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Graham Potter arrived in Stockholm with a bruised résumé – dismissed from Chelsea and West Ham – only to inherit a Swedish side that had languished at the bottom of their qualifying group.Against the odds, the duo have now clinched a place at the 2026 FIFA World Cup, thanks to a dramatic playoff victory over Poland that Potter described as “the best night I’ve had in football”.The story reads like a script: a manager dismissed twice in quick succession, a national team rescued by the repechage mechanism of the Nations League, and a last‑minute strike from striker Viktor Gyökeres that sealed the win.Sweden’s qualifying record was bleak – two draws and four defeats in six matches, leaving them behind Switzerland, Kosovo and Slovenia. The team’s fortunes changed only after the Nations League granted a second‑chance pathway for the four best group winners who had not qualified directly.The system, designed to give emerging nations a shortcut past the coefficient hurdle, unintentionally benefited Sweden. After being relegated to League C in 2022‑23, they topped their 2024‑25 group ahead of Slovakia, Estonia and Azerbaijan, earning a spot in the World Cup playoffs.Potter acknowledged the luck of the draw but emphasized that Sweden made the most of the opportunity, turning a “darkest hour” into a dawn of redemption.When Potter took over, the squad was plagued by injuries and a three‑game winless streak. His own career had stalled after a brief, high‑profile stint at Chelsea – highlighted by a Champions League win over Borussia Dortmund – and an unfulfilling spell at West Ham.Sweden’s early results under Potter were mixed: a 4‑1 loss to Switzerland and a 1‑1 draw with Slovenia. However, decisive victories over Ukraine and then Poland in the playoffs propelled them to Qatar.Fans in Stockholm now regard Potter with near‑heroic reverence, recalling his earlier triumphs with Östersund, where he guided the modest club from a 50,000‑person town to three promotions and a Swedish Cup win.During the post‑match press conference, Potter brought his children – decked in Swedish kits – to the front row, describing Gyökeres’s late winner as an “out‑of‑body experience”. Yet he remained modest, crediting the staff and the collective effort of the squad.“We stripped everything back to the basics, got the team together and let the talent speak,” Potter said. “It’s a team game – individual brilliance only shines when the whole unit clicks.”Poland may question how two playoff wins outweigh six qualifying matches, but the narrative underscores the power of redemption in sport. Potter summed it up: “My career has had amazing nights, but reaching the World Cup – wow, this is incredible.”

As Easter approaches, concert halls from London to Leipzig are flooded with performances of Johann Sebastian Bach’s masterpieces, most notably the St Matthew Passion and the St John Passion. Chart data from the Official Classical Chart, Apple Music’s classical rankings and specialist listings show Bach out‑performing every other composer, with releases such as Yunchan Lim’s take on the Goldberg Variations and Raphaël Pichon’s recording of the St John Passion leading the pack.Two vivid descriptors have captured the public’s imagination this week: “Bach the zombie” and “Bach the meat‑grinder.”strong> Violinist James Ehnes coined the former to highlight the music’s ability to survive any arrangement or re‑imagining, while Guardian critic Clive Paget used the latter to describe the relentless, visceral intensity of the opening chorus in Pichon’s St John Passion recording.The “meat‑grinder” metaphor points to Bach’s obsessive repetitions and searing harmonies that convey the raw agony of the Passion narrative. In contrast, the “zombie” image underscores the composer’s uncanny durability: his works thrive whether rendered for saxophone quartet, Wendy Carlos’s synthesizers, Leopold Stokowski’s lush orchestration, or even a mandolin played in a New York park.Bach’s presence on the silver screen further illustrates his cultural elasticity. His slow, stately rendition of the final chorus of the St Matthew Passion underscored Pier Paolo Pasolini’s 1964 film The Gospel According to St Matthew, while the haunting aria from the Goldberg Variations was famously chosen by Hannibal Lecter in The Silence of the Lambs as he prepares a gruesome act. These examples show how Bach can serve as both spiritual solace and chilling inspiration.Modern performers continue to reinvent the canon. Pianist Víkingur Ólafsson, who logged more than ninety performances of the Goldberg Variations in a single year, describes each rendition as a “religious pilgrimage” that reshapes the listener’s experience. Meanwhile, mandolin virtuoso Chris Thile released a second volume of Bach’s Sonatas and Partitas performed on his instrument in Tompkins Square Park. The recording captures ambient city sounds—birds, footsteps, fellow buskers—blending them with Bach’s intricate C‑major fugue to create what Thile calls “the effortless fugue of city life.”These diverse reinterpretations confirm a simple truth: Bach’s music is indestructible. Whether heard in a grand cathedral, a streaming playlist, or a bustling park, his compositions adapt without losing their core emotional impact. This Easter, listeners are invited to embrace Bach not as a relic confined to history, but as a living, breathing force that continues to energise and inspire across genres and generations.

