Kpop Demon Hunters follows the story of Rumi, Mira, and Zoe as they balance being international Kpop idols and protecting their world from demons trying to steal everyone’s souls. They write, record, and release songs as band Huntrix (stylized Huntr/x) while slaying demons, using their songs to create their weapons and strengthen the Honmoon, the layer of protection keeping the demons at bay. They use the power of their fans to reinforce  the Honmoon, but their main objective is to create the Golden Honmoon, an impenetrable shield to rid the world of demons forever. Their jobs change when the demons come up with a new plan to infiltrate, creating a Kpop boy band called the Saja Boys to steal the Hunter’s fans and souls. 

In essence, Kpop Demon Hunters is basic. The plot has been done, and the tropes are predictable. But still, fans can’t get enough. Many people have reported watching it anywhere from three to ten times, and still wanting to see more. The art style, characters, and music captivate the audience and leave them wanting more. The movie is nothing remarkable, but it’s topping the charts. The enemies to lovers trope is bland, and the main villain isn’t all that scary, but something about the magic the three girls share keeps people watching. Rumi, Mira, and Zoey are all unique, well developed personas with their own desires and conflicts, and they stay true throughout the movie. Their designs all include incredible detail and work, and represent their personalities in the designs. As the main character, Rumi especially has an extensive backstory, as her mother was a former Hunter and her father was a demon. Her internal conflict drives the movie, eventually leading to her running away and abandoning the rest of the band before returning to save the day.

The main demon, Jinu, has an in-depth backstory that explains his character choices and motivations throughout the movie, and the Demon King, Gwi-ma, seems impossible to defeat. The final battle takes place after Huntr/x has entirely given up hope and broken up, heading their separate ways. Gwi-ma is preparing to feast on thousands of souls as the Saja Boys perform one final concert, when Rumi shows up to save the rest of Huntr/x and the fans. When a win seems unattainable,  Jinu makes the ultimate choice and gives his soul to Rumi, powering her enough to defeat Gwi-ma and create the Rainbow Honmoon. This resolution is somewhat expected, but watching Jinu and Rumi’s emotional arcs connect is many fan’s favorite part of the film.

Maybe the most iconic part of the franchise is the music, with songs like Golden and Your Idol still topping the charts. As of Sept. 6, the movie had four songs in the Billboard Hot 100 top ten, and eight of the nine songs featured in the film in the Top 100. Considering that the songs are still charting three months after its release (with Golden at number one), it’s safe to say that the music is what makes the movie. 

In fact, the music is so popular that Netflix held an in-theatres singalong for one weekend only. Tickets sold out incredibly quickly, and the energy was energetic. Fans dressed up in costume, did their hair in the style of the Hunters, and sang, danced, and quoted along with the movie. The grand reaction launched the film to the top of the box office for its one weekend debut, and it could easily happen for the next three weeks. Netflix and Sony have declined from keeping the film in theatres, which may have been a devastating decision. While they may have lost potential money by keeping the movie on streaming, they widened the potential audience and access, allowing Kpop Demon Hunters to become the phenomenon it is. 

The movie is still popular, which is maybe the most shocking thing about it. The movie has a 95% rating on Rotten Tomatoes, with reviews raving about the movie. The songs are still on the charts, and the movie’s overall watch levels are rising steadily. The appeal of the movie ranges from the catchy songs to the alluring art style to the scariness of the fight scenes, which young children aren’t usually allowed to watch. The movie has been compared to other animated films like Spider-Man: Into the Spider-Verse, following similar themes of self discovery and growth, while incorporating incredible art styles and music choices. Spider-Man: Into The Spider-Verse and Kpop Demon Hunters have similar animation both following the choppy, comic-book feel inspired by the Spider-Verse franchise. Before this era, movies featured smoother, 3D animation in the style of Pixar movies like Wall-E. This comic book style takes the audience further into the world of the film, allowing the viewer to immerse themselves in the universe. 

Overall, Kpop Demon Hunters isn’t an incredibly original movie. The concept of three girls with unique yet matching personalities and styles forming a magical group to fight monsters is nowhere near new. But something about the movie, be it the animation style, the songs, the depth of the characters, or the overall atmosphere, is incredibly enticing to today’s world. The film represents a return to a classic style and a classic story, taking us back to simpler times, where the only thing we had to worry about was whether our favorite band would make it to their concert on time, all while thwarting the demons that hunted them. 

