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The author's complicated relationship with video games as a teenager is relatable to many who have grown up with a passion for gaming. Initially dismissing The Legend of Zelda: The Wind Waker as childish, they later discovered its joy and transformative power. Play is often undervalued in adult life, seen as something to be outgrown or intellectualized. However, the author argues that play is essential for well-being and can be a powerful coping mechanism for life's challenges. The Wind Waker, with its vibrant and cartoon-like art style, was initially judged and dismissed. Yet, it became a gateway to rekindling the author's love for gaming, free from the pressures of intellectualizing every experience. The game encouraged exploration and curiosity, allowing the player to simply enjoy the process of discovery. This realization had a profound impact on the author's life, helping them navigate adulthood, parenting, and grief with a keen sense of fun and openness to new experiences. The author emphasizes that play is not just for children but a vital aspect of human nature that should be preserved and cherished. In a world that often prioritizes productivity and self-improvement, the author advocates for embracing play as a survival strategy against the pressures of everyday life. By doing so, individuals can maintain a sense of joy and curiosity, essential for a fulfilling life.

A recent genealogical study has uncovered a fascinating connection between Nintendo's beloved characters, Super Mario and Luigi, and their real-life namesake, Mario Arnold Segale. Mario Segale's father was named Luigi, a fact that may have inadvertently influenced Nintendo's choice of names for the iconic video game brothers.Mario Arnold Segale, a Washington state businessman, was Nintendo of America's landlord in the 1980s. The company based Super Mario's moniker off Segale – along with aspects of his appearance – before the character went on to sell hundreds of millions of copies across various platforms.Elisabeth Zetland, a senior researcher with the genealogy service MyHeritage, made the discovery while exploring Segale's ancestral background. She found that Luigi Maria Segale, Mario's father, was born in 1886 in Favale di Malvaro, Italy, and immigrated to the US with his brother Giuseppe in 1909.Luigi Segale, who adopted the anglicized first name Louis, served in the US armed forces during World War I and later worked as an independent farmer. By 1940, he and his wife Rina had a six-year-old son named Mario, who would one day inspire the iconic video game character.The study highlights the legacy of Italian dreams and American opportunity that defined Luigi Segale's life and, indirectly, the lives of his son Mario and the fictional characters that bear their names.Mario Segale's connection to Super Mario has been well-documented, but the discovery of his father's name adds a new layer of depth to the story. Nintendo did not comment on whether they were aware of the coincidence between Luigi Segale and the fictional character.

Amid a wave of Israeli air strikes that have killed hundreds and displaced roughly 20 % of Lebanon’s population from the south, Lebanese banker Antoun Sehnaoui attracted fierce criticism after being publicly praised for his pro‑Israel activities. Sehnaoui, who chairs Societe Generale de Banque au Liban (SGBL), attended an event at the United States Holocaust Memorial Museum – a venue he has financially supported. The commendation came from Morgan Ortagus, the U.S. Middle‑East envoy who, according to reports, is also Sehnaoui’s romantic partner. Ortagus framed support for Israel as a matter of "moral clarity", even when it entails personal risk. She highlighted Sehnaoui’s funding of a U.S.–Israeli opera project, noting that such transactions are technically illegal in Lebanon under the country’s ban on dealings with Israeli entities. Describing the banker’s lineage, Ortagus said he hails from generations of "committed Lebanese Christian Zionists" and that his family has been "trained to support the State of Israel and the Jewish people." She also referenced his father, Nabil Sehnaoui, a principal backer of the Lebanese Forces militia, which allied with Israel during the 1982 invasion and was implicated in the Sabra‑Shatila massacres. The timing of the endorsement proved especially contentious. Since mid‑March, Israel has been accused of employing a “quadruple‑tap” bombing technique designed to maximise civilian casualties, and more than a million southerners have fled their homes, deepening sectarian tensions. Lebanese social‑media users reacted with outrage, calling for Sehnaoui’s imprisonment, accusing him of betraying his nation, and even alleging he had converted to Judaism. One commentator, academic Makram Rabah, argued that while a museum visit should not be controversial, the overt support for Israel amid a fragile ceasefire is. Ortagus’s own record – marked by staunch opposition to Hezbollah and open advocacy for Israel since her appointment in April 2025 – has already drawn scrutiny over her suitability as a neutral broker in the region. Beyond the political backlash, Sehnaoui faces serious legal challenges. Lebanese prosecutors have filed money‑laundering charges against him and SGBL, alleging illicit currency‑trading activities that exacerbated the country’s financial crisis that began in 2019. The bank denies any wrongdoing. In the United States, a 2020 civil lawsuit filed by families of Hezbollah‑linked attack victims accuses SGBL of providing material support to the militant group – a claim the bank also rejects. Lebanese MP Paula Yacoubian warned that Sehnaoui’s recent maneuvers appear designed to secure personal immunity in exchange for facilitating Israel‑Lebanon normalisation, rather than delivering tangible benefits such as the safe return of displaced residents. While the controversy rages, a tenuous ceasefire has allowed tens of thousands of residents to return to the devastated south, many seeking the remains of loved ones or assessing the damage to their homes.

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.