SPORTS

Lauren Moore finishes her triple jump trial, landing in the sandpit, during a meet | Photo courtesy of Lauren Moore

Diving into senior Lauren Moore’s seven year journey in track and field

May 29, 2026

Lelani Laruelle competes in long jump at a track and field meet at Fremont High School. Photo | Stella Petzova

Senior and jumper Lelani Laruelle commits to UC Berkeley for Division 1 track and field

May 27, 2026

Laruelle reframed her mindset and overcame mental blocks, finding fulfillment in the sport

Varsity Badminton falls 28-2 against Lynbrook High School

May 25, 2026

Seniors who have participated in a high school sport for four years reflect on the ways their respective sport has impacted them

May 24, 2026

Although they don’t plan on playing for a college the seniors discuss other ways they will continue to keep their connection to their respective sport alive

In Review: Volume 4, 2026

El Estoque’s staff review recently released media, from Luke Chiang’s “say that!” to heartwarming rom-com “People We Meet on Vacation”

Fiona Chen, Maahi Dev, Emmy Harimoto, Emma Ma, Sana Karkhanis, Vaishnavi Katukam, and Zaid Naqvi • January 29, 2026

This is Volume 4 of El Estoque’s “Arts & Ent: In Review,” in which staff review recently released media, including albums, movies, EPs, TV shows, books and games.

"Such A Funny Way" - Sabrina Carpenter

Originally released as a bonus-track alongside her seventh studio album “Man’s Best Friend,” “Such a Funny Way” by American singer-songwriter Sabrina Carpenter reflects on one-sided affection and the heartbreak of loving someone who always gave excuses. Initially available exclusively on vinyl, Carpenter released the bonus-track on streaming services on Dec. 24, 2025 as a way to thank her fans for a successful year.

“Such a Funny Way” exposes the “deceptions and lies” from men who don’t love enough, leaving their partner with emotional neglect disguised as affection. Carpenter uses her lyricism to balance heartbreak with humor and sarcasm, using lines like, “Your grandma died and died again” to “I'm sure you're busy, cause you're trying to show me I'm the girl you long for every day” to reveal the delusions she creates for herself to cope with the repetitive excuses made by her lover.

Unlike her more upbeat songs like “Manchild” or “When Did You Get Hot?” that begin with high energy supported by cheerful background instrumentals and subtle harmonies that build up to the pre-chorus, “Such a Funny Way” brings a different approach. The track opens with soft percussion, layered with a subtle and delicate background music that puts the spotlight on Carpenter’s vocals.

By the end of the first chorus, the song leans into its playful nature, briefly pausing before transitioning to a completely different vibe. Alternate production, including spirited percussion and staccato-like vocals, bring a burst of animation to the song.

The tempo then returns to the main chorus before leading into the bridge, where the trumpet brings a theatrical, energetic brightness to the track. Although the rhythm remains cheery, the almost joyful tone gradually softens into a lighthearted vulnerability as the rest of the instruments fade slowly.

By the end of the song, Carpenter transforms her witty lyrics into a catchy melody that surrounds a sad situationship story. This perfectly matches the vulnerable theme of “Man’s Best Friend”: some relationships have such a funny way of expressing love toward each other.

RATING: 4.5/5 (Reviewed by Emmy Harimoto)

"girl, get up." - Doechii and SZA

Despite Doechii reaching immense success in 2025 — winning Billboard's Woman of the Year and being only the third woman to win a Grammy for best rap album with “Alligator Bites Never Heal” — some, including Kanye West and streamer Adin Ross, tried to diminish her accomplishments by accusing her of being an industry plant. Her critics conveniently forgot her contributions to the music industry from her debut in 2016 to her hit songs “What It Is (Block Boy)” from 2023.

In response to this, Doechii and SZA surprised listeners by dropping a rap single “girl, get up.” on Dec. 30, 2025. This song is raw and confident, particularly due to Doechii’s lyricism. “But what's the agenda when the it girl Black? / Y'all can't fathom that I work this hard / And y'all can't fathom that I earned this chart” speaks directly to those in the music industry that have been continuously tearing down and disregarding Black women’s achievements — especially in musical genres they have significantly shaped and grown, like rap, R&B and pop.