With bright stadium lights shining down on the field, the Westwood Warrior Marching Band hit the final pose of their show, Red. Their performance of parts one and two of the show marked the end of the band’s annual March-A-Thon fundraiser on Saturday, Sept. 16 at the Kelly Reeves Athletic Complex.

The band members had a fully scheduled day, with four hours of rehearsal, followed by dinner before the evening’s performance. The event was attended by alumni, sponsors, parents, and other attendees. 

“March-A-Thon was a really good practice for a competition,” Noah Revelett ‘26 said. “It was really special getting to perform for my parents and friends that came back to watch after they graduated.”

During the rehearsal, students worked on their competitive show, Red, mainly focusing on cleaning the forms and running parts one and two without a metronome. 

“The drum majors are basically the heartbeat of the band and keep us in time,” Jillian Riethmiller ‘27 said. “It’s important that we are always watching them to keep time or subdividing when we can’t see the drum major.”

After rehearsal ended, the students had a short amount of time to put on their uniform, put their hair up in neat show buns, and eat dinner. It was the first time students wore their show uniform for the season.

 “I think our first run with uniforms made me envision how great our show is gonna be this year,” Riethmiller said. “When you’re just in regular clothes at rehearsal, you give it your all, but there’s something special about looking the same, and being cohesive as a group that you wouldn’t really get when not in uniform.”

As the stadium began to fill with audience members, seventh and eighth graders from Grisham and Canyon Vista arrived for a brief rehearsal and to meet the high schoolers. This annual tradition allows the younger band students to experience what marching band is and get excited for their future. 

The album opens with “ding-dong” on the track, Clockwork, a foreshadowing of what’s about to unfold. Going over self awareness and fickle fantasies, Laufey’s jazzy vocals bring a familiar sense of lightness and puerility. Following and adding to this theme of love, Lover Girl uses subtle references to address the timeless ache of long-distance love. 

Snow White can perhaps only be described as the clock striking 12, as Laufey’s tone and mood completely changes, and she transitions from love to lamenting.  “But mirrors tell lies to me, my mind just plays along”, and “People want beauty, skinny always wins”, are powerful lyrics that she uses to bluntly address societal issues, and attempt to connect with her audience at a deeper level than usual for artists.

As time elapses over the album, Laufey goes back to a smoother, melodious, pace with Silver Lining. With beautiful high and low vocals, she describes the love and affection she receives from a lover. With personal and sweet lyrics like “When you go to hell, I’ll go there with you too”, She captures the freedom of being wholeheartedly in love. Its elegant orchestration establishes the mood  right away, indicating the intimacy and emotional growth balanced through the album.

However, like all good things, Laufey’s enchanting fairytale doesn’t last very long. Too Little, Too Late captures the ache of a relationship’s aftermath. Asserting, “I should be who you’re engaged to” draws a familiar trope of unfulfilled love, where the song’s tones are comforting yet ominous. Her vocals rise with intensity, the violin grows faster, and the ending has a subtle reprise of Bewitched’s instrumentals which invoke the dreamlike optimism of her previous album, highlighting the contrast between love’s initial magic and its inevitable end.

After the heartbreak and longing in Too Little, Too Late the album offers a moment to breathe. Cuckoo Ballet – Interlude arrives gently, carrying playful instrumentation that guides the listener through shifting moods to prepare for what comes next. On her Instagram story, Laufey said “If you’re not listening to the interlude, you’re listening to the album wrong.” With the familiar “ding-dong” in the background, and mellow tones with her signature instruments like the cello and the piano, the interlude’s almost like a rollercoaster with fluctuating themes and moods and octaves. 

Laufey shows that softness doesn’t always link to vulnerability with the track Sabotage, which explodes into orchestral chaos as she recognizes her own patterns of self destruction. In contrast, Tough Luck bursts with spirited independence, delivering a sharp yet elegant message. Together, these songs demonstrate her scope as a writer who isn’t afraid to explore all the aspects of human emotion.

Forget-Me-Not, captures a not-very-well-known side of Laufey, as she nods to her Icelandic heritage in the song with the lines, “Gleymdu mér aldrei þó ég héðan flýg, Gleymdu mér aldrei, elskan mín”, which translates to the chorus’ lyrics of the song- ”Never forget me even if I fly away Never forget me my love”, reaches out to her old lover. 