The resurgence of existentialist cinema is marked by François Ozon's adaptation of Albert Camus's 'The Stranger'. This 2026 film breathes new life into the classic novel, exploring themes of absurdity and individual morality. Camus's 'The Stranger' has been adapted before, notably by Luchino Visconti in 1967. However, Ozon's version stands out with its political focus on colonial power relations and a fresh perspective on the protagonist, Meursault. Existentialism, a philosophy that questions life's purpose without divine guidance, influenced 20th-century thought through figures like Jean-Paul Sartre, Simone de Beauvoir, and Camus. The movement briefly influenced cinema, particularly through the French New Wave. The connection between existentialism and film noir is also explored, with the genre reflecting nihilistic undercurrents of the interwar period. Existentialist themes continue to permeate modern cinema, influencing films like 'Taxi Driver', 'Blade Runner', and 'The Truman Show'. Ozon's adaptation shifts the focus to colonialism, making it a more politically charged interpretation. This shift raises questions about whether the film remains strictly existentialist or if it incorporates moralizing overtones. The article concludes by suggesting that existentialism's core ideas remain relevant, especially in today's chaotic world. Films like Olivier Laxe's 'Sirāt' capture the existentialist spirit by portraying characters navigating absurd and precarious situations.

Jermain Defoe has been appointed as the new manager of Woking FC, a club that has never made it to the Football League in its 139-year history. On his first day, Defoe expressed his gratitude for the opportunity, stating, “It’s been a long time coming.” He emphasized the importance of 'earning his stripes' as a manager, a lesson he learned from his mother.Defoe, who had a 23-year playing career and won 57 England caps, has previously worked with Steven Gerrard at Rangers and spent time in the Tottenham academy. He turned down his former team Tottenham to take over at Woking, joking about the opportunity.The new Woking manager is only the fifth black manager or head coach working in English football’s top five divisions. “I’d like to think going forward that other black managers will get [opportunities], too,” he said, highlighting the challenges faced by black managers in the sport.Defoe's assistant, Paul Bracewell, brings vast experience to the team, having worked with Defoe at Sunderland and Tottenham. The target for next season is promotion, and Defoe plans to draw on the experience of former managers like Sam Allardyce and Harry Redknapp.Reflecting on his journey, Defoe said, “My mum knows that this is something that I’ve waited a long time for so she has said I have to make sure that I enjoy it.” He emphasized the importance of having supportive influences in his life, particularly his mother, who has been a constant source of guidance throughout his career.

