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Anyone with holidays planned needs to know the rules before they fly

Getting your boarding pass sorted is one of the first things to clear before jetting off on holiday, but some Brits risk being caught out at the check-in desk by overlooking a rule certain airlines have introduced. It is essential to know whether your documents need to be in a specific format to pass through the airport smoothly.

Previously, most UK carriers left it up to passengers to choose between printing boarding passes at home or having them on smartphones at the airport. However, it’s important to understand what your airline now allows, as failing to do so could put your entire trip in trouble.

Paper boarding passes are steadily being phased out in favour of digital options. Most airlines now issue tickets via email, apps, or other methods rather than paper.

In many instances, travellers can still print their passes at home or at the airport. It’s advisable to verify your airline’s specific policies (both outbound and return) beforehand, according to the Express.

Ryanair

Budget airline Ryanair has switched entirely to digital as of November 2025. Passengers travelling with the carrier will receive their boarding pass electronically via the Ryanair app once check-in is complete.

On its website, the airline states that its digital boarding passes “get rid of 300 tonnes of paper annually” and contribute to “lower airport costs and fares for all Ryanair passengers”.

Discussing check-in, Ryanair say that all “passengers will still receive email reminders to check-in online 48 and 24 hrs pre-departure. If any passenger arrives at the airport but hasn’t checked in online (having ignored these reminders), they will still be required to pay the airport check-in fee.”

Ryanair added that “special assistance is available at all airports” for travellers requiring support with digital passes and check-in. Full details can be found here.

EasyJet and WizzAir

For most flights, airlines such as easyJet accept digital tickets. EasyJet does not accept PDF scans displayed on phones, and all digital tickets must be presented via the free EasyJet app. Certain non-UK airports continue to require printed passes.

As of 2026, 21 airports in the easyJet network do not currently accept mobile boarding passes. If you are returning to the UK from any of these locations, you will need to print your boarding pass on paper:

• Egypt: Hurghada (HRG), Luxor (LXR), Marsa Alam (RMF), Cairo Sphinx (SPX), Sharm El Sheikh (SSH)
• Morocco: Agadir (AGA), Essaouira (ESU), Marrakesh (RAK), Rabat (RBA), Tangier (TNG)
• Turkey: Izmir (ADB), Antalya (AYT), Bodrum (BJV)
• Tunisia: Djerba (DJE), Enfidha (NBE)
• Other Regions: Aqaba, Jordan (AQJ), Belgrade, Serbia (BEG), Pristina, Kosovo (PRN), Tirana, Albania (TIA), Ivalo, Finland (IVL) and Sitia, Greece (JSH)

A handful of airports that handle Wizz Air flights also do not support mobile passes, though there are just five such destinations, as of 2026:

• Agadir (AGA)
• Marrakesh (RAK)
• Cairo Sphinx (SPX)
• Zaragoza (ZAZ)
• Tirana (TIA)

What about other major UK airlines?

For those flying with other carriers, it is best to check your airline’s website to determine whether a specific policy applies. Rules are larely the same but may vary from location to location.

• British Airways: Allows printing at home or at airport kiosks. Digital passes are available via the BA app.
• Jet2: Supports both physical and digital tickets. You can print from “Manage My Booking” or use the Jet2 app.
• TUI: Both printed and digital passes are accepted.
• Virgin Airways: Although the airline “highly recommends” digital, printed copies are accepted, and kiosk printing remains available at major hubs like London Heathrow and Manchester.

Firefighters battled a fire Sunday that erupted in the early morning and remained active well into the afternoon at a downtown L.A. office supplies store.

Roughly 120 firefighters were called about 4 a.m. to the two-story building with a mezzanine at 1225 S. Hope St. near West Pico Boulevard. Upon arrival, firefighters encountered heavy smoke and flames. One firefighter suffered minor injuries in the battle and was hospitalized.

Firefighters transitioned from offensive to defensive mode and used a remote-suppression robot to enter the building, LAFD spokesperson Jennifer Middleton said. Arson and emergency air units also were requested.

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1. Firefighters battled a fire Sunday that erupted in the early morning and remained active well into the afternoon at a downtown L.A. office supplies store. (Kayla Bartkowski/Los Angeles Times)

The blaze was initially contained by 5:52 a.m., but the building’s contents rekindled, said LAFD Battalion Chief Peter Hsiao.

About 10 a.m., firefighters were “trying to remove paper from the building to stop it from catching on fire,” Hsiao said.

By 10:30 a.m., the building’s roof had collapsed, according to Times photographer Kayla Bartkowski, who was at the scene. Thirty minutes later, the building was again engulfed in flames.

At 1:30 p.m., firefighters were trying to contain the blaze by using a forklift and heavy machinery to pull boxes of office supplies and pallets of paper out of the building, then spraying it all down with water.

