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 7, 2026

El Estoque’s staff review recently released media, from rising sing-songwriter SIENNA SPIRO’s tender single “The Visitor” to the Oscar-nominated RAYE’s recent album “THIS MUSIC MAY CONTAIN HOPE.”

Kate Yang, Grishma Jain, Emmy Harimoto, Meghna Dixit, Sana Karkhanis, Zaid Naqvi, Aprameya Rupanagunta, Emma Ma, and Fiona Chen • May 26, 2026

This is Volume 7 of El Estoque’s “Arts & Ent: In Review,” in which staff review recently released media, including albums, movies, EPs, TV shows, books and games.

“Michael” - Antoine Fuqua

Jaafar may be smooth, but this movie is absolutely criminal.

Released in theaters globally on Friday, April 24, “Michael” is director Antoine Fuqua’s biographical motion picture on the life of Michael Jackson. Starring Michael’s nephew Jaafar Jackson as the titular character, the film focuses on Michael’s rough upbringing in Gary, Indiana, his rise to the top as the face of The Jackson 5 and his desire to achieve greatness as a soloist. “Michael” also details the hardships faced during Michael’s life — namely, his rhinoplasty, struggles with vitiligo, the fractured relationship with his father Joseph Jackson (Colman Domingo) and hints at his eventual struggles with drug usage during the Pepsi burn incident.

While this may sound like a cohesive recollection of events, “Michael” struggles to deliver a truly honest experience; instead, the film presents an extremely surface-level exploration of Michael’s struggles, coming across as two hours worth of praise for Michael. Throughout the movie, Michael is positioned constantly by Fuqua as an underdog figure through the depiction of him as a fairytale and stuffed-animal-loving child who gets put into a position of power out of his own volition. While it’s undoubtedly heartwarming to see Michael’s pride in his inner child, Black identity and other raw aspects of his musicianship, the lack of in-depth exploration into these topics makes estate-sponsored “Michael” come across as terribly inauthentic.

The movie also struggles greatly with pacing and expository development. While “Michael” puts forth cinematic and auditory greatness during Michael’s performances — like The Jackson 5’s final show at Dodger Stadium — it doesn’t put in that same effort and care in developing any character at all — even the titular character Michael. The Jackson clan goes from playing community gigs to recording in studios with industry executives in the span of what feels like 15 minutes. The film seems more focused on hitting benchmarks with Michael’s albums — and while this does grant viewers a few sporadic minutes of musical greatness with classic tracks like “Bad” and “Don’t Stop ‘Til You Get Enough,” it comes across as rudimentary.
Read more here.

RATING: 2/5 (Reviewed by Kate Yang)

“Blue Moon” - The Rose

Released on April 12, “Blue Moon” by The Rose is a song you quietly sit with. Instead of relying on dramatic buildups, the track commits to comforting feelings throughout. By choosing a simpler emotional path through musical elements that move calmly together, the track feels full without becoming overwhelming.

The song opens with a soft instrumental melody, creating a gentle atmosphere. The sweet guitar strums and light instrumental drift underneath the vocals invoke a sense of nostalgia, mimicking the peaceful rhythm of watching lights blur past a car window late at night.

The lyrics contribute to that same warmth and sincerity. While simple lines like, “Cause of you, I know love / I know loss, I know great things” and the outro “Cause of you, I belonged / Can’t believe I lived this dream” feel personal rather than generic, validating the listener’s own experience by using the lyrics to shape a shared emotional space. These lyrics avoid complex imagery and allow the listener to focus on a simple reflection of gratitude and connection they might share with a special someone.

The Rose also avoids forcing emotional intensity through predictable instrumentation instead of a dramatic and overbearing production. Instead, the emotions come naturally throughout the listening experience using subtle shifts in the vocal delivery. The song never tries to become louder than it needs to be, allowing listeners to settle into the music rather than keeping up with constant changes. While this slower approach may feel repetitive through its lyrics and composition for listeners expecting a larger climax, it is also the song's greatest strength by transforming the repetition into a safe space, an uninterrupted groove.

Ultimately, “Blue Moon” is a beautiful listen because of its simplicity. It does not demand your attention; it creates a warm and comforting listen that feels like stepping away from noise for a few minutes.

RATING: 4/5 (Reviewed by Grishma Jain)

“drop dead” - Olivia Rodrigo

“It’s Feminine Intuition.” That’s the energy pulsing through Olivia Rodrigo's new single, “drop dead” released on April 17. Known for her bubblegum pop melodies, Y2K aesthetic and SOUR-era persona, Rodrigo once again leans into vulnerability in a way that feels both addictive and emotionally conflicted.

