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The Academy Awards were created in 1929 to promote Hollywood’s achievements to the outside world. At its pinnacle, the telecast drew 55 million viewers. That number has been dropping for years, and last year it hit an all-time low — 10.4 million viewers for a show without a host, no musical numbers and a little-seen best picture winner in “Nomadland.” (The film, which was released simultaneously in theaters and on Hulu, grossed just $3.7 million.)
Hollywood was planning to answer with an all-out blitz over the past year, even before the awards season. It deployed its biggest stars and most famous directors to remind consumers that despite myriad streaming options, theatergoing held an important place in the broader culture.
It hasn’t worked. The public, in large part, remains reluctant to return to theaters with any regularity. “No Time to Die,” Daniel Craig’s final turn as James Bond, was delayed for over a year because of the pandemic, and when it was finally released, it made only $160.7 million in the United States and Canada. That was $40 million less than the 2015 Bond film, “Spectre,” and $144 million below 2012’s “Skyfall,” the highest-grossing film in the franchise.
Well-reviewed, auteur-driven films that traditionally have a large presence on the awards circuit, like “Last Night in Soho” ($10.1 million), “Nightmare Alley” ($8 million) and “Belfast” ($6.9 million), barely made a ripple at the box office.
And even though Mr. Spielberg’s adaptation of “West Side Story” has a 93 percent positive rating on Rotten Tomatoes, it has earned only $30 million at the domestic box office. (The original grossed $44 million back in 1961, the equivalent of $409 million in today.)
According to a recent study, 49 percent of prepandemic moviegoers are no longer buying tickets. Eight percent say they will never return. Those numbers are a death knell for the midbudget movies that rely on positive word of mouth and well-publicized accolades to get patrons into seats.
Some believe the middle part of the movie business — the beleaguered category of films that cost $20 million to $60 million (like “Licorice Pizza” and “Nightmare Alley”) and aren’t based on a comic book or other well-known intellectual property — may be changed forever. If viewing habits have been permanently altered, and award nominations and wins no longer prove to be a significant draw, those films will find it much more difficult to break even. If audiences are willing to go to the movies only to see the latest “Spider-Man” film, it becomes hard to convince them that they also need see a movie like “Belfast,” Kenneth Branagh’s black-and-white meditation on his childhood, in a crowded theater rather than in their living rooms.
JEDDAH, Saudi Arabia — A pregnant Saudi woman, far from home, finds herself stalked by inner and outer demons. A wannabe Saudi vlogger and his friends, menaced by the internet’s insatiable appetite for content and more mysterious dangers, try to escape a dark forest. At a wedding, the mother of the bride panics when her daughter disappears with all of their guests waiting downstairs.
These were just a few of the 27 Saudi-made films premiering this month at a film festival in Jeddah, part of the conservative kingdom’s huge effort to transform itself from a cultural backwater into a cinematic powerhouse in the Middle East.
The Saudi push reflects profound shifts in the creative industries across the Arab world. Over the past century, while the name Saudi Arabia conjured little more than oil, desert and Islam, Cairo, Beirut, Damascus and Baghdad stood out as the Arab cultural beacons where blockbuster movies were made, chart-topping songs were recorded and books that got intellectuals talking hit the shelves.
to promote pro-government themes.
In many ways, the region’s cultural mantle is up for grabs, and Saudi Arabia is spending lavishly to seize it.
At the Red Sea International Film Festival, held on a former execution ground, Jeddah residents rubbernecked as stars like Hilary Swank and Naomi Campbell strutted down a red carpet in revealing gowns, and Saudi influencers D.J.-ed at dance parties.
All this in a country where, until a few years ago, women were not allowed to drive, cinemas were banned and aspiring filmmakers often had to dodge the religious police to shoot in public.
Although Saudi Arabia’s population is about a fifth of Egypt’s, the Saudis are more affluent and wired, making them more likely to pay for streaming services and movie tickets. At about $18, a ticket in Saudi theaters is among the most expensive in the world.
But the kingdom only allowed cinemas to reopen only in 2018 after a 35-year ban. Before that, Saudis escaped to nearby Bahrain or Dubai to go to theaters.