Firefighters on the roof also were spraying the fire to prevent it from spreading, she added.

A blaze was reported at about 4 a.m. in downtown L.A. at 1225 South Hope St.

(Kayla Bartkowski / Los Angeles Times)

The address is associated with Bluebird Office Supplies. A voicemail left for a number listed for the business owner was not immediately returned.

No one was inside the building at the time of the blaze, Middleton said.

The cause of the fire is under investigation.

Most Angelenos know Frank Gehry as the rebel architect whose deconstructivist buildings reinvigorated L.A. amid its late-century identity crisis.

Fewer know him as the sentimental sculptor celebrated in Gagosian Beverly Hills’ upcoming “Frank Gehry” exhibition, the first to showcase Gehry’s work since his death in December. Curated by those who worked with and loved the famous architect, the show, scheduled to open May 14 and run through June 27, is equal parts tribute and art presentation. It will feature several of Gehry’s animal-themed sculptures, including a rarely seen stainless steel bear figure, on loan from the artist’s family.

The exhibition will also include the first public screening of Gehry’s entry in Gagosian Premieres, a series of videos by the gallery showcasing new art exhibitions through a mix of intimate artist interviews, studio visits and specialized musical performances.

By spotlighting Gehry’s artistic practice rather than his design ouevre — which includes Walt Disney Concert Hall, Guggenheim Museum Bilbao and Fondation Louis Vuitton — the exhibition reveals a different side of the late visionary, said Deborah McLeod, senior director at Gagosian Beverly Hills.

“I wouldn’t say it’s a retrospective, but it is a chance to stand in the room and be with him,” McLeod said, adding that she “wouldn’t have the hubris to say this is going to offer anybody closure,” but that she hopes it will help people — especially those who worked closest with Gehry — to process his loss.

“Everybody is kind of raw and missing Frank, and it’s just a chance to come together and do this again as his team,” she said.

McLeod curated the exhibition alongside Meaghan Lloyd, chief of staff and partner at Gehry Partners, whom the director said “really speaks for Frank.” Gehry‘s studio will design the show, which was realized in collaboration with the artist’s family.

“We didn’t get a chance to put one in the gallery proper. Every time we’d make one, it would get sold,” Deborah McLeod said about Frank Gehry’s bear sculptures.

(© Frank O. Gehry. Photo: Benjamin Lee Ritchie Handler / Courtesy Gogosian)

The highlight of the Gagosian exhibition is an artist proof of “Bear with Us” (2014), which the gallery lifted out of Gehry’s wife Berta Aguilera’s garden with a crane. Another edition of the bear sculpture is on view at the New Orleans Museum of Art, but at Gagosian, the work for the first time will be on view as part of an exhibition.

The stainless steel figure has a crumpled appearance that many believe is the result of Gehry balling up a piece of paper and seeing the bear in the crumple, although McLeod said Gehry told her himself that wasn’t true. The director added that the bear’s form gives the illusion of something “coming into being or dissolving.” The sculpture will likely have the Gagosian’s north gallery completely to itself.

“We’re really going to give him his due,” McLeod said. It was only right for a piece that, to her, reads as Gehry’s “self-portrait.”

A handful of other animal-themed sculptures will populate the south gallery, including a glowing black crocodile, gouache-painted papier-mâché snake lamps, and “Fish on Fire” (2023), the last of Gehry’s fish sculptures to be rendered in copper. Illuminated within the darkened gallery, the pieces will have a “magical” flair, McLeod said.

The first fish sculptures Gehry made in the ’80s were contained, even still. But when he returned to the fish form 30 years later, Mcleod said, “they started to become actually Baroque, so that’s kind of neat to see that evolution.”

Rounding out the exhibition are a series of ink, watercolor and acrylic works on paper that “express the energetic motion of fish in networks of black line and clouds of color,” a news release said.

A portion of the pieces in the exhibition will be available for purchase, with a detailed checklist to come.

The first Frank Gehry Fish Lamps were exhibited in 1984 at Gagosian in Los Angeles.

(© Frank O. Gehry. Photo: Robert McKeever / Courtesy Gagosian)

Gehry’s designs breathed life into the city’s core, but he didn’t get to finish a number of his most exciting plans, including one to transform the 51-mile-long L.A. River.

And while his architecture was his great gift to his adoptive hometown — his art was his gift to himself.

“As one of the busiest architects in the world, imagine the math and the minutiae that you have to go through,” McLeod said, noting the enormous pressure from clients that Gehry must have felt in his daily practice.

“For him, just to make something the shape he wants to make it, plug it in … I know it was a huge relief for him,” she said. “I know how much he loved doing it, and I loved being a part of that part of his life.”