Alisha Joyce stepped back onto the rugby field in March, just 123 days after delivering her son, and a week later secured a place in Wales’ squad for the upcoming Women’s Six Nations. The 28‑year‑old described the selection as a surprise, but welcomed the chance to inspire the next generation of players.Joyce is the first Welsh international to tap into the new performance maternity programme, a policy designed to support athletes through pregnancy and return to elite competition. She shares her newborn, Ralphie, with her wife and teammate Jasmine Joyce, and has logged only 30 minutes of senior rugby since her comeback, coming off the bench for Brython Thunder.Wales head coach Sean Lynn delivered the call‑up unexpectedly. Joyce said she hopes to contribute her experience to a squad that includes nine uncapped players, acknowledging her new role as one of the senior members and a mentor for younger teammates.Having missed last year’s Six Nations and World Cup due to pregnancy, Joyce now brings her son to the training camp, describing the first four‑and‑a‑half months of parenthood as “incredible” and a source of motivation.Sleep deprivation posed a major challenge, especially given the importance of recovery in elite sport. Joyce noted that after the initial three months of erratic nights, Ralphie’s routine has settled, allowing her to focus more on training and performance.She cited teammate Abbie Ward—the first England player to have a baby while under a professional contract—as a key influence in deciding to continue her career after motherhood. Joyce reflected on the broader dilemma many athletes face: balancing the desire for a family with the timing of major tournaments and potential Lions selection.Both Joyce and Jasmine underwent IVF, a process that required careful planning and preparation. Joyce called the decision to pursue parenthood “one of the best” they’ve made, emphasizing how quickly life can change when a child is involved.Looking ahead, Joyce aims to earn playing time in the Six Nations, which kicks off against Scotland on 11 April, and has set her sights on the inaugural women’s British & Irish Lions tour in 2027. She hopes her journey shows young girls that they can excel in sport while being mothers, and she remains determined to return to top form.

The Guardian’s March reading roundup gathers a diverse set of recommendations from both its writers and its readership, offering a snapshot of the titles that captured their attention over the past month.John Lanchester highlights two recent British novels that resonated with him after completing his own manuscript: Drayton and Mackenzie by Alexander Starritt, a story of friendship intertwined with business, and The New Life by Tom Crewe, which explores gay life in the 1890s. His European picks include Eurotrash by Christian Kracht, a darkly comic road‑trip tale, Perfection by Vincenzo Latronico, a critique of the digital‑nomad lifestyle, and Olga Tokarczuk’s genre‑defying Drive Your Plow Over the Bones of the Dead. Lanchester also notes his own recent release, Look What You Made Me Do, available from Faber for £20 via the Guardian bookshop.James, a regular Guardian reader, is immersed in Tom’s Crossing by Mark Danielewski. He describes the 1,200‑page modern western as a masterclass in character depth and meticulous detail, urging readers not to be deterred by its length.Patmeena Sabit turns to shorter forms when time is scarce, recommending Hue and Cry by James Alan McPherson for its understated humanity, Fifty‑Two Stories (a new Chekhov collection translated by Richard Pevear and Larissa Volokhonsky) for its blend of classics and previously untranslated pieces, and Ada Limón’s poetry collection Bright Dead Things for its poignant beauty. Sabit also promotes her own work, Good People, published by Virago at £16.99.David praises Zbig: The Life of Zbigniew Brzezinski, America’s Cold War Prophet by Edward Luce, calling it a dense yet illuminating autobiography that traces U.S. and global power dynamics from the 1960s to the early Trump era, and recommending a piecemeal reading approach.Arash finds profound resonance in Mother Mary Comes to Me by Arundhati Roy. He describes the memoir as an emotionally powerful tribute to Roy’s mother, noting its refusal to fall into gendered clichés while championing compassion and resistance against chauvinism.

Highland cows, a hardy breed known for their shaggy coats and upturned horns, have been a part of Hothfield Heathlands nature reserve in Kent. They were introduced to restore and maintain the reserve through wild grazing. However, their presence led to an unexpected consequence. The cows became an unlikely sensation on social media, particularly on TikTok, with videos of them going viral. This sudden fame attracted a large number of visitors to the reserve, who were eager to take selfies with the cows and even stroke them. Despite warnings from Kent Wildlife Trust to keep at least 10 meters away, the situation became unmanageable. The trust eventually made the decision to remove the cows from the reserve, at least temporarily, to protect them from the stress and potential harm caused by the influx of visitors. The cows, which have survived the harsh climate of the Scottish Highlands for over 1,000 years, were becoming distressed and could have reacted out of fear if the situation continued. This incident is not an isolated case. The popularity of Highland cows has caused trouble before, such as in January when three people had to be rescued after getting lost while searching for viral Highland cattle on Butser Hill in Hampshire. The hashtag #highlandcow has reportedly reached millions of people on social media, highlighting the significant public interest in these animals. The removal of the Highland cows from Hothfield Heathlands serves as a reminder of the impact of social media on wildlife and the importance of respecting the personal space of animals, even those as adorable and charismatic as Highland cows.