Castle in Hollywood showcases one of the album’s most cinematic moments. Beginning with recurrent guitar chords, the song evokes a sense of longing and nostalgia. The song’s lyrics reflect a broken friendship: “We’ll never go back to our castle in Hollywood.” This song strikes a balance between longing and an added tension as she describes the end of a shared dream, implying that even relationships based on fantasy can end in heartbreak. 

Laufey collaborates with singer-songwriter Clairo in one of the album’s brutal and lighthearted criticisms is found in “Mr. Eclectic.” Laufey mocks the performative admirer-“Bet you think you’re so poetic… Mr. Eclectic Allan Poe.” This line mocks the empty nature of his displays and ridicules his demonstrative intelligence. It’s a bold takedown that’s elegant without being pretentious. 

 With A Matter of Time, Laufey proves that jazz can be both timely and timeless by weaving together playful moments, heartbreaking honesty, and rich arrangements, she continues her mission of making a classic genre feel personal for a new generation. The album balances intimacy with ambition—whether she’s admitting relatable insecurities, reveling in love, or critiquing pretension, Laufey never loses her light touch. Laufey’s growth as a singer is as evident as her broadening as a songwriter. The classical style paired with relatable themes combine together to make a timeless record. Laufey’s dynamic, from an inamorata to a symbol of honesty, is apparent in this record that grows richer with every listen, reminding us that even in the fleetingness of time, music can preserve moments of truth and beauty. 

Flooding into the choir room, choir members eagerly joined their friends into creating a powerful harmony, filling the music wing with memorable melodies. The annual tradition, “choir camp”, held on Monday Sept. 2, holds a legacy of transforming choir into a well-knit community. 

Other than on the stage, JV, varsity, boys’, and girls’ choirs rarely collaborate and get the chance to connect. But from the moment the three-hour camp started, the musical reunion provided opportunities to meet other people and to grow as a group.

“I liked how I was with my friends and [could] compete against them,” Baptiste de Cormis ‘29 said. “The mix of age and personalities made me discover new people.”

The afternoon consisted of various activities where each student was assigned a group run by a leadership officer and designated by a color. After creating a team cheer, each group competed in events such as a three-legged race, a post-it showdown, and a cup-speed tournament. 

“The little games gave us a chance to communicate with other people and spend time with the choir as a whole,” Rosemary Mucluck ‘27 said. “They were really fun and helped us bond.”

For others, what came after the games was even better. With a couple practice-runs, the choirs all rushed to the gym to perform the national anthem at the varsity volleyball home game against Vista Ridge.

“In Pitch Perfect 2, they all find their sound at the fireplace [scene], and that’s kind of like how we were,” Ian Schultz ‘29 said. “We all locked in and sang the Star Spangled Banner [together].”

For the first time of the school year as one, all types of voices partook in creating a harmonious melody. Not only rehearsing the national anthem for upcoming singing opportunities at football games and events, but also the choir anthem The Lord Shall Bless You and Keep You by composer John Butter.

“I liked hearing everyone’s voices combined and how it all blended,” Sissi Ge ‘29 said. “I just liked singing [all] together.”

To celebrate the end of the festivities and the beginning of the 2025 choir community, students enjoyed pizza and homemade s’mores bars, the highlight of the night.

“In general, I just felt like everyone was really inclusive,” Ge said. “Everyone just supports each other.”

The Westwood Choir will perform their first concert  at the Hope Presbyterian Church on Monday Sept. 29.

Any fan of golf, or Adam Sandler for that matter, would recall this iconic line from Happy Gilmore. After a long and painful 30 years, Sandler came back as Happy , still rocking the Bruins jersey and a hockey stick putter. This time though, Happy is not fighting for money for his grandma’s house, he’s fighting for his daughter to go to dance school in France. Instead of competing against his nemesis, Shooter McGavin, he competes and prepares to destroy a team, called Maxi League, the so-called “future of golf.”   

One of the best parts of the film was the cameos. Not only was his family incorporated into the movie, but stars like Travis Kelce, Cameron Boyce, Eminem, Rory Mcilroy, and Bad Bunny were as well. These cameos made the movie a great watch and honestly kept the viewers on their feet. Appearances by Guy Fieri and Steve Buscemi were a funny addition to the film.

