stopped

Former Formula 1 boss Bernie Ecclestone has denied being arrested at an airport in Portugal after arriving with a shotgun he intended to use in a clay pigeon shooting competition.

Ecclestone, 95, said he was stopped and questioned by four police officers and customs officials at the Tires Aerodrome in Cascais on Monday after arriving from Switzerland.

The British businessman told the Press Association he had to “surrender” the weapon he travelled with as he did not have the right documents to correctly import it.

Ecclestone, who was in charge of F1 for nearly 40 years until 2017, said the Portuguese police were “very helpful” and rejected reports he had been arrested.

“I was going to take part in a clay pigeon shooting competition in Portugal,” said Ecclestone.

“I went to see the police and said, ‘What can I do for you?’ And they said, ‘We would like some information on this gun you brought in’.”

Ecclestone added he had already taken his shotgun from England to Switzerland and said he anticipated no problems as the airport officials know him “very well”.

However, on arrival he was questioned by police for about an hour and was asked to hand over the weapon as he did not have the official documents to bring it into the country.

The incident marks the second time Ecclestone has encountered airport issues regarding firearms. In 2022, he was arrested in Brazil for illegally carrying a gun while boarding a private plane to Switzerland and was ordered to pay 6,000 Brazilian reals (£1,000) to the local authorities.

DID you know that a drastic change to your appearance could get you stopped at the border?

Even something as simple as a haircut could result in extra questions if you look unrecognisable.

Experts at MoneySuperMarket used footballer Erling Haaland as an example following his recent hairstyle change.

The Norwegian sportsman has been called ‘unrecognisable’ after trading in his long blond locks for a buzzcut.

But a change so drastic could result in travel trouble.

Alicia Hempsted, Travel Insurance Expert at MoneySuperMarket said: “Haaland’s new haircut is a perfect example of how much a simple change in appearance can make you look totally different.

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“While changing your hairstyle does not automatically mean that you need a new passport, looking substantially different from your passport photo could lead to additional checks when boarding a flight or arriving at border control.

“Changes such as growing or shaving off significant facial hair, a major change in hairstyle or colour, or substantial weight loss or gain can all alter the way you look.

“If your appearance has changed significantly since your passport photo was taken, it’s worth checking the latest government guidance well before your trip. This gives you time to replace your passport if necessary, rather than discovering a potential issue when you’re already travelling.”

In another case, one woman was almost stopped from boarding because she looked so different to her passport photo.

In her document, Alisha Maria, an LA beauty blogger had a full face of makeup and a fringe.

But didn’t look the same while travelling ditching her full glam look for no makeup and having her hair up.

In a TikTok video she said: “They almost didn’t let me on my flight because they said I don’t look like my passport.“

In her comments, others had added that they had similar experiences.

One wrote: “They almost didn’t let me back into the US from Australia because I didn’t look like my passport photo and my drivers license had expired.”

Another added: “I had the same issue! I missed my flight due to questioning.”

Passport Rules

Everything you need to know about passports

Hrgovic – wearing the red and white checks of his country – made his entrance first to a wall of boos, before the mood inside the O2 Arena flipped as Itauma emerged to a huge roar – taking his time and soaking up the reception.

The crowd had made its allegiances clear after a fiery build-up which included Itauma shoving Hrgovic, the Zagreb man slapping him back and plenty of verbal sparring.

Itauma came out with real intent, landing straight lefts from his southpaw stance. Hrgovic is known for his durability but struggled to keep pace with the Briton’s speed early on.

Early in the second, a right hook knocked Hrgovic off-balance and his glove touched the canvas. Oasis star Noel Gallagher and boxing legend Prince Naseem Hamed were among those watching as the crowd gasped at almost every Itauma punch, whether it landed or not.

But by the end of the third, Itauma – who had boxed just 26 professional rounds before his first world-title fight – was already breathing heavily.

