward: 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 DeathGlare 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).
* SurprisinglyRealisticOutcome: 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.
** 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 DeathGlare 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).
* SurprisinglyRealisticOutcome: 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.
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* ActionGirl: Already not a ShrinkingViolet in the opera, Pamina gets an AdaptationalBadass upgrade, not only tricking her guards to make an escape but actively fighting them off.
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* AdaptationalEarlyAppearance: Pamina crosses paths with Tamino and Papageno before they even come to Sarastro's castle.
* DarkAndTroubledPast: 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.
* DarkAndTroubledPast: 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.
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!! Die Salzprinzessen
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!! Die SalzprinzessenSalzprinzessin
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* BerserkButton: Unless you want to make King Mauserinks really lose it, don't call him a [[YouDirtyRat rat]].
* CreepyChild: Due to InformedSpecies, Mauserinks spends the majority of the episode as a SoftSpokenSadist teenager with a [[RedRightHand claw on his hand]] and a highly disturbing fixation on [[NoSenseOfPersonalSpace grabbing Marie]].
* CreepyChild: Due to InformedSpecies, Mauserinks spends the majority of the episode as a SoftSpokenSadist teenager with a [[RedRightHand claw on his hand]] and a highly disturbing fixation on [[NoSenseOfPersonalSpace grabbing Marie]].
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* GrowingUpSucks: 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 [[ClapYourHandsIfYouBelieve belief in the impossible]] has saved the day).
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* SignificantCostumeSwitch: 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 journey to the Sugar Land with the Nutcracker, not only does she change into the new dress, but she also changes her QuirkyCurls into a PrimAndProperBun.
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* SignificantCostumeSwitch: SignificantWardrobeShift: 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 QuirkyCurls into a PrimAndProperBun.
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* AndThisIsFor: 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.
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* AndThisIsFor: 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 as he strikes at the Mouse King.
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* SupernaturalLight: Right before the mouse attacks begin, the house gets filled with eerie pale light.
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* SignificantCostumeSwitch: 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 journey to the Sugar Land with the Nutcracker, not only does she change into the new dress, but she also changes her QuirkyCurls into a PrimAndProperBun.
* SupernaturalLight:Right Every time right before the mouse attacks begin, the house gets filled with eerie pale light.
* SupernaturalLight:
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* AndThisIsFor: 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.
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* SupernaturalLight: Right before the mouse attack begins, the house is filled with eerie pale light.
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* SupernaturalLight: Right before the mouse attack begins, attacks begin, the house is gets filled with eerie pale light.
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* InformedSpecies: Probably for pragmatic reasons, TalkingAnimals major characters usually look fully human but are treated as animals InUniverse.
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* InformedSpecies: Probably for pragmatic reasons, TalkingAnimals TalkingAnimal major characters usually look fully human but are treated as animals InUniverse.
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* InformedSpecies: Probably for pragmatic reasons, TalkingAnimals major characters usually look fully human but are treated as animals InUniverse.
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* InformedSpecies: After Hans buys the boots for Minkus, the latter turns into a human; even though some transformation does take place InUniverse, judging by Hans's astonished eyes, everyone among the characters can see that Minkus is a cat. Probably a case of PragmaticAdaptation to avoid a [=CGI=] talking cat throughout the whole film.
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* InformedSpecies: King Mauserinks looks like a CreepyChild during the fight scenes, but according to the characters, he is an enormous mouse.
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* HappilyEverBefore: InUniverse. 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.
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* CreepyHighPitchedVoice: King Mauserinks has a very high, almost squeaky voice.
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* InformedSpecies: King Mauserinks looks like a CreepyChild during the fight scenes, but according to the characters, he is an enormous mouse.
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* SupernaturalLight: Right before the mouse attack begins, the house is filled with eerie pale light.
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* BaitAndSwitch: 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.
* GilliganCut: Fritz suggests looking at the Christmas tree early and Marie firmly says they should wait. Cut to them sneaking off to see the tree.
* GilliganCut: Fritz suggests looking at the Christmas tree early and Marie firmly says they should wait. Cut to them sneaking off to see the tree.
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* AdaptationalSpeciesChange: The original Puss in Boots is a talking cat but still a cat. Minkus turns human once Hans brings him the boots (however, some characters still can see he is a cat).
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* InformedSpecies: After Hans buys the boots for Minkus, the latter turns into a human; even though some transformation does take place InUniverse, judging by Hans's astonished eyes, everyone among the characters can see that Minkus is a cat. Probably a case of PragmaticAdaptation to avoid a [=CGI=] talking cat throughout the whole film.
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** The King is called Otto.
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* AmazinglyEmbarrassingParents: 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.
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* ForcedTransformation: Abaddon has a habit of turning people (both his subjects and his own henchmen) into dogs.
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* AdaptationalSpeciesChange: The original Puss in Boots is a talking cat but still a cat. Minkus turns human once Hans brings him the boots.
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* AdaptationalSpeciesChange: The original Puss in Boots is a talking cat but still a cat. Minkus turns human once Hans brings him the boots.boots (however, some characters still can see he is a cat).
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* NamedByTheAdaptation: The Cat himself is called Minkus.
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* NamedByTheAdaptation: NamedByTheAdaptation:
** The Princess is now called Frieda.
** The Cat himself is called Minkus.
** The Princess is now called Frieda.
** The Cat himself is called Minkus.
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* TrademarkFavoriteFood: Princess Frieda loves partridge. Minkus uses the fact when he brings freshly-caught partridges as a gift from "the Count of Carabas".
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* EvilLaugh: Abaddon bursts into laughter pretty frequently during his EvilGloating spiels.
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* EvilWearsBlack: EvilSorcerer Abaddon and his mooks are all dressed in black.
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* RedIsHeroic: Minkus's human form is dressed in bright red.