Fans appreciate the cast and Happy Madison productions coming together again to create a movie for the next generation to enjoy. Sandler was able to contact his friends and co-stars from Saturday Night Live (SNL) and get them to come together for the film. The fact that Sandler was able to get everyone back one last time for the movie was really appreciated. Parents grew up with Happy Gilmore and now this generation is growing up with it too.

The film has varying similarities and differences from its predecessor. Sandler would have flashbacks going back to his time as a world class golfer, moments that made the movie nostalgic for parents. Ben Stiller returned to pick on Happy, not just his grandma, and Julie Bowen reprised her role as Happy’s wife; still keeping him calm in his happy place. The modern twist on the film made it more relatable for the next generation, adding moments with video games as well as references to social media apps like TikTok. It was refreshing seeing Happy grow old with us,showing the growth of Happy Gilmore as a father and as a character.

The movie does an excellent job in showing the importance of family and the importance of hard work. When we see Happy in the first film he comes off as very immature, but the second film highlighted his growth as a character and made the aging seem less forced. Some parts never changed though. Although he’s older now his love for the Bruins never died; he still has the team posters and even put his sons into hockey mirroring him as a person. These special attentions to detail helped the sequel feel like a continuation of the first film rather than a different movie. 

All in all, this was a fantastic sequel that really showed how fun golf can be and it shows the talent of the Sandler family. Happy came from a broken hockey dream and then became a golf star. Ultimately, it reminds people that anything is possible if you put your mind to it. 

Bite Me is happier than her debut album, Snow Angel. While Snow Angel was rich with emotional ballads and belting that showcased Rapp’s extensive Broadway experience, Bite Me emphasizes her honed acting skills from the Mean Girls reboot and TV show The Sex Lives of College Girls. Rapp has always been skilled at expressing emotions through music, and Bite Me is no different. The album, however, is more than a journey through Rapp’s emotions; it’s breaking the mold in the queer pop space. Most mainstream sapphic artists are pushed into the “sad girl indie” genre to remain marketable, but Rapp has chosen to enter her “brat” era, fully embracing her non-media trained personality as she balances upbeat music, clever lyrics, and candid discussion of her life.

The “sad girl indie” genre leans into feelings of sadness, yearning, depression, breakups, religious trauma, womanhood, loneliness, pain, and anger. Devoid of intimacy or lighthearted outlooks, many sapphic tracks that rise to stardom lean more mellow — both lyrically and instrumentally — so artists can fit into the coveted “sad girl”. Official Spotify editors also incentivize this, consistently updating editorial playlists such as “Sad Girl Mix” and “sad girl starter pack”. However, mainstream sapphic artists don’t lean toward this vibe simply for the love of the game. Branding themselves as a “sad girl” keeps them marketable and on the charts longer.

In their playlist description, Spotify describes sad girl music as “sapphic songs” with “yearning”, featuring songs like Picture You by Chappell Roan, Ankles by Lucy Dacus, and Sailor Song by Gigi Perez. A system wrought with capitalism, the music industry is no stranger to boxing artists within a specific sound. Artists like Dacus, Phoebe Bridgers, and Julien Baker produce more mellow music, often with deep topics and meaningful discussion. However, the issue does not lie within the music labeled as “sad girl indie”; it lies in the classification and commodification of this music, bringing the discussion to the overwhelming number of sapphic artists who have experienced this expectation — and how Rapp has been able to escape the box.

For two years, fans expected an album of gut-wrenching ballads reminiscent of Snow Angel and her EP, Everything to Everyone. But in classic Rapp fashion, she subverted expectations by channeling her authentic personality through Bite Me. The album breaks boundaries with a dozen tracks of her internal, emotional monologue, told through cheeky lyrics and an upbeat vibe. The songs are exciting, upbeat, and unique, not shying away from using guitar, bass, keyboards, and loud drums to amplify the sound. Although a few tracks are on the quieter side, the topics conveyed through the lyrics deviate from the norm, portraying messages of acceptance and moving on from relationships — a far cry from the yearning that sapphic music and artists are reduced to.

