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Guardian’s weekly pick showcases seven standout series available to stream from 21 April to 24 April 2026, ranging from gritty dramas on BBC iPlayer to a nature documentary on Disney+.Half Man – Richard Gadd’s first television drama since Baby Reindeer lands on BBC iPlayer on Friday 24 April. The two‑timeline story follows brothers Ruben (Jamie Bell) and Niall (Gadd) as they navigate a volatile, tender relationship in a hostile school environment. Young Niall is portrayed by Mitchell Robertson, while Stuart Campbell plays an aggressive Ruben, delivering a raw look at adolescent trauma.Unchosen – Netflix releases this unsettling thriller on Tuesday 21 April. Molly Windsor stars as Rosie, a woman trapped in a cult‑like household run by Christopher Eccleston’s domineering Mr Phillips. When the enigmatic Sam (Fra Fee) arrives, Rosie’s instincts clash with the patriarchal control, while her husband Adam (Asa Butterfield) adds further tension.Ramy Youssef: In Love – The third HBO Max special drops on Saturday 18 April. Youssef blends sharp cultural commentary with humor, tackling topics from Saudi‑Arabia comedy festivals to AI‑generated porn and modern masculinity, all while maintaining his signature wit.Criminal Record – Returning to Apple TV on Wednesday 22 April, the thriller reunites detectives June Lenker (Cush Jumbo) and Daniel Hegarty (Peter Capaldi). The duo confronts a far‑right threat at an Islamist rally, with Lenker’s investigation colliding with internal police resistance.Orangutan – Disney+ streams this Borneo‑and‑Sumatra documentary on Wednesday 22 April. Narrated by Josh Gad, the film follows young primate Indah through dense jungle hazards, offering intimate wildlife footage that challenges the high bar set by David Attenborough.Running Point – (Details omitted due to truncation) continues the week’s eclectic mix of streaming options, rounding out a diverse slate that caters to drama lovers, comedy fans, and nature enthusiasts alike.

Ten years after Prince’s death, friends and collaborators such as George Clinton, Apollonia Kotero and drummer Charles “Chazz” Smith share personal memories that illuminate his musical brilliance and private life.George Clinton, the legendary leader of Parliament‑Funkadelic, remembers meeting the 19‑year‑old Prince in 1977 and immediately recognizing a talent “a new version of Sly Stone.” Clinton praised Prince’s ability to master guitar, keyboards, bass and drums, noting his “arranging genius” inherited from his pianist father and his dance flair “like James Brown.” Clinton also recalled how Prince later signed him to Paisley Park Records and inducted him into the Rock and Roll Hall of Fame, cementing a friendship that survived countless late‑night studio sessions.Apollonia Kotero, actress and singer who starred alongside Prince in the 1984 film Purple Rain, describes a bond that spanned 33 years. She recounts the grueling shoot—jumping into a freezing lake, suffering hypothermia, and Prince’s frantic plea, “Please don’t die, Apple. I love you.” Their relationship, she says, was “family, not romance,” and Prince’s protective nature shone when he cared for her during illness. Kotero also recalls a surreal moment when Prince hummed the opening melody of “When Doves Cry” into her answerphone, urging her “Don’t erase this!” as a reminder of his creative process.Beyond the studio, Kotero notes Prince’s voracious appetite for literature and politics, his 3 a.m. visits that turned into midnight drives across Hollywood, and his habit of showing her walls plastered with fan mail—a testament to his deep connection with his audience.Charles “Chazz” Smith, Prince’s cousin and original drummer in the early band Grand Central, paints a picture of Prince’s childhood obsession with music. After a spontaneous Sly and the Family Stone concert in Minneapolis, Prince declared, “We’re gonna form a band, and you’re gonna be the drummer.” Within weeks, a newly gifted guitar allowed him to replicate Santana’s “Black Magic Woman” note for note, signalling the start of an insatiable drive to master every genre—from rock to funk to ballads.In the final months of his life, Prince’s friends observed a shift. He reclaimed the rights to his catalog in 2014, began repaying debts, and expressed grief over the death of Vanity, his longtime muse. Smith recalls a poignant encounter six weeks before Prince’s passing: after a brief hug, they exchanged the words “I love you,” marking the last conversation they ever shared.These testimonies collectively reveal a portrait of Prince that goes beyond his public persona: a relentless virtuoso, a compassionate confidant, and an artist whose influence continues to reverberate a decade after his untimely death.

