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Flights are fuller than ever with UK load factors reaching 85-90%, increasing the risk of passengers being ‘bumped’ from overbooked planes during the busy February half-term break

Within just a few weeks, thousands of British families will be jetting off during the February half-term break, with airports bracing themselves for exceptionally high passenger volumes. However, holidaymakers have been cautioned about possible travel chaos during this period, as flights are operating at peak capacity.

The aviation sector is experiencing unprecedented growth, with more aircraft taking off each year to whisk passengers away to sought-after destinations. The industry has witnessed remarkable expansion in its scale, capabilities, and global connectivity, showing no indication of easing off.

Last summer proved particularly remarkable, with over 90 million travellers passing through UK airports between July and September alone – the busiest three-month stretch ever recorded, according to figures from the UK Civil Aviation Authority. Furthermore, ACC Aviation reports that a staggering 3,593 new flight routes were introduced across various carriers throughout 2024 and 2025 to meet surging passenger demand.

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Despite February half-term being a considerably shorter holiday window, flights are still anticipated to be jam-packed as families escape abroad for a winter getaway. Yet lurking behind this travel boom could be an unseen hazard for passengers, as aircraft are being booked out more heavily than at any point previously.

Figures from the International Air Transport Association (IATA) published last week showed that the global passenger load factor – the proportion of available seats occupied by travellers – hit an all-time high of 83.6 per cent in 2025, marking a 5.3 per cent increase. Breaking down the statistics, European carriers recorded a load factor of 84.1 per cent, whilst UK airlines routinely surpassed 85-90 per cent, according to Air Advisor, reports the Express.

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Looking ahead, travel demand in 2026 is projected to climb further, meaning more than 83 out of every 100 seats could be taken, leaving minimal spare capacity. This not only complicates rebooking cancelled flights but may also see passengers denied boarding at airports altogether.

Carriers routinely overbook flights to offset no-shows, however when capacity runs high, this practice can trigger significant issues. Air Advisor highlighted that if a carrier anticipates 10 per cent of passengers won’t turn up and overbooks accordingly, but only 5 per cent actually miss their flight, it could end up with more passengers than available seats.

Furthermore, airlines may struggle to accommodate all confirmed passengers if they deploy a smaller aircraft than originally scheduled. With aircraft fuller than ever before, the likelihood of overbooking incidents has substantially increased.

This means certain passengers could find themselves being asked – or even compelled – to surrender their seat on the aircraft. According to the Civil Aviation Authority (CAA) website: “If this happens to you, it means you have been ‘bumped’ from your flight. It is also called ‘denied boarding’. Often, you can volunteer to be bumped, but sometimes airlines will bump you without your agreement.”

However, passengers who voluntarily agree to be ‘bumped’ will receive compensation from the airline, ranging anywhere from £110 to £520. Furthermore, travellers – whether they volunteered or were involuntarily ‘bumped’ – will be provided with either a refund or an alternative flight, though the wait time for the next available departure can differ based on flight availability.

The increased appetite for travel, resulting in fuller planes, also creates additional challenges. It becomes significantly more difficult to secure an upgrade, reduces the number of available empty seats, and can occasionally affect last-minute bargains.

To minimise the risk of being ‘bumped’, holidaymakers are encouraged to check in online as soon as it opens, choose their seat in advance and turn up at the boarding gate with time to spare.

Do you have a travel story to share? Email webtravel@reachplc.com

In “Vanished,” premiering Friday on MGM+, Kaley Cuoco plays Alice, an archaeologist, a fact she repeats whenever she’s asked about herself, without particularly seeming like one, apart from passing mentions of Byzantine caves and “one of the earliest examples of Christian worship” to make her sound professional. Sam Claflin plays Tom, who works for a charity organization dealing with Syrian refugees in Jordan; in a flashback we get to see them meet cute on a dusty Jordanian road, where he has a flat tire and no spare. Alice gives him a lift to camp; they banter and flirt after a fashion. He does something heroic within her sight.

They have been long-distance dating for four years, meeting up, as Alice describes it, “in hotels all over the world” where they “actually want to have sex with each other all the time.” Currently they are in Paris (in a $500-a-night joint — I looked it up). But Alice, now working in Albania, has been offered a job as an assistant professor of archaeology at Princeton, which would allow her to settle down with Tom in a school-provided apartment and “build a life that’s mine, not just uncovering other people’s.” After an uncomfortable moment, he signs on, saying, “I love you, Alice Monroe.”

Would you trust him? Despite the script’s insistence otherwise, Cuoco and Claflin have no more chemistry than figures on facing pages in a clothing catalog. Fortunately for the viewer, Tom disappears early from the action — ergo “Vanished.” The couple are traveling by train down to Arles, where another hotel awaits them, when Tom leaves the car to take a call and never returns; nor can he be found anywhere on the train.

This happily makes room for the more interesting Helene (multiple César Award winner Karin Viard), a helpful Frenchwoman who steps in as a translator when Alice attempts to get an officious conductor to open a door to a room he insists is for employees only, and rules are rules. (Is he just being, you know, French, or is something up?)

They meet again when Alice gets off the train not in Arles but Marseilles; after she has no more luck with police inspector Drax (Simon Abkarian), who insists a person isn’t missing until 48 hours have elapsed, than with the conductor, she’ll turn to Helene again, who has the advantage of being an investigative reporter. (She’s also been made diabetic, which has no effect on the action other than halting it now and again so she can give herself, rather dramatically, a quick shot of insulin. Like Drax begging off because he’s late meeting his wife for an Alain Delon double feature, it’s a tacked on bit of business meant to suggest character.) Together they’ll ferret out and follow clues, as Alice comes to realize that it takes more than the occasional gauzy romantic getaway to really know a person, and Helene gets closer to nailing a big story.

Directed by Barnaby Thompson, whose credits are mostly in producing (“Wayne’s World,” “Spice World”), and written by his son, Preston — together they made the 2020 film “Pixie” — the series begins with a flash forward in which Alice flees for her life out an upper-story window, signifying action ahead. And indeed, there will be, leading to a climactic scene I don’t suppose was meant to make me laugh, but did, magnifying as it does one of the confrontational cliches of modern cinema. Many of the series’ notions and plot points (though not that particular one) may be found in the works of Alfred Hitchcock — who, you may remember, made a film called “The Lady Vanishes,” from a train yet — though they have been given new clothes to wear. But where Hitchcock never waited long to show you when a character wasn’t what they seemed, that information is held on here nearly to the end, with some added twists along the way to keep you confused.

Cuoco (unusually brunet here), has been good in many things, most notably her funny, winning turn as Penny across 12 seasons of “The Big Bang Theory” and more recently as the hallucinating alcoholic heroine of the “The Flight Attendant,” but she feels out of joint here. She’s not well served by the pedestrian direction and dialogue, but comes across as a person playing a person, rather than as the person she’s playing. Perhaps by virtue of their accents, the French actors feel more real; France, as usual, looks great.