The instrumentals are not overpowering, instead blending with Doechii’s voice to create a soothing tone. Her clear enunciation of each syllable along with consistent drumming draws listeners in, compelling them to feel her message. Ending Doechii’s first verse with “Why sell my soul when I know I'm God?” transitions flawlessly into the chorus, where SZA sings “Mm, I be in the back, levitatin' / Doin' meditation, leave me, girl, get up.” The chorus feels like a chant, a mantra for these women to recenter themselves, and in spite of the baseless criticism, to persevere. This song may be incredibly personal to Doechii’s individual fight against criticism, but the core message of inner peace and self-assurance is lasting. Doechii ends 2025 reminding listeners that this was her year: with accolades taller than her haters, she will not let the success she worked hard for be ignored.

RATING: 4.5/5 (Reviewed by Vaishnavi Katukam)

"say that!" - Luke Chiang

For nearly six years, Luke Chiang, who recently amassed 650 million streams across his nine-song discography, kept his voice alive as a memory rather than something he could fully use. For Chiang, singing became uncertain when laryngopharyngeal reflux and muscle tension dysphonia forced him into silence in 2019. After spending years regaining his ability to speak and then relearning how to sing, “say that!” marks his second solo single release since his disappearance, and it carries the weight of time lost in its wake.

“say that!” is an upbeat indie pop track that combines R&B and electronic-inspired elements with a strong melodic foundation. The instrumentation is glossy and arranged precisely, with a clean mix that allows each element to occupy its own frequency. Chiang’s performance is measured and his delivery retains a subtle fragility, reflecting the care and restraint he developed while recovering his voice. On the other hand, his phrasing is a consistent legato, using subtle dynamic shifts to create a controlled, intimate sound in an otherwise energetic arrangement.

The lyrics of “say that!” are structured around the recurring motif of missed opportunity of a lifetime with a lover, seen particularly through the lines “It could've been you, I’ll say that / It should’ve been you, I’ll say that”. Chiang’s narrative voice alternates between introspection and direct address, allowing listeners to feel both the internal conflict and relational tension.

Although every part of this release feels intentional, like the way the chord progressions interact with the syncopated rhythm, it never feels overdone and instead pieced together perfectly. With “say that!,” Chiang has not only shown that he’s ready to be back, but also reminds his listeners why his music has resonated with millions by delivering a masterful single.

RATING: 5/5 (Reviewed by Fiona Chen)

"People We Meet on Vacation" - Netflix

Adapted from bestseller author Emily Henry's book with the same name, “People We Meet On Vacation” feels like a rom-com on steroids: enhanced to perfection. The movie was released on Netflix on Jan. 9 and centers around Poppy Wright (Emily Bader) and Alex Nilsen (Tom Blyth): best friends who spend one week vacationing together each summer until they have a falling out, causing a two-year silence. The film is composed of spliced scenes between their current summer — where Poppy and Alex are reuniting — and their previously shared ones.

The film is simply gorgeous, and its alluring visuals are central to the plot and character development. Constantly fluctuating in style, Poppy’s costumes reflect her tendency to jet-set around the globe, juxtaposing Alex's love of stability. Poppy’s style is vibrant and erratic, whereas Alex’s clothes are consistently plain and functional.

Set lighting also significantly enhances the film, as it plays into color associations to emphasize each scene’s emotional ties. Notably, the hazy pink light feels dreamy and romantic during the couple’s improvised dance routine at a bar in New Orleans — a moment that Bader later pinpointed as the moment Poppy falls in love with Alex. Additionally, Bader and Blyth’s chemistry is off the charts, as the two are incredible at communicating emotions like yearning, anger and hurt solely through their eyes and body language.

Unfortunately, like most book-to-film adaptations, the book is once again better than the movie. The changes the movie implemented to stick to its two-hour runtime are disappointing, as the book explores more emotional nuance and backstory for both characters that the movie lacks. Despite this incongruity, the film manages to flourish through its intricate visual symbolism and stellar lead performances, resulting in a product that feels tender and sweet — precisely what a rom-com should be.