Punchbag, a south London-based electropop duo, is making waves with their sweaty and unvarnished sound. Recommended for fans of Charli xcx, Confidence Man, and Klaxons, their music is a perfect blend of off-kilter beats and maximalist bass. Their debut single, Fuck It, was a riotous mix of 90s rave and Clara's spit-soaked vocals. Their latest EP, I Am Obsessed, takes a darker turn with tracks like Playing God, a dry ice balladry that tackles the men in power. For those who crave a glorious racket, I Love This! is a shouty, nu-rave adjacent track that channels Charli xcx's style. This week's best new tracks Tara Clerkin Trio – Silently: A relaxing song with gauzy synths, a low-slung beat, and Spanish guitar that evokes a dusky shoreline. Babyfather – Slumpz: A corroded-symphony beat with Dean Blunt's steady flow makes for a welcome return. Thistle. – Pylon: A wobbling mass of noise that rides a giant wave of pondwater surf. Katseye – Pinky Up: A brat-pop party anthem with a chant-along chorus and hyperactive production. Massive Attack – Boots on the Ground (ft Tom Waits): A long-awaited return with wheezing breath, mournful piano, and eerie wailing. Disgusting Sisters – Weirdo Magnet: A playfully creepy track with succubus-style vocals and a bassline that prowls around. PPP – Wisco: A steamy, syncopated track that recalls the harder end of DJ Koze's recent album.

Olivia Rodrigo returns with “Drop Dead,” a single that instantly grabs listeners with a razor‑sharp lyric about online stalking and instant infatuation. The opening couplet—“One night I was bored in bed / And stalked you on the internet”—sets a tone of modern romance that feels both playful and unnervingly catchy.The 23‑year‑old, who burst onto the global stage in 2021 after a Disney Channel stint, has built a reputation for “acute, obsessive” love songs that balance self‑awareness with raw emotion. Her debut “Drivers License” cemented her as a heartbreak anthem, while the pop‑punk edge of her first album Sour and the riot‑grrrl‑infused follow‑up Guts displayed her versatility.“Drop Dead” marks a decisive pivot from the punk‑kiss‑off expectations that surrounded her recent breakup. Instead of a straightforward revenge track, the song delivers a “gorgeous rush of romantic intensity,” aiming to freeze a fleeting moment before plunging back into it with relentless momentum.The track’s production, helmed by longtime collaborator Dan Nigro, layers lush strings and bright power‑pop guitars, creating a sound that feels “one bauble short of festive.” Critics note a vocal delivery that stays in Rodrigo’s highest register throughout the chorus, with melodic bends that echo both Chappell Roan’s maximalism and Taylor Swift’s signature style.Visually, the music video—directed by Petra Collins and filmed at the Palace of Versailles—portrays Rodrigo as a runaway figure reminiscent of Sofia Coppola’s “Marie Antoinette” and Emma Corrin’s Diana in “The Crown.” The lavish setting amplifies the song’s theatricality.Adding a rock pedigree, the single includes a subtle nod to Rodrigo’s friendship with The Cure’s Robert Smith, referencing his classic “Just Like Heaven.” Their rapport, highlighted in a recent Vogue cover story, underscores Rodrigo’s expanding artistic circle.Overall, “Drop Dead” blends maximalist pop production, romantic lyricism, and rock‑infused credibility, delivering a track that feels both instantly addictive and deliberately chaotic—mirroring the messy emotions it portrays.