Now, the country has 430 screens and counting, making it the fastest-growing market in the world, with a target of 2,600 screens by 2030, Mr. Abdulmajeed said.
Film Clinic, a Cairo-based production company.
Several Saudi-Egyptian collaborations are in the works, and an Egyptian “Hangover”-style comedy, “Wa’afet Reggala” (“A Stand Worthy of Men”), was the highest-grossing release in Saudi Arabia this year, beating the Hollywood blockbusters.
Saudi productions may also continue to draw acting, writing and directing talent from Lebanon, Syria and Egypt — and will most likely need to do so to reach non-Saudi audiences, said Rebecca Joubin, an Arab studies professor at Davidson College in North Carolina.
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“With Saudi opening up, they say in Egypt that it’s saving Egypt’s movie industry,” said Marwan Mokbel, an Egyptian who co-wrote “Junoon,” the Saudi horror film about the vlogger that premiered at the Jeddah festival.
Shahid, its Dubai-based Arabic counterpart.
That has created a big market for Arabic-language content.
Netflix has produced Jordanian, Egyptian and Syrian-Lebanese shows, with varying degrees of success, and just announced the release of its first Arabic-language feature film, “Perfect Strangers.”
Syrian and Lebanese studios that used to depend on gulf financiers — who, they complained, often forced them to water down their artistic ambitions by nixing political themes — are also turning to web series and Netflix for new funding and wider audiences.
a hip alternative to the somnolent broadcast television. Mohammad Makki recalled dodging the police, guerrilla style, to film the first season of his show “Takki,” about a group of Saudi friends navigating Saudi social constraints, a decade ago. Then, it was a low-budget YouTube series. Now, it is a Netflix hit.
“We grew up dying to go to the cinema,” he said, “and now it’s two blocks from my house.”
Saudi women in the industry faced even greater challenges.
When “Wadjda” (2012), the first Saudi feature directed by a woman, was filmed, Haifaa al-Mansour, the director, was barred from mixing in public with male crew members. She worked instead from the back of a van, communicating with the actors via walkie-talkie.
“I’m still in shock,” said Ahd Kamel, who played a conservative teacher in “Wadjda,” which portrays a rebellious young Saudi girl who desperately wants a bicycle, as she walked through the festival. “It’s surreal.”
As a young actress in New York, Ms. Kamel hid her career from her family, knowing they, and Saudi society, would not approve of a woman acting. Now, she said, her family pesters her for festival tickets, and she is preparing to direct a new film to be shot in Saudi Arabia.
Saudi political, religious and cultural sensitivities are still factors, of course.
Marvel’s big-budget “Eternals” was not released in Saudi Arabia — or in Qatar, Kuwait or Egypt — because of gay romantic scenes. Several of the non-Saudi films screened at the Jeddah festival, however, included gay scenes, nudity and an out-of-wedlock pregnancy.
Hisham Fageeh, a Saudi comedian and actor, said officials had told him future films should avoid touching directly on God or politics.
Sumaya Rida, an actress in the festival movies “Junoon” and “Rupture,” said the films aimed to portray Saudi couples realistically while avoiding onscreen physical affection.
But the filmmakers said they were just happy to have support, accepting that it would come at the price of creative constraints.
“I don’t intend to provoke to provoke. The purpose of cinema is to tease. Cinema doesn’t have to be didactic,” said Fatima al-Banawi, a Saudi actress and director whose first feature film the festival is funding. “It comes naturally. We’ve been so good at working around things for so long.”
Vivian Yee reported from Jeddah, Saudi Arabia, and Ben Hubbard from Beirut, Lebanon. Hwaida Saad contributed reporting from Beirut, and Nada Rashwan from Cairo.
LOS ANGELES — Wearing blazers and bedazzled dresses, downing cocktails, swapping industry gossip, and hobnobbing with some of Hollywood’s biggest names, the stars of America’s video game industry assembled on Thursday night for a long-delayed reunion at the Game Awards.