Click here to read the full review.

RATING: 4.5/5 (Reviewed by Sana Karkhanis)

"BEFORE I FORGET" - The Kid LAROI

Best known for blending glossy hooks and emotional outbursts in pop-rap, Australian singer-songwriter The Kid LAROI released his second studio album “BEFORE I FORGET” on Jan. 9. The album follows a scrapped project abandoned after his breakup with Canadian singer-songwriter Tate McRae, a split explored in the lead single, “A COLD PLAY.” In the months before its release, LAROI previewed other singles alongside “A COLD PLAY” that set the album’s tone, which leans on mellow, R&B-influenced production and reveals a more delicate side of LAROI while preserving his signature emotional impact. Later tracks like “A PERFECT WORLD” and “BACK WHEN YOU WERE MINE” highlight the album’s gentler, reflective approach.

With a mix of tender piano ballads and mid-tempo tracks, the album showcases LAROI’s ability to translate heartbreak into a cohesive emotional journey progressing from shock to regret to reluctant acceptance. Each of the fifteen tracks captures distinct moments in self-reflection. Features in “RATHER BE” offer an outside lens to his heartbreak, while “THE MOMENT” and “MAYBE I’M WRONG” emphasize lingering regret and accountability through sparse, minimal production, putting his voice front and center. Each stage of LAROI’s progression offers a sense of catharsis that lets the audience process their own experiences of heartbreak with each listen.

LAROI’s vulnerability is compelling, though some lyrics lean on familiar heartbreak cliches that suggest underdeveloped lyricism, likely due to the album’s quick turnaround. His measured delivery complements subtle production, with delicate guitar and ambient textures giving his vocals space to breathe. Mid-tempo tracks like “COME DOWN” keep the album engaging because of its diversity in tempo while still preserving its reflective tone.

At its core, “BEFORE I FORGET” resonates because it balances emotional clarity with cohesive sound. Even when lyrical repetition lingers, LAROI’s vulnerability and crafted mood keep the listener invested. The record may not be perfectly refined, but its willingness to dwell in discomfort and reflection makes it feel genuine, marking a mature step forward for LAROI.

Click here to read the full review.

RATING: 3.5/5 (Reviewed by Zaid Naqvi)

"Serenade" - DxS (SEVENTEEN)

DK and Seungkwan, the powerhouse vocalists of South Korean boy group SEVENTEEN, made their debut as the band’s fifth sub unit on Monday, Jan. 12 with the EP “Serenade.” In contrast to SEVENTEEN’s usual performance-heavy songs, this duo opts for a vocally driven and emotionally impactful sound that is rare for the K-Pop scene, but perfectly suited for their voices.

Opening with DK’s solo “Rockstar,” the EP immediately showcases his strong, bright voice layered over an upbeat pop rock production. At the end, DK hits a stunning high note followed by a punchy guitar solo, making it the clear highlight of the track. Switching up the vibes, lead single “Blue” is a winter ballad that showcases the duo’s full range and versatility through expressive vocals and melodies. Its piano and orchestral arrangements slowly build up to a final chorus with breathtaking harmonies.

To keep the album from feeling too melancholic, “Guilty Pleasure” adds a jazzy contrast to the mix, with an irresistibly groovy R&B instrumental that has the duo exploring their lower registers. Following “Guilty Pleasure” is the heartwrenching “Silence,” which reflects on the aftermath of a quiet breakup, beginning with a simple piano instrumental but gradually swelling to a compelling climax.

Seungkwan’s solo “Dream Serenade” has an almost five-minute run time that gives the track emotional depth. Unlike DK’s clear voice, Seungkwan’s softer and breathier vocals make his song feel more intimate and ethereal, like a gentle hug. The EP concludes on a hopeful note with “Prelude of love,” returning to the buoyant, pulsing rhythms of the first track.

“Serenade” balances powerful choruses, quiet verses and diverse musical styles to tell a winter love story through DK and Seungkwan’s dynamic performances and precise vocals. Unfortunately, since its lyrics are almost entirely in Korean, the EP’s meaning is lost on non-Korean speakers. Its slow and sentimental style may also disappoint listeners looking for something more intense or catchy, but nonetheless, the EP’s emotional depth and vocal execution make it a worthwhile listen.