With tracks such as Leave Me Alone, Mad, and Kiss It Kiss It, the album is a contender for the definition of camp. Leave Me Alone immediately drew listeners in with its first lyric: “I’m a real bad girl but a real good kisser”. Embracing the unserious vibe, the corresponding music video features an interesting yet confusing amalgamation of feathers, beds, queer artists, sleepover essentials, and blood. Rapp goes as far to make a playful jab to her stint on the hit TV show The Sex Lives of College Girls while feathers are flying around her in the music video. What truly drove her new musical persona home was likely one of the final lines, “My ex walked in and my other ex with her”, going on to sing “Put the three of us together, that’s a real tongue twister”. Leave Me Alone was first released as a single while Rapp built hype for the album; the uniqueness and playfulness of the track was a key part in defining the marketing, promotion, and personality of her new album.

Written in Malibu, Florida, Mad’s cheeky lyrics perfectly represent the city in which it was written in. Addressing a failed romance, Mad strayed from the typical sad and painful angle that many sapphic pop artists take when discussing past relationships. Instead, Rapp embraces her natural playfulness and brazen in lines such as “All of the time you wasted being mad / We could’ve been cute and we could’ve been stupid”. She continues to discuss her intimacy with her past partner — something that many sapphic artists are afraid to do. Bite Me makes it clear that it is exactly what Rapp once told iHeartRadio in an interview about the production of Mad: “50% attitude, 50% vocals”.

Mad perfectly encompasses what stands out about this sophomore album. Rapp’s unhindered authenticity is a slap in the face to everyone who was looking to add her Bite Me tracks to their “sad girl vibes” playlist like many of the tracks off her debut album Snow Angel. Capitalistic influence has long pressured rising artists, especially in the realm of queer music, to fit into homonormative categories. The yearning trope present in sapphic artists is a product of trying to remain marketable and earn a living; women are often delegated to weaker roles associated with femininity, and although these artists are queer, they are still victims of capitalism, which adheres to age-old norms. Similarly, gay artists such as Lil Nas X and Todrick Hall are often lauded for their loud, upfront, clubbing music with their more vulnerable music going unrecognized. Many queer artists are reduced to homonormative expectations, assigning them gender roles to fit into rigid boxes. Rapp, however, has created a new brand for herself — whether that is a result of good management or lack of subtlety in her lyrics is yet to be seen.

While Rapp is certainly an outlier, other musicians in similar realms have attempted to differentiate themselves similarly. Roan’s most popular upbeat track HOT TO GO! rose in recognition last year, propelling Roan into the charts — and into a limiting genre. Many of Roan’s upbeat music subtly discusses being queer, a fact that goes over listeners’ heads. On the other hand, her more explicitly queer songs are boxed into the “sad girl” yearning genre, exemplified by tracks such as Picture You and Kaleidoscope. While Roan seems intent on bringing a fun aspect to her music, its queer messaging is typically either ignored or reduced to the “sad girl” genre.

A prime example of both fans and brands ignoring artists’ requests for individuality is Dacus. While she is regularly described as the poster girl for queer pining and longing, some fans have reduced her to just those traits. Upset, Dacus took to Twitter on Saturday, Feb. 27, 2021 to say, “sadness can be meaningful but I got a bone to pick with the ‘sad girl indie’ genre, not the music that gets labeled as that, but the classification and commodification and perpetual expectation of women’s pain, also I don’t think my songs are sad”. 

Unlike Dacus and Roan, Rapp has been able to deviate from the public’s expectations. Through her music, she demonstrates how sapphic love is just like any other love, thus cultivating a culture of acceptance among the broader population. Sapphic relationships include yearning, but it can also be silly, cheeky, and lighthearted, paralleling the way many straight women display love in their music.

In addition to clever lyrics and musicality, Bite Me contains tracks that, for the first time, seem to fit Rapp’s authentic personality. In interviews, she often cracks PG-13 jokes, publicly expresses her dislike for people and systems, and celebrates her unfiltered honesty. Her individuality shines through both the tracks and her new approach to marketing: the direct album title, star motifs, raunchy music videos, and thick black eyeliner on the cover of the digital album’s live version. With Bite Me, her marketing team appears to have caught on to one of Rapp’s main selling points: her natural persona online. Whether it’s a look into her personal life on her spam Instagram account or snappy one-liners during interviews, leaning into this brand seems to have worked for Rapp, shown by how her top 10 songs on Spotify are all tracks from Bite Me — a surprising feat, given the massive success of Snow Angel. Even more impressive, her most popular track, Leave Me Alone, has racked up over 34 million plays on Spotify. Rapp has also climbed into the top five on Billboard’s Artist 100, surpassing heavyweights like Roan, Sabrina Carpenter, and Kendrick Lamar.