The lavish event was a victory lap of sorts for the video game community. While the movie industry has fretted over ticket sales and cannibalization by streaming services like Netflix, the video game industry has enjoyed tremendous growth during the pandemic. An estimated 2.9 billion people — more than one out of every three people on the planet — have played a video game this year, according to the video game analytics firm Newzoo.
Thursday’s awards were also a welcome opportunity for the industry to gather under the same roof, since last year’s event was held online because of the pandemic. Gaming luminaries arrived on the red carpet at the vast Microsoft Theater in downtown Los Angeles, joined by celebrities better known for their work in other entertainment industries.
Sting, the rock music icon, was backed by an orchestra as he opened the show with a performance of the haunting song “What Could Have Been” from the Netflix series “Arcane,” which is based on the video game hit “League of Legends.” The hit band Imagine Dragons performed “Enemy,” another song featured in “Arcane.”
entertainment award events, you would also have been on the nose.
At the center of the gaming industry’s answer to the Oscars was Geoff Keighley, the video game and television personality who created and hosts the annual event and who tried, with seemingly endless reserves of energy and enthusiasm, to steer an increasingly antsy audience through more than three hours of awards presentations and trailers for upcoming games, interspersed with music from the orchestra.
The show began in 2014 and has attracted millions more eyeballs each year on YouTube and Twitch. Last year’s fully remote version garnered 83 million live streams, according to organizers, and Mr. Keighley said after Thursday’s show that he expected more people to have watched live this year, though preliminary numbers were not yet available.
bnans, said in the crowded lobby after the show. “We’ve been in quarantine for so long, but it’s really nice to actually get to hang out with everyone again and see each other after two years.”
More than two dozen awards were handed out in categories like best action game and best art direction. The most prestigious title, game of the year, went to “It Takes Two,” a two-player puzzle adventure game developed by Hazelight Studios about a married couple navigating a divorce and journeying through a fantastical world.
Microsoft’s gaming division brought home a number of awards, with “Age of Empires IV” winning best strategy game, “Halo Infinite” winning a fan award called players’ voice, and “Forza Horizon 5,” a car-racing game, taking home three honors. “Deathloop,” a first-person shooting game developed by Arkane Studios, also won multiple awards.
The winners were determined by a vote of industry insiders and the general public.
For many watching, though, the awards were just a sideshow. The Game Awards is also used by the industry to introduce new game announcements and debut trailers for upcoming titles. If audience reaction is any indication, the fantasy game “Elden Ring” continues to be one of next year’s most hotly anticipated titles.
debuted on the stock exchange, topping a $45 billion valuation on its first day of trading.
The increased mainstream interest in online worlds has also been a validation for industry insiders and gamers that were using the term “metaverse” years before Mark Zuckerberg decided that Facebook was going to change its name to Meta. Even Mr. Carrey, appearing at the awards show on a prerecorded video, joked about it.
“I’m sorry I couldn’t be there with you, but I look forward to meeting all of your avatars in the metaverse, where we can really get to know each other,” he said.
As the industry has grown, it has faced increasing challenges, none more pressing Thursday night than the treatment of its employees. A shadow was cast over the event by the scandal trailing Activision Blizzard — the game publisher that has been under fire for months following a lawsuit from California accusing it of fostering a workplace environment in which mistreatment and harassment of women was commonplace.
A handful of protesters stood with signs supporting Activision employees outside the theater Thursday evening, and Mr. Keighley faced pressure in the lead-up to the event to condemn the company.
He tweeted last week that Activision would not be a part of the awards show, and he opened the event by saying that “game creators need to be supported by the companies that employ them.”
“We should not, and will not, tolerate any abuse, harassment and predatory practices,” Mr. Keighley said, though he did not mention Activision by name. Rob Kostich, the president of Activision, is on the board of advisers for the Game Awards.
Before the event, Mr. Keighley said in an interview that he wanted to strike a balance between using his platform for good and maintaining the upbeat vibe of an awards show.
“Are we going to use our platform to take companies to task publicly inside the show? It’s always something worth thinking about,” he said, “but it’s not a referendum on the industry.”