RATING: 4/5 (Reviewed by Emma Ma)

"locket" - Madison Beer

Layered in airy synths and delicate vocals, American singer-songwriter Madison Beer’s newest album “locket” reflects a stylistic change in her music. Released on Jan. 16, the album shifts away from the dance-pop style of her earlier pieces, leaning into ethereal, dreamlike production and more complex verses. The album remains cohesive throughout, with angelic melodies and introspective lyrics that center around the theme of healing after heartbreak, along with personal vulnerability and self growth.

The album’s softer, evocative sound and production truly carry the emotional weight of the lyrics. The songs are short but powerful, with lines like “I only exist in moments you’re talking to me” and “I don’t know how to be alone” highlighting the overall themes of longing, dependence and the struggle to move on. This, paired with Beer’s gentle, breathy vocals, gives the album a calm yet intense emotional tone. However, some tracks feel quite repetitive in their lyrics making them feel like they are lacking intricacy.

The instrumentals are unique, often building slowly with layered synths that spotlight Beer’s voice. In “for the night,” the initial gentle guitar strumming and soft hums eventually intensifies into stronger vocals. Additionally, the layered synths present in “complexity” feel atmospheric, enhancing the subsequent lyrics with echoes that repeat quietly behind them. Lines like “the baggage that I turned into beauty” feel hauntingly beautiful with this production, lingering longer than the actual lyric. These production choices let the album culminate into a continuous storyline rather than just a collection of individual songs.

Yet the album is mixed with singles she released earlier, like “yes baby,” “make you mine” and “bittersweet.” While “bittersweet” fits the overall tone, “yes baby” and “make you mine” align more with the genre of dark pop, making them feel out of place next to the album’s softer ballads. This contrast makes the album feel disjointed, pulling away from soft emotional expression and reflection and focusing on bold, high-energy tone and the recurring theme of desire found in Beer’s dark pop songs.

Although “locket” includes repetitive tracks and a few singles that feel a bit intrusive, it provides a deep emotional and cohesive listening experience. The experimentation with sound, along with the delicate production, ties the instrumentals and lyrics together in a way that demonstrates Beer’s growth as an artist and her journey through heartbreak and healing.

RATING: 4/5 (Reviewed by Maahi Dev)

About the Contributors

Fiona Chen, Staff Writer

Fiona Chen is a sophomore and a staff writer for El Estoque. She loves unwinding with bedroom R&B, taking evening walks, and indulging in all kinds of green grape drinks.

Maahi Dev, Staff Writer

Maahi Dev is currently a sophomore and a staff writer for El Estoque. She loves crêpes and binge-watching the latest TV shows. In her free time, she’s often behind a camera, traveling with her family or spending time with friends.

Emmy Harimoto, Copy Editor

Emmy is a sophomore and copy editor for El Estoque. She loves taking photos, dreaming of her next travel adventures and keeping her Wordle streak alive.

Emma Ma, Staff Writer

Emma is a sophomore and a staff writer for El Estoque. In her free time, she loves to read books in uncomfortable positions on her couch, listen to music and goof off with friends.

Sana Karkhanis, Arts & Entertainment Editor

Sana Karkhanis is currently a junior and an Arts & Entertainment Editor for El Estoque. In her free time she enjoys analyzing movies, taking photos of her dog and telling funny jokes. Here’s one: What’s the difference between a tuna, a piano and glue? You can tun-a piano but you can’t piano a tuna! And the glue? I knew you’d get…stuck…on that.

Vaishnavi Katukam, Arts & Entertainment Editor

Vaishnavi is currently a senior and an Arts & Entertainment editor for El Estoque. In her free time, she loves to read and binge-watch TV shows.

Zaid Naqvi, News Editor

Zaid is a junior and a News Editor for El Estoque. When he isn’t asleep, he likes to read, play his guitar and eat pizza cookies (he thinks “pizookies” sounds dumb) at BJ’s with his friends.