Following themes of intense infatuation and the almost “lovesick” feeling of forming new connections, the song wastes no time pulling listeners in. Every second of this track is packed with addictive buildups — including string instrumentals, driving percussion on top of Rodrigo’s emotionally soulful vocals, and the lyrics that instantly stick. Although these factors could easily become overwhelming, Rodrigo balances them smoothly, all while allowing some space for the composition to carry itself and showcasing the emotional chaos throughout the track. Beneath the brightness of the production lies a noticeable desperation within Rodrigo’s tone, that shows the emotional imbalance, giving the track its personality. One moment, Rodrigo delivers lyrics with hints of detachment, and the next, she repeats them but this time with urgency, making listeners feel every ounce of her heart with spiraling emotions.

What truly carries “drop dead,” however, is the chorus. With a climatic and smooth transition from the pre chorus to the chorus, Rodrigo singing, “You’re looking like an angel on the walls of Versailles / But kiss me and I might drop dead,” perfectly captures the cinematic tone she aims for throughout the track. However, despite Rodrigo also being known for her vocal versatility — shifting from delicate vocals to belting — the new single holds back. With such a grand buildup, a more “GUTS” wrenching verse would’ve elevated the track further. Instead, Rodrigo leans into a monotone, spoken rap during one verse. Although it adds contrast, the verse felt dissociated and out of place from the emotional intensity of the rest of the track.

Still, from its captivating production to the messy lore possibly being behind it, “drop dead” marks an interesting shift from Rodrigo’s usual heartbreak-heavy themes. Rather than focusing entirely on anger or sadness, the track follows vulnerability, falling in love and total obsession.

Combined with synth-pop ballads and Rodrigo’s ability to make chaos sound exciting, “drop dead” feels like the soundtrack to overthinking every text message at 2 a.m., layered with shimmery purple glitter and glossy Y2K-inspired pop.

RATING: 4/5 (Reviewed by Emmy Harimoto)

“I CONDEMN” - The Kid LAROI

Following the release of his emotional breakup album, “BEFORE I FORGET,” Australian singer-songwriter The Kid LAROI released his single, “I CONDEMN,” on April 17 to tease his deluxe album. Yet instead of serving as an extension of the original album, this single is a direct contradiction: after lamenting about his breakup with Canadian singer-songwriter Tate McRae in the album, “I CONDEMN” is LAROI’s attempt at reestablishing his nonchalant, “IDGAF” mindset.

LAROI maintains the motif of incoherence lyrically, constantly contradicting himself with every word. In the chorus, he raps, “You only come around when you need someone,” and ends with, “Baby, I can change your life and make you be someone / Ain’t no questions, girl, it’s me if you need someone.” Between those two lines, he says, “She wanna bring a friend and have a threesome,” which adds nothing to the already convoluted storyline and only serves to highlight LAROI’s desperation to prove that he gets game.

It’s depressing to watch LAROI continually fail at trying to prove his nonchalance through “I CONDEMN”’s music video: a simple video of LAROI in a moving car, lip syncing to the song like a teenage boy discovering thirst trapping for the first time. With a random flash of lyrics on the screen for five seconds and a switch to an x-ray effect for 12, LAROI’s visualization is nothing short of discombobulation.

Despite visuals and lyrics that reek of toxic masculinity, “I CONDEMN” is ear candy: LAROI’s vocals alongside thunderous bass and heavy production make for an addictive listening experience that leaves listeners in an unbreakable trance. Lyrics are delivered seamlessly as LAROI revives his widely missed rapper persona: his immaculate flow almost compensates for his incoherent lyrics. Sonically, the loud synths and invigorating bass are almost futuristic — LAROI experiments with an electric sound that envelops and energizes listeners. Even though LAROI’s overall incoherence is something to denounce in his new single, his addictive flow and electrifying production leave listeners craving more. For a song that’s seemingly aimed to repair his self-image, “I CONDEMN” paradoxically condemns LAROI.

RATING: 2.5/5 (Reviewed by Meghna Dixit)

“Tiny Raisin” - Suki Waterhouse

“Tiny Raisin,” released on April 24, is confusing and contradictory, as Suki Waterhouse toes the line between territorial possessiveness and ultimate disgust within a relationship. Released as part of her upcoming third album, “Loveland,” Waterhouse tells a tale of struggling with conflicting feelings of admiration and annoyance with a partner — referenced most clearly in the chorus where she candidly states “We’re gonna break up, make up / Do it all over again.”