At one particularly tense moment, in October 2020, American intelligence reports detailed how Chinese leaders had become worried that President Trump was preparing an attack. Those concerns, which could have been misread, prompted Gen. Mark A. Milley, the chairman of the Joint Chiefs of Staff, to call his counterpart in Beijing to assure otherwise.
“The Taiwan issue has ceased to be a sort of narrow, boutique issue, and it’s become a central theater — if not the central drama — in U.S.-China strategic competition,” said Evan Medeiros, who served on President Obama’s National Security Council.
China’s ambitious leader, Xi Jinping, now presides over what is arguably the country’s most potent military in history. Some argue that Mr. Xi, who has set the stage to rule for a third term starting in 2022, could feel compelled to conquer Taiwan to crown his era in power.
Mr. Xi said Saturday in Beijing that Taiwan independence “was a grave lurking threat to national rejuvenation.” China wanted peaceful unification, he said, but added: “Nobody should underestimate the staunch determination, firm will and powerful ability of the Chinese people to defend national sovereignty and territorial integrity.”
Few believe a war is imminent or foreordained, in part because the economic and diplomatic aftershocks would be staggering for China. Yet even if the recent flights into Taiwan’s self-declared air identification zone are intended merely as political pressure, not a prelude to war, China’s financial, political and military ascendancy has made preserving the island’s security a gravely complex endeavor.
Until recently, the United States believed it could hold Chinese territorial ambitions in check, but the military superiority it long held may not be enough. When the Pentagon organized a war game in October 2020, an American “blue team” struggled against new Chinese weaponry in a simulated battle over Taiwan.
“The Suicide Squad” should have been a big hit for Warner Bros. last month. It had superheroes, a marquee director (James Gunn), a huge production budget ($185 million) and received terrific reviews. But instead of delivering a box office ka-pow, it went ker-thud: Ticket sales total $156 million (split roughly 50-50 with theaters), compared with $747 million for the first “Suicide Squad” in 2016.
Of course, the latest one had to battle a pandemic. And it was also made available free on HBO Max in lock step with its theatrical debut. On that platform, it was a relative success — at least according to HBO Max, which heralded “The Suicide Squad” as the service’s second-most-viewed movie debut of the year.
But it offered no numbers.
“Paw Patrol: The Movie” (Paramount) was released simultaneously in theaters and on Paramount+ late last month. It took in $13 million over its first weekend, enough for second place behind “Free Guy,” a holdover. But the actual demand for “Paw Patrol” was shrouded. Regal Cinemas, the second-largest multiplex chain in the United States behind AMC Entertainment, refused to play the animated adventure because of its streaming availability. Paramount+ said on Aug. 25 that the movie “ranked as one of the service’s most-watched originals.”
But it offered no numbers.
In contrast, Disney-Marvel released “Shang-Chi and the Legend of the Ten Rings” exclusively in theaters on Friday. Disney’s chief executive had called the old-fashioned release an “experiment.” Would the coronavirus keep people at home?
In surveys in late August of American moviegoers by the National Research Group, a film industry consultant, about 67 percent of respondents said they felt comfortable (“very or somewhat”) sitting in a theater. Disney has cited coronavirus concerns for making films like “Jungle Cruise,” “Cruella” and “Black Widow” available in homes on Disney+ at the same time as in theaters (even though Hollywood has suspected that the real reason — or at least an equally important one — has been helping Disney+).
The crystal-clear result: Audiences flocked to “Shang-Chi,” which was on pace to collect $83.5 million from 4,300 theaters in the United States and Canada from Friday through Monday, according to Comscore, which compiles box office data. Overseas, the well-reviewed movie, notable for being Marvel’s first Asian-led superhero spectacle, generated an additional $56.2 million. “Shang-Chi” cost roughly $200 million to make.
A centuries-old tradition in which women declared themselves men so they could enjoy male privilege is dying out as young women have more options available to them to live their own lives.
Text by Andrew Higgins
Photographs by Laura Boushnak
LEPUSHE, Albania — As a teenager locked in a patriarchal and tradition-bound mountain village in the far north of Albania, Gjystina Grishaj made a drastic decision: She would live the rest of her life as a man.