Subverting the deep-seated expectations of sapphic artists, Rapp addresses numerous topics in her music that deviate from typical points of discussion. Leave Me Alone is a lesbian pop anthem, but rather than focusing on her identity, Rapp chose to make the song a direct message to the enormous pressure she experienced to go back to recording music during her two-year break from music, telling fans and her labels to leave [her] alone. On the other hand, Why Is She Still Here? is a standout ballad that delves into the emotional aftermath of non-monogamous relationships. As a prolific partier living in a big city, Rapp has witnessed her fair share of open relationships, and delves into this in the song. Displaying her true flexibility in music, Shy is notable for its cheeky and unapologetically provocative one-liners and allusions to previous relationships. Rapp has always been candid about her intimate life online, and this song perfectly showcases that.

Since coming out as lesbian, Bite Me is Rapp’s first album and first time writing personal music. While many queer artists struggle to find their niche in the music industry, Rapp has settled comfortably into her role, singing her heart out to not just tell stories but to empower younger and older LGBTQA+ audiences alike. In an interview with 103.5 KTU, beating the “everywhere but on tour” comments, the Bite Me tour begins on Tuesday, Sept. 23 in Morrison, Colorado. Rapp will also take her talents to Austin, Texas at the Moody Amphitheater at 7 p.m. on Wednesday, Oct. 22. On its surface, Bite Me is simply a catchy and wildly successful album from a rising pop artist. Looking past the veneer, it reveals a musical experience that floods the senses and stimulates the mind. Rapp has embraced the cheeky personality that she has previously been told to tone down, and her authenticity shines through her personality, the way fans see her, and her incorporation of acting into music.

Big corporations may attempt to flatten sapphic artists into one-dimensional figures of sad yearning girls, yet Rapp breaks the invisible systemic barrier that aims to fit queer artists into a homonormative box. In spite of her two-year long hiatus, she shot to stardom almost immediately following the release of the album. Bite Me is more than just music: it’s a celebration of sapphic love, humanizing queer individuals across the world and providing a sense of solace for those whose rights are under attack.  By emphasizing authenticity rather than categorization, listeners and businesses can aid sapphic artists in creating better and richer experiences through music — and Bite Me is the first step toward that change.

Fostering community within young dancers, the SunDancers held their annual SunDancer Summer Dance Camp (also referred to as Kiddie Camp), a student-led camp for dancers from kindergarten through ninth grade, on Monday, July 28 through Wednesday, July 30 from 8:30 a.m. to 4:15 p.m.

The campers were split into four different age groups and were managed by different sets of SunDancers. Some dancers handled campers from kindergarten through fifth grade, while others handled dancers from sixth through ninth grade. Additionally, the social officers, mainly upperclassmen, organized and managed the three-day event. For the officers, organization was an essential portion of planning since the camp had numerous moving parts, such as various campers attending the half-day camp while others stayed the full time.

“Organizing is an important part and definitely needed,” Social Officer Suhaani Srireddy ’26 said. “Our main goal is to make sure that they’re here and that they have a fun time.”

Camp attendees spent two days learning dances with their assigned counselor groups. During this time, counselors polished the campers’ techniques, taught them new skills, and strived toward building confidence in each and every camper. Dancers also worked alongside other age groups for the final showcase. In addition to dancing, the SunDancers emphasized a light-hearted environment where they played team-bonding activities with campers to build camaraderie. Through this, campers not only built relationships with peers but also with counselors.

“I want the kids to walk out with a huge smile, running to their parents saying, ‘I had so much fun’,” newbie SunDancer Lina Saad ‘28 said. “If the kids have a fear of performing in front of other people, I want to help them get over that fear. I want them to walk out feeling very accomplished and happy with what they did.”

While teaching the kids dance, many counselors walked away with new memories every day. Each memory was unique, from telling stories about their toys to building brief but deep connections.