While being thematically blunt means that her message is effectively delivered, Waterhouse simultaneously falls short in her lyricism — which lacks engaging imagery and suffers from repetition — rehashing the same surface-level ideas throughout the track. At one point, she simply repeats the line, “That’s my man” nine times in a row, leaving much more to be desired from her lyrics than just the same redundant idea.

Furthermore, each of her lyrics either explores the love she feels for her partner, “That’s my kid in his arms,” or the distaste she has for him, “And I hate his guts at the same time,” but always fails to dive into the deeper reasoning behind these feelings, causing her contradictions to lack meaning. The absence of thoughtful exploration behind the track’s theme leads to a great loss of nuance within the song, as lyrics like “That’s my all mine” are disappointingly mundane and vague.

However, where Waterhouse falters lyrically, she makes up for in production, utilizing an upbeat rhythm and alt-pop style instruments to produce a backing track that is youthful and engaging. Yet, Waterhouse falls short once again vocally, as her delivery throughout the song is a consistent, monotone drawl that lacks emotional inflection or significant pauses. Ultimately, while Waterhouse’s sentiment is lively and exciting, her delivery fails disappointingly when executed, resulting in a track that is thematically shriveled.

RATING: 3/5 (Reviewed by Sana Karkhanis)

“Anotha Luva” - Kehlani

Bay Area-born singer-songwriter Kehlani released “Anotha Luva” featuring Lil Wayne on April 24 as part of their self-titled fifth studio album, “Kehlani.” The track conveys a sense of complete devotion to a romantic partner, describing what ideal commitment should look like. However, while Kehlani’s tender vocals reinforce that sense of loyalty found throughout the song, it cannot save the track’s dull production and undeveloped writing.

“Anotha Luva” is centered on mid-tempo R&B elements with soft, restrained percussion that is stagnant throughout. This steady approach may align with the theme of unwavering devotion, but it can also make the song feel monotonous over time.

The song shifts in tone as Wayne opens the track, delivering a more conversational take to Kehlani’s complete devotion. His delivery is rather relaxed, leaning into a more confident reflection on love. While this contrast attempts to break up the intro and Kehlani’s soulful vocals, it fails to add greater complexity to the track’s central theme of longing, resulting in Wayne’s presence functioning only as an introductory device to the song rather than an actual collaboration with Kehlani.

Although the track itself lacks dimension, Kehlani’s vocals are definitely a highlight. Her layered harmonies, along with her own varied delivery, lead to her performance shifting between faster-paced, phrasing to slower, vulnerable admissions of regret. Even when the production does not evolve alongside it, Kehlani’s vocals reinforce her emotional commitment to the relationship through the persistence of her delivery.

Despite strong vocal performances, the song relies on the repetition of the hook — “don’t want another lover” — and lines such as “My days so long / my nights drag / even more” which emphasize the narrator’s desire, but “Anotha Luva” could use anotha layer of lyrical complexity to better match the themes it carries.“Anotha Luva” sells its devotion with strong vocals, but the track is unable to truly flesh out its themes due to its repetitive lyrics and instrumentation. Even with Kehlani and Wayne’s impressive performances, “Anotha Luva” could have definitely used a little more love in the writing department.

RATING: 3/5 (Reviewed by Zaid Naqvi)

“I saw your face” - Malcolm Todd

Alternative indie singer-songwriter Malcolm Todd is internet viral for his vulnerable music: something he does not shy away from his newest single, “I Saw Your Face.” However, unlike his past songs, which carried lyrical and production complexity, “I Saw Your Face” falls flat and boring, with poorly written lyrics and tedious production.

The song begins with Todd’s classic distorted guitar, playing reminiscent of his treasured older music. However, this guitar instrumental remains constant throughout the song, with Todd failing to do what he usually does best: using experimental sounds to further engage listeners in his music. Along with his production, Todd’s vocals also fall flat, with a rudimentary melody and uninteresting vocal layering. With lackluster production, the only saving grace listeners are left to turn to are Todd’s lyricism, which disappoints, as it’s somehow worse than the repetitive instrumentals.

“I Saw Your Face” begins and ends with Todd singing, “Life’s not a movie / I am not a movie star,” ringing childish and whiny. He adopts this tone throughout the song, singing dense lines like, “‘Cause if all you were, you were next to me / I’d live without a frown.” “I Saw Your Face” just barely stays afloat with only one redeemable, catchy post-chorus, with Todd singing, “I saw your face while I was out / I turned around and looked away,” invoking some imagery that was lost in the rest of the song. However, the song peaks there, with Todd yet again falling back into the monotonous latter half of the song.

