Culture
Euro 2024 and German efficiency: Forget everything you thought you knew
Follow live coverage of Germany vs Hungary, Croatia vs Albania and Scotland vs Switzerland at Euro 2024 today
Efficiency. Reliability. Functionality.
That’s what many people most associate with Germany, but so far at the 2024 European Championship, none of those cliches have been proven true. Tournament organisers have struggled with crowd control outside stadiums. Fans have endured miserable conditions on the way to and from games. Metro and rail services within the host cities have failed under the extra demand.
It is not what the rest of Europe expected to find.
On Friday night, Euro 2024 began in Munich. The city is used to serving big football crowds, with Bayern Munich selling out their 80,000-capacity Allianz Arena game after game, year after year.
The journey from the centre of town is usually simple enough, via a metro train (on the U-Bahn) that rattles north and delivers fans at Frottmaning station, which is a 10-minute walk from the stadium. For big games, it can get busy. But outside the ground, for Bundesliga and Champions League matches, everything works well enough and supporters find the areas they need.
On Friday night, it could not have been more different. The line that runs out of Munich and up to Frottmaning ground to a halt. Trains stopped at platforms and in tunnels for long periods and grew fuller. Munich has a warm climate, especially in June, and it was to the great credit of the Germany and Scotland supporters that, even though they were jammed up against each other, with no room to move, the mood stayed calm.
Outside the Allianz Arena — in scenes that have been repeated at other games played since — it was chaos. For Bayern games, fans are signposted towards certain entrances, depending on where in the stadium they are sitting. On Friday, the zoning failed, creating one big queue in front of the ground. Some were outside for hours.
On reaching the front of the line, many fans had no choice but to physically push through the crowds to find their entrance, much to the annoyance of others who misinterpreted what was happening, which resulted in a few fleeting flare-ups.
Organisation around Bundesliga games is generally excellent across the country. Many of the supporters in attendance, particularly the German fans, would also have had prior experience of Allianz Arena before and yet this was wildly different.
The first game of a major tournament often brings opening-night wrinkles and issues, but what happened in Munich was strange — and it was just the start.
Fans queuing outside the ground on Sunday in Gelsenkirchen (Oguz Yeter/Anadolu via Getty Images)
On Sunday night, England played Serbia in Gelsenkirchen. Bad stories have emerged from before and after the game.
There was gridlock and congestion on the tram service from the station to Arena AufSchalke, the out-of-town stadium, to the extent that some fans chose to walk the entire way instead — about an hour and a half from the city’s central station. England’s 1-0 victory ended up being a sub-plot to stories of crying children, heavy rain and, in a lot of cases, confusion.
Steve Grant, an England fan who follows the team home and abroad, did take public transport to the ground and said overcrowding at the station was so “dangerous” that “if you were stood at the platform edge, you were using your entire body weight to stop yourself being pushed onto the track”. He said there were “no crowd control measures in place at all”.
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England fan group criticises ‘serious issues in Gelsenkirchen’ over Euro 2024 game
After the game, there was more chaos. Another England fan, Alex, described scenes at the main train station as “absolute bedlam” even hours after the final whistle. He had decided to take public transport back, while another friend walked — arriving half an hour before him.
“I couldn’t believe how busy the main station was,” he said. “When we heard the platform announcement for our train, people ran at full pace to reach it — I can’t imagine what it would have been like to take children to the game. Then, when we got to the platform, there was no train. We eventually got back to Dusseldorf (in theory 30 minutes away by intercity train) after 2am.”
Rich Nelson was also in Gelsenkirchen on Sunday night with one of his friends, a wheelchair user.
“It was a right mess,” he said. “Trains were coming to different parts of the platform with no announcement, so you had hundreds of people running to squeeze on. Platforms were altered so Essen trains were coming through when announced as going to Dusseldorf and one train looked like one of the old slam-door British Rail ones.
“We somehow managed to squeeze on thanks to a few people moving and holding doors, but the train took an hour to get to Dusseldorf. The trains have been the poorest and least reliable part of the weekend for us. Not a single train, of the several we took, ran on time and despite us booking ramps (for the wheelchair), Deutsche Bahn staff weren’t interested in helping last night.”
Gelsenkirchen is one of the smallest Euro 2024 host cities. It is an industrial town which has relatively little nightlife or attraction to travelling supporters and fewer hotel rooms than most. It was inevitable that an enormous stress would be placed on its transport systems on the day of the game itself.
Deutsche Bahn (DB) is the company that runs Germany’s privately-operated, government-funded railway network. Once the gold standard of rail travel in Europe, today it is far from that peak and has been for some time.