She did not want to be married off at a young age, nor did she like cooking, ironing clothes or “doing any of the things that women do,” so she joined a gender-bending Albanian fraternity of what are known as “burrneshat,” or “female-men.” She adopted a male nickname — Duni.
“I took a personal decision and told them: I am a man and don’t want to get married,” Duni recalled telling her family.
Few women today want to become what anthropologists call Albania’s “sworn virgins,” a tradition that goes back centuries. They take an oath of lifelong celibacy and enjoy male privileges, like the right to make family decisions, smoke, drink and go out alone.
Ms. Rakipi snorted with contempt when asked about people who undergo transition surgery. “It is not normal,” she said. “If God made you a woman, you are a woman.”
Duni, from Lepushe village, also has strong views on the subject, saying that altering the body goes “against God’s will,” and that people “should be put in jail” for doing so.
“I have not lived as a burrnesha because I want to be a man in any physical way. I have done this because I want to take on the role played by men and to get the respect of a man,” she said. “I am a man in my spirit, but having male genitals is not what makes you a man.”
Locals in Lepushe, including Manushaqe Shkoza, a server at a cafe in the village, said Duni’s decision to become a man initially came as a surprise, but it was accepted long ago. “Everyone sees it as normal,” Ms. Shkoza said.
Duni said she was sad that the tradition of sworn virgins would soon die out, but noted that her niece in Tirana had shown that there were now less drastic ways for a woman to live a full and respected life.
“Society is changing, but I think I made the right decision for my time,” Duni said. “I can’t resign from the role I have chosen. I took an oath to my family. This is a path you cannot go back on.”
The subway train in Zhengzhou, a city of five million in central China, was approaching its next station when the floodwaters began to rise ominously on the tracks. The passengers crowded forward as the water rose, submerging the cars at the rear first because they were deeper in the tunnel.
As the water reached their waists, then chests, finally their necks, the passengers called emergency services or relatives. One gave her parents the details for accessing her bank account. Some cried. Others retched or fainted. After two hours, it became difficult to breathe in the congested air that remained in the cars.
Ding Xiaopei, a radio host, was afraid to call her children, 13 and 4. What could she say? She posted a video that she thought might be her last message. “The water outside has reached this position,” she said, it having reached chest level, “and my mobile phone will soon run out of power.”
“Please save us!” she wrote.
The flood that inundated Line 5 of Zhengzhou’s subway on Tuesday added to the grim global toll extreme weather has taken already this year, with scorching heat in the Pacific Northwest, forest fires in Siberia, and flooding in Germany and Belgium. Although flooding is common in China, researchers have attributed the extreme weather sweeping the planet to the consequences of climate change.
reported. At least one carrying 735 people came to a stop near Zhengzhou and, after more than 40 hours, had run out of food and water. By the afternoon, some passengers were able to leave, while railway workers brought supplies to those still waiting aboard for service to resume.
battled weeks of flooding along the Yangtze River that killed hundreds of people and displaced millions more. The rains at that time filled the Three Gorges Dam to its highest level since it opened in 2003, raising fears that the dam itself could fail.
The government often goes to great lengths to manage information about disasters, sensitive about its history of underreporting casualties. It is quick to limit news coverage and censor blogs and social media sites to mute public dissatisfaction with prevention and rescue efforts.
Some people on Chinese chat platforms and social media sites have raised questions about whether official news outlets in Zhengzhou and Henan Province initially downplayed the flood. When storms struck Beijing recently, the authorities warned people to stay home, but there was no order to shut businesses or schools in Zhengzhou ahead of Tuesday’s heavy rain.
In times of disaster, the country’s state news media often focuses on the efforts of rescue workers, including the military, while playing down the causes of disasters and their damage. A journalism professor, Zhan Jiang, posted a note on Weibo, the social media platform, on Tuesday complaining that a television station in Henan Province continued to show its regular programming instead of providing public safety information.
the news site Jiemian, part of the state-owned Shanghai United Media Group.
