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FAIRY GODMOTHER'S APPRENTICE

A whimsical dramedy seen through the eyes of a cynical teenager who discovers a magical secret passed through the generations of his family:  he is a fairy godmother.


He believes his mother to be dead; his father is gone; he doesn't have very many friends, and now he has to worry about growing fairy wings in the middle of class. Not only that, but his obnoxiously perfect ten year old neighbor guilts him into using his powers to save her parent's marriage, leading him on a collision course with the Fairy Godmother Council and one really nasty warlock, his father.


Henry's  journey is one of internal struggle, forces of the unknown, harnessing his magic and family dynamics.

 

PREVIEW THE TRAILER

A SNEAK PEAK AT OUR FOUR-QUADRANT FAMILY SHOW

An angsty teen plans to ruin his ten-year-old neighbor's Spring Break, but is stymied when he finds out his big, crazy family secret: that he is a Fairy Godmother. Now he must find a way to make her wish come true to save her parent's marriage.

 
 
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REVIEWS

See what the experts are saying about Fairy Godmother's Apprentice

 
Teddy Van Ee in Fairy Godmother's Appren

THE GREAT AMERICAN SCRIPT CONTEST

Both the subject matter and the humor in this script are more adult than one might expect for a movie about a teenage fairy godmother, and as a result the story takes on a much greater thematic weight. The characters are memorable and well-developed with distinctive voices, the dialogue is for the most part witty and funny (even if Becca doesn't always sound like a nine-year-old, even a very gifted one), and the plot is structurally very neat and clear. 

The ending works surprisingly well for one with so many twists and various elements, utilizing the inevitable high-fantasy magic but not abandoning the characters and their own conflicts. Characters, dialogue and structure rated very high.

 
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LOS ANGELES INTERNATIONAL SCREEN PLAY AWARDS

The plot functions well in that there’s a clear story arc for the pilot and it firmly establishes the beginning of a season arc. Henry’s discovery of being a Fairy Godmother, exploring his new powers, and the relationship dynamics set up in this episode provide a myriad of possible material for future episodes. 

It leans slightly more towards comedy than drama, and in terms of the content of the plot, it’s fairly light- hearted in nature. There aren’t very many one-hour, light-hearted, comedic family- friendly shows the writer can think of (Jane the Virgin comes to mind but that’s the only show the reader can think of that has a slightly similar tone.) This is a blessing because it makes the show stand out, which could be a big selling point.

 
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THE SCRIPT LAB

The script has an interesting concept that fits well into the fantasy/family genre. The idea of re- inventing the image and the history behind fairy godmother's is very interesting and it is effective to show a male character in this role. The concept is imaginative and helps challenge the reader's expectations while still offering plenty of potential for entertainment. The story also feels as though it could work well as an animation.

 
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NYC SCREENPLAY AWARDS

The opening act does a good job of setting up the characters and foreshadowing what’s to come. Henry’s goals at first are mischievous, while Becca’s are well intentioned. And with the reveal of Nana Joyce, and Henry’s, powers at the end of act two, Henry’s intentions change, but this is a logical extension of the action and a change in his character that result because of it. 


There’s also plenty of good setup in the opening acts that pay off later in the script. All together, this is an enjoyable children’s story that just needs some minor refinement.