There had also been questions over his chin, simply because it had never really been tested. Hrgovic began landing the occasional heavy shot but Itauma took them well and fired straight back.

A fight in the crowd momentarily took attention away from the action in the fifth before an Itauma uppercut in the closing seconds brought the focus back to the ring.

Itauma continued to fire combinations but Hrgovic was barely budging. A huge right landed on the bell in the sixth and another followed in the seventh, yet the Croatian simply walked through them.

The Briton was well ahead but, rather than box his way towards victory, he continued to chase the knockout. A flurry in the eighth backed Hrgovic on to the ropes and had him in trouble, but Itauma was grimacing between exchanges and looking increasingly spent.

By now the danger was clear. Hrgovic came out with renewed purpose in the ninth and landed a thudding right which sent Itauma staggering backwards, almost through the ropes.

The youngster somehow stayed upright but his legs had gone. Hrgovic continued to press and when Itauma slumped into his corner, exhausted and barely able to defend himself, referee Howard Foster waved off the contest as the towel came in.

It was a television show tailor-made for Los Angeles: a highly anticipated Netflix crime drama about a team of ex-special forces operators who outsource their skills to criminals in the city.

The production was backed by a prominent indie studio and had a critically acclaimed lead actor attached. And with a budget of more than $100 million and a crew of 350, the series seemed like a shoo-in for California’s film tax and TV credit.

But last month, shortly before filming was set to begin, producers were stunned to learn the film didn’t make the cut based on a formula the state uses to rank projects by the number of jobs they produce and their spending levels. After two applications for a tax credit had been rejected, they opted to shoot the series in New Jersey, where it was much easier to qualify for film incentives.

“We were shocked,” said a producer on the project who declined to be identified because of the sensitivity of the matter. “This is the birthplace of entertainment. It shouldn’t be so hard to shoot here.”

Despite improvements to the state’s tax incentive program, Los Angeles and California continue to struggle to keep movies, television series and even game shows from fleeing elsewhere. Production levels have failed to bounce back since the pandemic and the labor strikes by writers and actors, and they remain at historic lows.

Film activity in the L.A. region plummeted in the second quarter of this year, with shoot days for feature films and TV productions falling 20% and 30%, respectively, compared with already anemic levels from a year ago, according to FilmLA.

The fallout has been devastating for local film crews and businesses. L.A.’s signature industry has shed some 57,000 jobs in the past four years, while more than 80 film and television production services businesses have closed since 2022. The production crisis has even become a political flashpoint alongside affordability, crime and homelessness in the race for mayor and governor.

The story of how L.A. steadily lost much of its homegrown industry to other locales is a tale of hubris, escalating costs, political inaction and fierce competition from states and countries hungry for a piece of the Hollywood pie. California eventually adopted a very limited film tax credit plan in 2009, but even then production had already gone elsewhere.

Filmmaker Jonathan Nolan, on the set of “Fallout,” has been at the forefront of efforts to keep Hollywood at the center of the entertainment industry.

(Lorenzo Sisti / Prime Video)

This account is based on interviews with more than a dozen producers, studio executives, lawmakers and film industry veterans.

Despite warning signs that runaway production was causing an exodus of talent and jobs, many took for granted that L.A. would remain the epicenter of film and television.

Film activity in Los Angeles has plummeted to historic lows, with devastating consequences for crews and vendors. This series examines how L.A. lost its dominant perch as a film and TV destination and what can be done to bring Hollywood back home.

“I’ve been around long enough … to realize that things kind of die slowly and then they die quickly,” said Jonathan Nolan, a writer, director and producer, whose credits include the HBO series “Westworld” and “Fallout” on Amazon.

Nolan, who championed efforts to get the state to expand its tax incentives, lamented that L.A. once “stood in for everywhere. Now L.A. doesn’t even stand in for itself.”

‘The X-Files’ and the birth of Hollywood North

Like the fall of Rome and the decline of Detroit, Hollywood’s spiral did not happen in a single day, but rather unfolded over decades.