“I left a little early yesterday, and one of the campers came up to me this morning and said, ‘I missed you yesterday. Where were you?’,” Srireddy said. “It was really sweet, and it’s really special, getting to build bonds with the kids.”

Many SunDancers attended the Kiddie Camp when they were young, aspiring to be a part of the varsity dance team one day. Now, years later, many of the counselors see themselves in the kids.

“Becoming a SunDancer has been one of my biggest goals since I was in kindergarten,” Newbie SunDancer Magdelyne Hang ‘28 said. “It’s a big achievement for me, and so I want to try to be a role model for the campers.”

Upon reflecting on the program, many campers expressed joy at their experience and hopes of returning next year.

“I really like dancing, and hopefully one day I can also be a part of the SunDancers team,” one anonymous camper said.

The summer event ended with campers presenting their final routine to parents at the showcase on Wednesday, July 30, from 4:15 p.m. to 4:45 p.m. in the field house. Campers displayed the new techniques and dances they had learned throughout the three days.

“This camp is super fun,” Newbie SunDancer Molly Johnson ‘28 said. “I would recommend all young dancers to come.”

In addition to Kiddie Camp, the SunDancers have another upcoming annual tradition: Line Camp. As their next big feat, Line Camp consists of preparation for many of the big events coming up this new school year.

“Line Camp is definitely going to be challenging, but I’m excited to improve,” Johnson said. “It’s really an amazing experience, and I’m glad I get to do it with one big family.”

Lilo & Stitch follows Lilo, a young Hawaiian girl who was raised by her sister, Nani, because of the loss of their parents. After a rough day at school, feeling left out and alone, Lilo convinces Nani to take her to the animal shelter, where she finds and adopts what she believes is an unusual looking “dog” who turns out to be an alien named Stitch, who causes problems between the two sisters. Stitch mainly caused mischief wherever he went, but he came to learn the meaning of family as the movie progressed. Lilo and Stitch’s relationship blossoms throughout the film as the story illustrates that kindness and love can change anyone, even aliens.

The movie features Maia Kealoha, whose portrayal of Lilo manifests the character’s emotions of humor and sadness. She emphasizes the intense feelings inside Lilo, showing her desperate need to fit in. This makes her friendship with Stitch even more special, as she had a hard time fitting in and making friends, but Stitch was the one that didn’t judge her. Stitch remains hilarious and loveable, and adds energy to every scene. At the same time, Stitch becomes a source of comfort for Lilo and removes some of the loneliness and tension she feels at home.

One of the best parts of the film is the build up of the relationship between Lilo and Nani. From the start, their bond is complicated due to the pressure Nani faces as a young adult trying to raise her sister all alone and trying to keep their family together. There are moments in the story where Nani is disappointed towards Lilo, like when Lilo gets into fights at school or when Stitch causes more trouble. Nani is afraid that her frustration gets in the way because she is scared she might lose custody of Lilo and fail to be an older sister to her. 

Although the tension between Lilo and Nani can be harsh, they still find a way to support each other. During the movie Nani loses her job and breaks down, and Lilo comforts her, showing that love goes both ways. Later on Stitch tears the family apart for good, and during that scene Lilo and Nani both fight, protecting and holding on to each other. These scenes turn their relationship into something deeper than just caring for each other. It was about trust, sacrifice, and understanding each other, and by the end of the movie their connection grows stronger than ever. 

The setting is respectful and authentic, as it t embraces traditional dances, music,  language, and scenery. Lush green mountains, crashing waves and the bright golden hour created a breathtaking backdrop that made the story feel real. The hula and native songs bring depth to the film, and it honors the island spirit and helps the characters’ connection to their home in a way that feels meaningful. The setting helps emphasize the story to a whole different level, as they help show the importance of tradition and a better glimpse of Lilo and Nani lives, and help immerse the audience into the world.

The film does a phenomenal job of balancing funny and serious scenes. There are quiet, heartbreaking scenes that highlight the characters’ suffering and add to their development, as well as moments that make you laugh out loud, like when Stitch starts causing trouble in the town and also causing trouble in Lilo and Nani’s home. One scene shows Stitch misbehaving in public, getting out of control and causing a scene, which makes both Lilo and Nani look bad in front of others. Lilo took it as a chance to show how to behave, showing him what “Ohana” means. Over time Stitch starts to understand, take responsibility by helping Lilo and Nani rebuild their home and building a better relationship. These scenes serve as an important reminder to audience members that family is about supporting one another no matter what, not just about being related by blood. 

