The spell of initial days The initial days of any experience hold a certain kind of magic. Whether it is starting a new job, moving to a new city, or beginning a new relationship, there is a sense of anticipation and excitement that can be almost intoxicating. During this period, everything seems fresh and full of potential. The world feels alive with possibilities, and the future seems bright with promise. In these early days, there is a natural curiosity and a willingness to explore. Everything is new and unfamiliar, so every experience is an opportunity for discovery.

Heartwarming Pregnancy Reveal: Daughter Surprised with Big Sister News | #heartsome #pregnancyreveal from littly girls hentai Watch Video

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Experience the touching moment as a girl and her husband surprise their daughter with the heartwarming news of her becoming a big sister. The suspenseful footage captures the daughter opening a series of boxes, each revealing a special message until the final box announces her future role with a shirt, creating a heart-melting scene.

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EARWIG AND THE WITCH Lacks That Ghibli Magic

While Pixar certainly has a brand people trust and recognize, I think it’s fair to say no animation studio has as consistent an output with as wide an appeal as Studio Ghibli. Their films, and specifically those of genius co-founder Hayao Miyazaki, were for a long time some of the only Japanese animated films to find major success and wide acclaim from Western audiences. That said, they’ve certainly felt the pressure to join the 3D CG animation age. Their first endeavor in this arena is Earwig and the Witch; sadly, it’s a letdown in just about every arena.

There hadn’t been a true, in-house Studio Ghibli movie since 2014. That film, Hiromasa Yonebayashi’s When Marnie Was There, was at the time the last gasp from the studio. Hayao Miyazaki had again announced his retirement following 2011’s The Wind Rises, and though co-founder Isao Takahata’s 2013 film The Tale of the Princess Kaguya had received an Oscar nomination, he didn’t have any more movies on his docket. Takahata passed away in 2018; while Yonebayashi, one of Miyazaki’s protégées, had split off to form Studio Ponoc and direct Mary and the Witch’s Flower. The last film to bear the Ghibli logo was The Red Turtle, a Dutch-German co-production.

So why does any of this matter? Well, it speaks to what seemed to be the end of an era for Studio Ghibli. Miyazaki’s production time per film was longer and longer, and other, faster studios were raking in more hits. Miyazaki’s son Gorō—director of Tales from Earthsea and From Up on Poppy Hill—dabbled with 3D CG animation for the TV series Ronja, the Robber’s Daughter which endeavored to keep the Ghibli house style and transpose it to 3D. This, plus Hayao’s return to work on shorts and the now-2023-expected How Do You Live? have given the studio a bit of a bump.

In the interim, Gorō directed Earwig and the Witch, originally for television. This ought to have been, if not up to the standards of the Ghibli heyday, at least a decent effort. A proof of concept. Sadly, it’s basically nothing.

Based on the novel by Diana Wynne Jones, who also wrote the source material for Howl’s Moving Castle, Earwig and the Witch feels like half a story. In a prologue, a woman with fiery red hair leaves a baby on the doorstep of an orphanage. As she rides away on her motorcycle, we see the woman is magical in some way. Cut to the year 1990, when the girl is 10 year old. Her name is Earwig, and she’s a very clever, willful child who has no idea her mother is a witch. Though no prospective foster parent ever selects her, two strange individuals show up one day and say Earwig will “do nicely.”

It turns out these two are Bella Yaga, a witch with blue hair and an angry disposition, and the mysterious Mandrake, a tall and angular demon-looking dude. Bella Yaga immediately puts Earwig to work cleaning up after her many experiments and spells. Earwig hopes one day to learn magic for herself. At the same time, she starts listening to a rock band, called Earwig and the Witch. We know that the band is Bella Yaga, the Mandrake, and her mother, but Earwig doesn’t.

And that’s kind of it. That’s pretty much the entire movie. Earwig has little episodic adventures, sometimes with her friend Custard from the orphanage and sometimes with Thomas the talking magic cat. There’s not a journey of self-discovery; there’s not any kind of strife to overcome, really. It’s just people doing things, and then it ends on a cliffhanger. At 82 minutes, this absolutely feels like there’s more to the story that we just don’t see.

It also doesn’t help that this is all stuff we’ve seen from Studio Ghibli (and Studio Ponoc) before. Young would-be witch making her way in the world with a talking cat is Kiki’s Delivery Service. A young girl made to serve a scary, large witch woman is something from Spirited Away. Earwig lacks both films’ scope, sense of wonderment, and devotion to character. There’s nothing inherently wrong with anything we see here, but it just feels lesser at best.

And that leads us to the animation. It’s not as though a specific 2D-style can’t become a gorgeous 3D animated film. Lupin III: The First is an absolutely stunning work which keeps Monkey Punch’s distinct character designs. Earwig keeps the Ghibli-style in almost every aspect. The character models look like Ghibli; the backgrounds and settings definitely do. And when we get a tableau or static shot, it suddenly feels right. But as the studio has spent its whole existence making 2D animation as smooth as possible, it’s a shame that its first 3D feature would have such jerky movement and, at times, uncanny valley-terrifying faces.

It’s a shame across the board. Earwig and the Witch just lacks any kind of magic, none of the spark of the earlier films. For having three dimensions, it seems devoid of depth.

Earwig and the Witch is in theaters now and hits HBO Max on Friday, Feb 5, 2021.

2.5/5

Kyle Anderson is the Senior Editor for Nerdist. You can find his film and TV reviews here. Follow him on Twitter!

Everything is new and unfamiliar, so every experience is an opportunity for discovery. It is during this time that we are most open to new ideas, new people, and new experiences. We are eager to learn, to grow, and to make connections.

This period of enchantment can be attributed, in part, to the novelty of the situation. The unfamiliarity of our surroundings and the uncertainty of what lies ahead create a sense of intrigue. Our senses are heightened, and we are more attuned to the small details and nuances of our environment. Everything seems more vibrant and alive. The spell of the initial days also stems from the absence of routine. We are not yet bogged down by responsibilities or obligations. We are free to live in the moment and to seize opportunities as they come. This freedom allows us to fully immerse ourselves in the experience, soaking up every bit of joy and wonder. However, like any spell, the enchantment of the initial days fades over time. As we settle into our new job, our new city, or our new relationship, the novelty wears off. The once-exciting becomes routine. We become accustomed to the sights, sounds, and experiences that were once so novel. The magic dissipates, and we find ourselves longing for that initial spark. Yet, while the spell of the initial days may fade, it does not disappear entirely. It is up to us to find ways to keep the magic alive. We must actively seek out new experiences, challenge ourselves, and stay open to the world around us. By embracing the spirit of curiosity and wonder that characterized those initial days, we can recapture some of the magic and continue to grow and explore. In conclusion, the spell of the initial days is a powerful force that can ignite our sense of wonder and possibility. It is a time of discovery, where everything feels fresh and new. While this enchantment may fade over time, it is within our power to keep the magic alive by cultivating curiosity and staying open to the world around us..

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