By 8:35 p.m., rescuers reached the train and devised a pulley system with ropes to help passengers pull themselves through the floodwaters along a ledge in the subway tunnel. The elderly and injured went first, followed by the women and then the men. State news organizations said that 500 people were evacuated in all.
One man still missing was Sha Tao. When the subway car first flooded, he called his wife and asked her to call the police. She has not heard from him since. She posted a message on Weibo asking people for help, describing his height and weight and the clothes he was wearing.
“I haven’t found him yet,” she said when reached by telephone in Zhengzhou on Wednesday. “I went to several hospitals, but the hospitals didn’t have any information and couldn’t find him. His phone is now off.”
Amy Chang Chien, Claire Fu, Li You, Liu Yi and Albee Zhang contributed research.
an ambitious proposal to cut carbon emissions, how will those who hope to succeed Chancellor Angela Merkel respond?
If only because of their sheer scale, analysts say, the floods are likely to play a significant role for voters when they go to the polls on Sept 26 to replace Ms. Merkel, who has led the country for 16 years.
The death toll in Germany climbed to at least 143 on Saturday, while the toll across the border in Belgium stood at 27, its national crisis center said. The count rose most sharply in Germany’s Ahrweiler district in Rhineland-Palatinate State, where the police said that more than 90 people had died. The authorities feared that number could yet grow.
In Germany, Europe’s largest economy and a country that prides itself on its sense of stability, the chaos wrought by nature was likely to reverberate for months, if not years.
But on Saturday, residents and rescue workers in flood-hit areas faced the more immediate and daunting task of clearing piles of debris, unclogging roads and salvaging some of the homes that had survived the deluge.
Hundreds of people remain unaccounted for, but officials have struggled to offer precise numbers.
Electricity and telephone services remain inaccessible in parts of Germany, and some roads are still impassable. That lack of access may account for the high tallies of those still considered missing. And some of those who are not accounted for could simply be away, on vacation or work assignment. In Belgium, police officers started knocking on doors to try to confirm the whereabouts of residents.
Still, officials said they expected to find additional victims.
Extreme downpours like the ones that hit Germany are one of the most visible signs that the climate is changing as a result of global warming from greenhouse gas emissions. Studies have shown a warmer atmosphere can hold more moisture, generating more rainfall.
Floods of this size have not been seen in 500 or even 1,000 years, according to meteorologists and German officials.
Rhineland-Palatinate was one of the two hardest-hit German states in the west, along with North Rhine-Westphalia. The Rhine River flows through the two regions, and the rain fell so rapidly that it engorged even small streams and tributaries not typically considered flood threats.
Germany’s president, Frank-Walter Steinmeier, traveled on Saturday to the town of Erftstadt, southwest of Cologne, where the flooding destroyed homes. Ms. Merkel planned to travel on Sunday to Schuld in Rhineland-Palatinate, which was badly hit, even as all of its 700 residents managed to survive.
There were scenes of devastation from all around Western Europe, the floods having caused damage from Switzerland to the Netherlands. But Germany was hardest hit.
Days before roiling waters tore through western Germany, a European weather agency had issued an extreme flood warning, as models showed that storms would send rivers surging to levels that had not been seen in hundreds of years.
The warnings, however, did little good.
Though Germany’s flood warning system, a network of sensors that measure river levels, functioned as it was supposed to, state and local officials said the amount of rain was unlike anything they had ever seen, causing even small streams and rivers to flood their banks.
Survivors and officials said many areas were caught unprepared as normally placid brooks and streams turned into torrents that swept away cars, houses and bridges. About 15,000 police officers, soldiers and emergency service workers have been deployed in Germany to help with the search and rescue.
Dr. Linda Speight, a hydrometeorologist at the University of Reading in Britain who studies how flooding occurs, blamed poor communication about the high risk posed by the flooding as contributing to the significant loss of life. “There should not have been so many deaths from this event,” she said.
Residents returning home, only to find their homes no longer there. Roads submerged by landslides. Loved ones still unaccounted for.
As the weather improved on Saturday and rescue workers searched for missing residents, many people in flood-hit areas of Germany were trying to re-establish some order amid the chaos and destruction.