Overall, the Lilo & Stitch remake is a lovely and touching film. It shows the ohana message, that no one is forgotten or left behind. This version gives an old story new life and shows how remakes can still have the same effect. 

Phineas and Ferb has always been hilariously predictable, yet never boring. Every episode follows the two genius step brothers as they build impossible inventions with their friends, while their sister Candace does everything in her power to bust them. Simultaneously, their pet platypus, Perry, leaves home each day to lead a double life as a secret agent and thwart the “evil” Doctor Doofenshmirtz and his convoluted plans to take over the Tri-State Area. There are classic lines and moments that appear in every episode, like the boys’ invention disappearing in the most unlikely way right before Candace can show their mom, or Perry returning to the backyard just in time for Phineas to say “Oh, there you are Perry.” 

There’s something comforting about the formulaic nature of the show, yet one could never call it monotonous. Writers Dan Povenmire and Jeff Marsh are excellent at keeping the show exciting, random, and cleverly funny so that it continuously captures audiences that range far past the usual demographic of an animated tv show. With its layered humor and creative twists, adults and children alike can find reasons to love Phineas and Ferb.

Like its predecessors, season five does not disappoint. It returns with the same time-tested plot formula, but throws in enough unexpected surprises to keep the show as entertaining as ever. The season begins differently from any of the others – with a scene taking place before school is out for the summer. Phineas, Ferb, and their whole backyard gang sit in a classroom on the last day of school, just barely finishing regaling their classmates with stories of the previous summer’s adventures. Soon, the group breaks out into song about their upcoming vacation, and the excitement begins like usual. 

Although written to be a continuation of the original show, some small differences can be noticed when comparing the new and old seasons. The same beloved cast of characters is back again, but both Ferb and Jeremy’s voice actors have changed. Modern technology has reached the city of Danville, evident in Candace’s switch from a flip phone to a smart phone and Doofenshmirtz posting on social media. Some animation details were updated as well, such as the new use of zooming in, and a clearer, more modernized look. According to co-creator Jeff Marsh, they “changed Phineas — [and] gave him an extra stripe on his shirt.” However, the small changes aren’t distracting, and the show still retains its established fun-filled structure.

Some of the funniest and most refreshing moments of the show happen when the characters break the fourth wall, which happens several times throughout the new episodes. One case is when a psychiatrist, investigating Doofenshmirtz and Candace’s bizarre lives, exclaims that they sound like “The ridiculous plots of a children’s cartoon.” Other references to reality are not as obvious, and make it all the more entertaining to look out for.

However, not everything about the new season was perfect. One aspect that didn’t rise to the standard of past seasons was the soundtrack. The citizens of Danville are known for their tendency to break out into show stopping musical performances mid-episode, but the new songs have felt repetitive and boring. Although it’s difficult to live up to some of the catchy tunes of past episodes that have been stuck in people’s heads for years, the attempt was disappointing.

The season also lacked creativity in regards to the boys’ backyard inventions and reasoning for making them. Sometimes, the ideas seemed like a less developed background detail to keep the boys in the story, like making a sandwich submarine for no particular reason, or building a giant bookshelf. Older seasons of Phineas and Ferb used to battle boredom in treehouse robots or travel to distant planets, but the new season didn’t put as much emphasis on their adventures. However, this change did have its benefits. Other characters that are normally pushed to the side by the boys’ fantastical creations had chances for their own personal storylines and some hilarious individual lines. It’s interesting to see the choices the writers make as they develop some of the less noticed characters. For instance, one episode follows Stacy, whose role was previously limited to just being Candace’s best friend, as she helps Perry and becomes a secret agent of her own. 

Phineas and Ferb is a show that’s loved by many, and the new season didn’t fail to bring back the nostalgia and fun. After the rest of season five is released, a sixth season will follow, coming to a total of 40 more episodes to be enjoyed by both new and old fans. For now, there’s 49 days left of Westwood’s summer vacation before school comes along just to end it, and spending them watching new episodes of Phineas and Ferb is a must.