Richard Wagner’s near‑death at sea in 1839 inspired the legend of the cursed ghost ship that underpins The Flying Dutchman. The Welsh National Opera (WNO) brings this myth to life in a fresh production that treats the libretto as a poetic meditation on birth, love, and mortality. Directed by Jack Furness, the opening scene intertwines a woman’s labor with the overture’s turbulent surges, symbolising the birth of Senta—destined to lose her mother and become haunted by the Dutchman’s promise of redemption, which can surface only once every seven years. Visual motifs—circling movements, blood‑red dresses echoing the ship’s sails—reinforce the cyclical fate of both protagonists. Designer Elin Steele and lighting designer Lizzie Powell conjure stormy seas and mist without literal ships, allowing the audience to focus on the raw emotions conveyed by the singers. Minimalist set pieces, occasional gold‑dust flourishes, and precise costume changes keep the drama tight and immersive. The cast delivers a musically rewarding performance. James Creswell shines as Daland with crystal‑clear German diction, while Simon Bailey portrays the tormented Dutchman with a compelling blend of menace and sympathy, especially in the final act. Rachel Nicholls as Senta offers a believable, passionately deluded love, delivering bel canto lines with immaculate pitch. Tenors Trystan Llŷr Griffiths (the Steersman) and Leonardo Caimi (Erik) make strong impressions, though the opera’s numerous choruses feel over‑extended. The WNO orchestra, under the authoritative baton of outgoing music director Tomáš Hanus, creates a convincing tempest that underpins the drama. Facing a thin 2026/27 season, the company is eager to prove its vitality, making these performances a must‑see—though audiences should not anticipate a conventional resolution. Staging dates include the Wales Millennium Centre in Cardiff (19 April), Theatre Royal Plymouth (24 April), Birmingham Hippodrome (7 May) and Milton Keynes Theatre (15 May).Review by Rian Evans, The Guardian, 17 April 2026.

Mr Cobra arrives as the latest statement from Korean‑American experimental musician Lucy Liyou, translating her solo music‑theatre piece into a full‑length album that confronts the corrosive nature of desire. From the opening track, listeners are greeted by a fractured piano motif that feels like shattered glass against an empty canvas, immediately setting a tone of tension and vulnerability.The record refuses to settle into any single genre. Liyou’s soundscapes swell into glossy disco bursts, dissolve into a tongue‑in‑cheek Taylor Swift skit, and even collapse into farmyard noises and text‑to‑speech monologues. This kaleidoscopic approach mirrors the emotional volatility of the central character, Babygirl, who oscillates between yearning and revulsion as she navigates a predatory romance.Key moments illustrate the album’s thematic focus on shame and power dynamics. On “Constrictor (Haha)”, Babygirl’s submissive cravings are drenched in cold‑water imagery, only to be abruptly repelled in the whimsical “Old MacDonald Had a Charm”. By the close of the track she is once again flirting, underscoring the cyclical trap of abusive attraction. Liyou also toys with celebrity culture; the track “Romeopathy” reworks Swift’s “Love Story” into a desperate plea for validation, repeatedly urging Mr Cobra to “just say yes”.While the album’s nursery‑rhyme hooks and disco interludes can momentarily distract from its darker undercurrents, they are integral to the smart, playful chaos that defines Liyou’s artistic vision. Mr Cobra stands as a daring, semi‑autobiographical exploration of how desire can both enthrall and erode, offering listeners a richly layered experience that rewards repeated, attentive listening.