Just before sunset on Florida’s Space Coast, an estimated 400,000 people are expected to line the beaches and causeways to watch NASA’s Artemis II lift off at 6:24 p.m. ET, weather permitting. The launch will be the first crewed departure from low‑Earth orbit since the Apollo 17 mission in December 1972. Commander Reid Wiseman told reporters at the Kennedy Space Center that the nation and the world have been waiting “a long time” for this moment. The four‑person crew—Americans Christina Koch and Victor Glover, Canadian astronaut Jeremy Hansen, and Wiseman himself—have entered quarantine ahead of the flight. During the 10‑day test flight, which will not attempt a lunar landing, Koch and Glover will become the first woman and first person of color to travel into cislunar space, the region between Earth and the Moon. Hansen will be the first non‑American to do so. The Orion capsule is expected to travel more than 4,600 miles (7,400 km) beyond the Moon’s far side on day six, reaching a total distance of just under 253,000 miles from Earth—surpassing the Apollo 13 record of 248,655 miles set in 1970. Beyond the historic milestones, Artemis II serves as a critical stepping stone for NASA’s broader lunar ambitions. Administrator Jared Isaacman has outlined a $20 billion Moon base program slated for completion by the end of the decade, and the mission will capture high‑resolution images of the Moon’s south‑pole region—potential sites for future landings and the base. Technical preparations have addressed previous setbacks, including a resolved heat‑shield issue from Artemis I and a helium‑leak that delayed Artemis II’s rollout in February. NASA’s final weather briefing gave the launch an 80 % chance of favorable conditions, with a five‑night launch window available should a scrub be required. Inside the capsule, the crew will spend ten days in a confined space roughly the size of a small camper van, testing life‑support systems, radiation exposure, and microgravity effects. Wiseman noted the psychological challenges of close‑quarters living, saying, “By day six or seven we’ll all be thinking, ‘I need a little space,’ but we’re a good crew.” The launch has sparked a surge of tourism in Cape Canaveral and Cocoa Beach, with hotels filling quickly as spring‑breakers add the event to their itineraries. Despite schedule delays and cost overruns—NASA acknowledges the program is “billions of dollars over budget”—the agency remains confident that Artemis II will demonstrate the capabilities needed for the next crewed landing, scheduled for Artemis IV in 2028. As Wiseman summed up, “NASA was founded to tackle the near‑impossible. This mission is the next step in America’s return to the lunar environment, and when we get there, we intend to stay.”

For theatre enthusiasts, April brings a range of exciting productions and performances. Patrick Stewart is set to read all 154 of Shakespeare's sonnets on Audible, a project that began as a pandemic hobby where he recited one sonnet each day on social media. This comprehensive collection, which includes his personal commentaries, will be available from April 7 and lasts almost four hours. In another notable production, Complicité presents 'I Don't Do Innocents', a radio play by Anne Carson directed by Simon McBurney, featuring a cast that includes Emma Corrin and Carson herself reading the stage directions. On the BBC, Sam Ryder gives a sneak preview of his Jesus Christ Superstar, which is set to appear at the London Palladium this summer, as part of the musical-theatre jamboree on iPlayer. Hosted by Jason Manford in Manchester, the event also features Victoria Hamilton-Barritt singing from Paddington: The Musical. Additionally, James Ijames' historical satire 'The Most Spectacularly Lamentable Trial of Miz Martha Washington' is set to run from April 9 to May 3. This play, which explores the life of the inaugural first lady of the US, could pair interestingly with 'Oh, Mary!' in the West End. The BBC is also celebrating the 120th anniversary of Henrik Ibsen's death with a comprehensive iPlayer season featuring various adaptations of his works, including two renditions of 'Hedda Gabler' and 'The Master Builder'. Other highlights include Rosie Sheehy's performance in 'King John' on Marquee TV and 'End' at the National Theatre, part of a trilogy by David Eldridge, which makes a compelling double bill with Stephen Poliakoff's 'Close My Eyes'. Finally, 'Back to the Future: The Musical' is set to embark on a UK tour after its run in London, with an Amazon Prime documentary offering a 'making of' insight into the show.