Friends and relatives mobilized to help, maneuvering around blocked roads and washed-out bridges. Crushed cars and mounds of ruined goods were carted away, or piled by the side of muddied, cracked roads.
Many expressed amazement at how so much could have been destroyed so quickly. For Lisa Knopp, 19, who was helping to empty the flood-ruined basement of her grandmother’s home in Sinzig, a small town between the Rhine and Ahr rivers, the scenes of destruction “will stay with me a long time.”
Kim Falkenstein said her mother lost her home in Ahrweiler, one of the hardest-hit spots. Ms. Falkenstein, who was born in Ahrweiler and now lives in New York, said several friends had also lost their homes, and a classmate had died.
“I am heartbroken,” she said.
“Seeing my city being destroyed, people who I am close with losing their existence, and knowing I will never return to something I once called home,” Ms. Falkenstein said, “gives me goose bumps.”
In a country that is among Europe’s most prosperous, where orderliness is highly prized, many Germans were unnerved by the helplessness wrought by nature.
Bertrand Adams, a local official in Trier-Ehrang, a town in western Germany, stared in disbelief at the swirling waters only now receding from his community.
“It is beyond anything that could ever be imagined,” he told ZDF television. “We have a very good flood protection system that we developed only five years ago. We were so certain that nothing can go wrong.”
Daniela Schmitz, who has a ranch in Erftstadt, a town southwest of Cologne, was relieved that her property was not destroyed by the floods and that her horses had been evacuated. Others, she said, weren’t that fortunate.
“We were warned early enough — other stables are not doing so well,” she wrote in a WhatsApp message. “Many animals have drowned, entire stalls destroyed, and feed is becoming scarce. The conditions are really catastrophic in many places.”
On Saturday, German television channels carried wall-to-wall coverage of the flooding, as rescue workers continued searching for those who had been trapped by rising waters, with 143 confirmed dead in Germany and hundreds still missing.
As the official response picked up speed on Saturday, electricity, water and internet coverage were slowly being restored. Hundreds of police, fire and emergency vehicles crammed the roads into the most afflicted areas of Rhine-Palatinate and North Rhine-Westphalia.
BOGNOR REGIS, England — Little has changed in the 40 years that Jean Sheppard has been calling numbers at Crown Bingo here in the heart of Bognor Regis, one of Britain’s oldest seaside resort towns, about 60 miles south of London. The regulars still line up before the doors open at 11 a.m., hoping to nab their upholstered seat of choice in a converted cinema built in the ’30s.
When the games begin, there are no distractions.
“We had an elderly lady here once whose family came to tell her that her husband had passed away,” Ms. Sheppard recalled recently. “And this woman said, ‘Well, there’s nothing I can do for him now,’ and kept right on playing.”
The other constant over the years is the decline of Bognor Regis. Like most of the country’s seaside resorts, the town’s heyday in the ’50s and ’60s is the stuff of dim memories. Bognor and its many rival destinations — Brighton, Hastings, Margate, Skegness, Blackpool and others — once thronged with summer travelers who packed the beaches, seafood shacks and amusement arcades in search of a good time and, for those lucky enough to encounter a cloudless sky, a tan.
Then in the 1970s came the rise of cheap jet travel and overseas package tours. For the same price as a trip here, a family could fly to the beaches of Spain, where blazing sunshine was essentially guaranteed. The resort towns of Britain went into an economic free fall from which they have never recovered.
“Pubs have shut down, theaters have shut down, lots of buildings were knocked down,” said Ms. Sheppard, speaking after her shift on Sunday evening. “There’s been talk about regeneration for years, but nobody seems to know how to do it.”
Now, the limitations imposed by the pandemic are succeeding where all else has failed — at least for the moment. Government-imposed air travel restrictions and warnings have curbed the national appetite for overseas trips. Brits are still allowed to fly to Spain, and elsewhere in Europe, but unless you’re heading to Gibraltar — where infection rates are low — you must quarantine for 10 days after returning home and pay for two Covid-19 tests.