While people from outside Germany have been aghast at the delays, those who live in the country are all too familiar with DB’s struggles. Trains are late. Trains do not turn up. Trains change destinations without warning. Connections are missed and people are left stranded.
Sit in a DB carriage when a delay is announced and pay attention to the glances that Germans exchange and how they roll their eyes; it has become a punchline and while some of the issues at Euro 2024 are a surprise, the endless delays and disruptions on the train network are not among them.
It is a complicated problem without an obvious remedy.
A train in Euro 2024 colours at Berlin’s Olympiastadion S-Bahn station (Andreas Gora/picture alliance via Getty Images)
The services that DB provides are enshrined within the German constitution. The federal government has a responsibility to maintain a service that serves the common good — referring both to its cost and its reliability.
Recent trends are alarming. In 2020, more than 80 per cent of trains arrived on time. In 2021, it was 75 per cent. By the summer of 2023, the punctuality rate had fallen below 60 per cent, beneath the 70 per cent target DB has publicly committed to.
One of the best-known statistics, certainly the one most repeated in German media, is that in 2022 more than 33 per cent of all long-distance trains arrived late to their destination (defined as at least six minutes late). It represented a 10-year low.
In response to a request for comment for this article, a DB spokesperson said the company was “doing everything we can to get soccer fans to their games on time and stress-free”.
They said the rail system was “at absolute full capacity right now” and DB was “essentially running every train we have”.
Sabrina Wendling of the Pro Rail Alliance, a non-profit interest group for the promotion and improvement of rail transport, says the problems we are seeing are a legacy of underfunding that goes back almost 30 years.
“What we are experiencing now is the heavy burden on a long-neglected railway — with growing traffic at the same time,” she says.
“Past governments have always practised a road-first policy, so that was where the majority of the state’s investments went. That has changed with the present government. But the need for investment is now so high that it will take years to improve the current state of the infrastructure.
“In addition, there is a significant lack of drivers almost everywhere in the country (not only for trains but also for buses and lorries). A lack of drivers often means a dissatisfying frequency of services. This gets very obvious when more people than usual use public transport.”
By DB’s own admission, their infrastructure is in poor condition. In a network status report published in March 2023, they described it as being “prone to failure”, referencing the number of signal boxes, switches and level crossings that were in inadequate condition.
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The size of the network — in terms of track length — has also been shrinking over the past 30 years. At the same time, as Wendling describes, the number of services operating on it has been steadily increasing. The effect is more and more stress on a network that is suffering from a lack of investment. Since 1994, around half the switches on the network have been removed, which makes it harder for trains to pass one another, making it more important that everything runs on time and more impactful when it does not.
There are other inconveniences and antagonisms throughout the network. With over 200,000 members of staff, DB is one of Germany’s largest employers, but there are still shortages of personnel across the network. Station PA systems are a more minor nuisance. While information is almost always provided in German and English, the acoustics can be poor and the announcements can be difficult to hear. During times of stress, or when platform alterations are being read out, that is particularly difficult for people unfamiliar with the network.
A more macro problem is the sheer size of the company. A long-term conversation, which has no end in sight, relates to whether DB should be broken up to make it more manageable but also to introduce more competition to Germany’s rail services.
It’s certainly not difficult to see how a cycle of failure has developed or why it has been so dysfunctional during the current tournament. Ultimately, it is a problem that pre-dates Euro 2024 by decades and will continue for many years. While big investment projects are now underway, including building new lines and adding many more connections between major German cities, the result is a huge burden on the taxpayer and, ironically, more disruption as a result of the projects themselves.
Where does the tournament go from here?
There are still parts of it which are going well. The atmosphere in stadiums is good and the quality of the football itself has been excellent to this point. The Germans are wonderful hosts, too, and from Hamburg in the north to Munich in the far south, the country is full of food, drink, architecture and history that will make the experience of being at this European Championship a rich one.
Many of the volunteers, who are not being paid by UEFA, are clearly doing their best under trying circumstances and working extremely hard to help people. While there have been issues with crowding in the fan zones, too, a lot of thought has evidently gone into providing supporters with entertainment around the games. In Munich on Sunday, as chaos developed in the Ruhr Valley, people enjoyed watching the games on an array of vast screens, next to big lakes in the Olympiapark, with activities and live music to entertain children and families between matches.
But, for now, the bad stories are more prominent. Given how much of an effect they are currently having on the tournament, that might remain the case for some time.
Additional reporting: Dan Sheldon
(Top photo: Simon Stacpoole/Offside/Offside via Getty Images)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
Culture
Do You Know the Comics That Inspired These TV Adventures?
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.
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