Social media erupted this week after US media outlets reported that FIFA had prohibited tailgating at the 2026 World Cup stadiums. Fans quickly challenged the claim, pointing to FIFA’s own statement that it "does not have a formal policy that restricts tailgating".FIFA clarified that while there is no global ban, individual venues may impose restrictions in line with local public‑safety regulations. The organization added that detailed fan guidance will be released well before the tournament kicks off.In the United States, tailgating is a long‑standing pre‑match tradition where supporters park near the stadium, grill, drink and socialize for hours before kickoff. The practice, especially popular at NFL games, is considered an essential part of the American match‑day experience.American fans argue that banning the activity would strip away a cultural hallmark. One Philadelphia supporter wrote on X, "FIFA doesn’t understand that you physically cannot stop Philadelphians from tailgating." Others noted that international visitors often enjoy the festive atmosphere, citing videos from the 2025 FIFA Club World Cup.Nevertheless, the Boston organising committee has already announced that tailgating "is not permitted for these events," highlighting the patchwork of local rules that could affect the World Cup.Security protocols for major tournaments require two concentric perimeters around each stadium: an outer ring focused on crowd safety and an inner ring for ticket verification. The exact placement of the outer perimeter depends on each venue’s layout, parking capacity and access routes, and it is designed to keep "unauthorised persons" away from the stadium building.Because FIFA cedes day‑of‑match security decisions to local organising committees, the final stance on tailgating will likely be decided by city officials and may not be disclosed until closer to the event.The United States will host 78 of the 104 matches across 10 venues, including the newly renamed Los Angeles Stadium (formerly SoFi Stadium) for the opening match and the New York‑New Jersey Stadium (formerly MetLife Stadium) for the final. Other sites are Boston’s Gillette Stadium, Philadelphia’s Lincoln Financial Field, Dallas’s AT&T Stadium, Seattle’s Lumen Field, Kansas City’s Arrowhead Stadium, Miami’s Hard Rock Stadium, Atlanta’s Mercedes‑Benz Stadium, Houston’s NRG Stadium, and the San Francisco Bay Area’s Levi’s Stadium.Until local authorities release definitive guidelines, the fate of tailgating at the 2026 World Cup remains an open question, leaving fans to await clarification on whether their beloved pre‑game rituals will survive the tournament’s security framework.

In a remarkable display of solidarity, people in Indian-administered Kashmir are donating gold, jewelry, and household items to support civilians in Iran affected by the ongoing US-Israel conflict. The donations, which include cash, livestock, bicycles, and even piggy banks broken open by children, reflect the deep cultural ties between Kashmir and Iran.The bond between the two regions dates back over six centuries, with Sufi scholar Mir Sayyid Ali Hamadani introducing religious practices, art forms, and Persian literary traditions to Kashmir in the 14th century. This historical connection has led to Kashmir being referred to as 'Little Iran' or 'Iran-e-Sagheer'.Masrat Mukhtar, a 55-year-old woman from Budgam, handed over gold earrings gifted to her by her father on her birthday, saying, 'We give what we love. This brings us closer to them.' Her cousins and other families in the region have also contributed items of personal value, including copper utensils, livestock, and portions of savings.The scope of donations is significant, with estimates from local authorities placing the value of contributions at up to six billion rupees ($64m). The Iranian embassy in New Delhi acknowledged the contributions, thanking the people of Kashmir for their 'humanitarian support and heartfelt solidarity'.However, Indian authorities have raised concerns about potential misuse of funds, citing examples of collections being allegedly funnelled towards rebel groups in the past. Authorities have asked volunteers to maintain records to ensure compliance with fundraising regulations.

Pellegrino Matarazzo, the coach of Real Sociedad, has had an extraordinary journey from New Jersey to Seville. Born to Neapolitan émigrés, Matarazzo's love for football was ignited at a young age. He earned a degree in applied mathematics from Columbia University but chose to pursue a career in football instead of investment banking.Matarazzo's journey took him from playing in Germany's third and fourth tiers to coaching in the Bundesliga. He successfully led Stuttgart back to the Bundesliga and Hoffenheim back to Europe. His impressive track record made him an attractive candidate for Real Sociedad, a team he joined in December.Under Matarazzo's leadership, Real Sociedad has experienced a remarkable turnaround. The team had just 17 points in 17 games and was on the brink of relegation. However, Matarazzo's impact was immediate, and they are now within reach of a Champions League place and feature in a cup final, having defeated Athletic en route.Matarazzo attributes his success to his ability to adapt to different cultures and his willingness to connect with the people and history of the region. He emphasizes the importance of understanding the club's values and identity, which has earned him the appreciation of the fans.As Real Sociedad prepares to face Atlético Madrid in the Copa del Rey final, Matarazzo expresses his excitement and gratitude for the opportunity. He acknowledges the significance of the moment, not just for the team but also for the city and the fans, who have been waiting 39 years for a cup final.