This past week, the British health secretary, Matt Hancock, said the policy would soon be revisited and liberalized. That good news was offset by Chancellor Angela Merkel of Germany and Prime Minister Emmanuel Macron of France, who on Thursday urged all countries in the European Union to require British travelers to quarantine upon arrival.
So towns like Bognor Regis are getting a second look. There were more than 180 new players last week at Crown Bingo, said Jenny Barrett, the assistant manager. And for the first time in decades, hotels here are reporting occupancy rates well above 90 percent.
“This weekend we’re at 95 percent,” said André Gonçalves, a manager at the Beachcroft Hotel. “And our prices are up about 20 to 30 percent.”
The owner of the mini golf course right next to the beach-side promenade, Paul Tiernan, is relishing the payoff from a renovation during the height of the pandemic. He refurbished and cleaned the whole course, in part because during lockdown there was nothing else to do. Lately, on weekends there has been a waiting line that extends around the corner and down the street.
“British seasides are having a massive renaissance, everywhere you go,” he said. “Everyone is just filling their boots.”
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Mr. Tiernan sat in a chair near the edge of the first hole of his course, directly in the line of fire of any overzealous putters. He moved to Bognor Regis 50 years ago, as a child, which makes him just old enough to have glimpsed the last vestiges of the town’s halcyon days.
“There was a pier over there,” he said, pointing across the street. “Honest to God, it was beautiful. Right at the end there was a pavilion. And there was a theater there.”
Today, the pier is short and looks hazardous. Across a different street stands an empty lot with nothing but debris from a building that burned down four years ago under what Mr. Tiernan called dubious circumstances.
It’s all a long slide from the days when Bognor was prestigious enough to serve as a place for King George V, Queen Elizabeth’s grandfather, to convalesce after lung surgery in 1929. The royal connection was memorialized when “Regis,” Latin for “of the King,” was added to the town’s name. But its most famous link to the monarchy is the story — surely as false as it is amusing — that his last words were an alliterative, impolite put-down of Bognor, uttered after aides suggested that he’d soon be well enough to return. (Polite version: “I don’t want to go to Bognor.”)
James Joyce left behind kinder impressions after a stay here in 1923. “The weather is very fine and the country here restful,” he wrote to a patron. Joyce scholars believe he picked up the improbable name of the lead character of “Finnegans Wake,” Humphrey Chimpden Earwicker, from a nearby cemetery.
The flow of out-of-towners picked up when entrepreneur Billy Butlin opened his second Butlin’s Holiday Camp here in 1960, bringing his vision of a family vacation, filled with vigorous activities and all-inclusive buffets, to the south of the country. Today, the Butlin’s here is one of only three originals still in operation, and it is curiously walled off from the rest of town. A fence stands between the ocean and the Butlin’s campus, which features a gleaming, massive structure that looks like a circus tent from the future.
The logic of a beachside holiday camp with little access to the beach, designed around indoor amusements, seems baffling. Until it starts raining, which it did often last weekend. Bognor boasts that it’s the sunniest place in the United Kingdom, a title claimed by other towns as well. Even when it’s sunny, though, the beach here is not exactly inviting. It’s made of small stones, which are comfortable to lay atop only if you bring a futon.
The water rarely gets much above 60 degrees, a temperature described by the National Center for Cold Water Safety as “very dangerous.”
“We all have wet suits,” said Sara Poffenberger, a Brit who was toweling off with her son and grandson. “But lots of British people will swim without wet suits and tell you the water is boiling.”
The beaches here helped Bognor Regis earn the title of worst U.K. seaside resort in a 2019 survey of 3,000 holidaymakers. Bognor and the fellow bottom dweller Clacton-on-Sea received low ratings for their “attractions, scenery, peace and quiet and value for the money,” the publication found.
Reviews like this explain why even optimists believe Bognor’s boomlet is unlikely to last. Business owners here understand that they are banking the upsides of what could most charitably be described as exceptional circumstances. Someday soon, normal will return.
“Next year, every man and his dog will go abroad,” Mr. Tiernan said, sitting at his mini golf course. “But next year is next year, so I’m enjoying the moment.”