As Todd prepares for the release of his sophomore album, “Do That Again,” “I Saw Your Face” stands as a blow to his discography of typically creative and engaging songs. Boring in every aspect, “I Saw Your Face” seems like a never-ending song, ultimately disappointing listeners and leaving them wondering how anyone would want to see this song.

RATING: 2/5 (Reviewed by Aprameya Rupanagunta)

“NO TRAGEDY” - TWS

Since its debut in 2024, South Korean boy group TWS has built a reputation for upbeat instrumentals and refreshing melodies. Its newest EP, “NO TRAGEDY,” released on April 27, is yet another stellar addition to their robust discography, maintaining their bright and youthful concept while exploring a variety of sounds.

To start, “All the Possibilities" immediately brings listeners into a relaxed atmosphere, with its bass guitar and gentle beat contributing to a laidback groove. From there, lead single and dance track “You, You” ramps up the energy, featuring a series of catchy verses that culminate in an addictive hook that anyone can bop their head and sing along to. With a fast beat, pulsating synths and funky basslines, this vibrant song simply never loses steam. Unfortunately, with a runtime that doesn’t even hit three minutes, “You, You” is unable to achieve its full potential without a bridge and final chorus. Still, its ebullient energy is enough to compensate for its anticlimactic ending.

The rest of the tracklist maintains the same cheerful and light mood. “Why You So Bad” is warm and playful, “Fire Escape” opens gorgeously before delving into a polished chorus, and “Back to Strangers” showcases the members’ soft vocals as the only ballad. Notably, “Get It Now” ventures into unexplored territory for TWS, with a bolder and more rugged hip-hop sound, giving rap-focused members, Shinyu and Dohoon, a chance to shine. Together, all these tracks contribute to “NO TRAGEDY’s” cohesive and refreshing sound, further maturing and developing TWS’ musical identity.

RATING: 4/5 (Reviewed by Emma Ma)

"GREENGREEN" - CORTIS

There is a great assumption that artists must constantly reshape themselves to remain relevant, whether that be new concepts, sounds, aesthetics or a sense of perpetual “freshness,” as reinvention has always been known to be the clearest marker of artistic growth within the Korean pop industry. However, CORTIS, a boy group consisting of five members, has remained committed to maintaining a distinct artistic identity.

“GREENGREEN,” released on Monday, May 4, is an EP that is not a dramatic departure from the group’s previous work. Instead, it is a continuation of the rough-edged, unconventional style that has become the group's hallmark, and the EP leans heavily into abrupt transitions and emotional instability.

The track, “REDRED,” embodies this fully. Although it is very chaotic at first listen, it is deliberately constructed to feel almost overwhelming, aggressively bouncing between sounds in a way that borders on incoherent. However, after the initial shock wears off, the chaos feels more controlled than random. Still, GREENGREEN is not stagnant. Tracks such as “Blue Lips” offer a contrast for emotional vulnerability, whereas “YOUNGCREATORCREW” balances that out with high energy, keeping the project dynamic.

Since its debut in August of 2025, CORTIS has continuously evolved by finding new dimensions within the identity they have already built. In short, GREENGREEN does not chase novelty for novelty’s sake. Instead, it knows exactly what it wants to be, and succeeds because of it.

RATING: 4/5 (Reviewed by Fiona Chen)

About the Contributors

Kate Yang, Arts & Entertainment Editor

Kate is currently a senior and an Arts & Entertainment editor for El Estoque. Outside of writing, she enjoys finishing homework, trying new hot pot flavors and indulging in her fifth rewatch of “The Good Place.”

Grishma Jain, News Editor

Grishma Jain is a Junior and a News Editor for El Estoque. She has a Canva tab open at all times and believes mangoes deserve way more hype.

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.

Meghna Dixit, Arts & Entertainment Editor

Meghna is currently an Arts & Entertainment editor for El Estoque and a junior at Monta Vista. In her free time, she enjoys going to concerts, playing with her cat and watching old cartoons.

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.

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.

Aprameya Rupanagunta, News Editor

Aprameya (also goes by Apru) is a junior at Monta Vista High School and a news editor for El Estoque. In her free time, Apru enjoys reading books, watching classic movies and eating fun foods.

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.

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.