Before World War II, Los Angeles’ production hegemony was uncontested. An abundance of sunny weather and a range of landscapes, along with highly skilled artisans, from set designers to scenic painters, re-created the entire world on Hollywood soundstages and backlots.

That began to change during the late 1940s and early 1950s when studios broke with tradition and filmed abroad, attracted by Europe’s cheap labor and the desire among directors for more realism in movies.

William Wyler’s 1953 classic “Roman Holiday,” starring Audrey Hepburn and Gregory Peck, was one of the first, shot entirely overseas on the streets of the Italian capital and at Cinecittà studios.

Still, as productions went on location, often for creative reasons, Hollywood remained the center of entertainment gravity.

“Roman Holiday,” starring Audrey Hepburn and Gregory Peck, was one of the first big American studio films to be shot entirely overseas.

(Paramount Pictures)

In 1993, when there were four broadcast networks, cable TV relied on set-top boxes and streamers were, well, party decorations, a relatively unknown television writer named Chris Carter began pre-production on a new supernatural drama series that he had created.

For the pilot’s opening scenes, he needed a forest, one that was dark and moody. There, a terrified teenage girl would be filmed fleeing before she was consumed by a blinding flash of light and then found dead, bearing unexplained marks on her body.

“It became clear that not only were there not great forests in the ‘zone,’” said Carter, referring to the 30-mile-zone (TMZ) around L.A. that producers try to shoot within to avoid mandatory union surcharges. “But there were better forests in Vancouver.”

As it happened, during the 14-day shoot, Carter, who was working with a tight budget, discovered that Vancouver supplied numerous benefits.

The grim weather naturally provided a spooky atmospheric backdrop while the city “beautifully doubled for almost any place in the U.S. without having to pretend too much,” he said.

Carter’s pilot became “The X-Files,” the wildly popular and groundbreaking 1990s TV series that ran for nine seasons (plus two revival seasons), redefined the science fiction genre and spawned two feature films.

The success of “The X-Files” propelled Vancouver’s reputation as “Hollywood North.”

(Associated Press)

“As David Duchovny said, ‘two weeks became five years,’” quipped Carter.

While other productions such as “Wiseguy” had filmed in British Columbia years earlier, “The X-Files” unintentionally cemented Vancouver’s reputation as “Hollywood North,” fueled by Canada’s favorable exchange rates, skilled crews, lower labor costs and, eventually, tax credits.

The show’s colossal success helped create the model still in play 33 years later for outsourcing movie and television production to regions where tax incentives are higher and production costs are lower.

“It was simply a choice I made for the location, not for the financial benefit,” said Carter. “It wasn’t part of my calculus, but it ended up being a fact of life.”

Throughout the 1990s a steady stream of TV shows and movies shot in Canada. The 1994 adaptation of “Little Women” starring Winona Ryder was largely filmed in Vancouver, with a stand-in for Orchard House, Louisa May Alcott’s home in Concord, Mass., built in a local forest.

But, at the time, few saw what was happening as an existential crisis in the making.

For one thing, L.A. was in the midst of a production boom, prompting the development of the $77-million Manhattan Beach Studios, a 22-acre production facility in 1996. (The studio is now fielding offers by its bank lenders after its owner, the real estate investment firm Hackman Capital Partners, defaulted on over $2 billion in mortgages on several studio facilities it had acquired in recent years.)

Losing the ‘golden goose’

Canada’s booming film business inspired other U.S. states to get in on the action. Louisiana became the first to pass a film tax incentive, enhancing it in 2002; New Mexico and Georgia followed with their own programs.

Helping to fuel the film tax credit frenzy was none other than the Motion Picture Assn. The Washington, D.C.-based advocacy group for the major film studios and streamers for years aggressively lobbied lawmakers and even governors in other states to adopt their own film programs.

Eventually, nearly 40 states and some 80 countries and territories were offering film incentives in the form of transferable tax credits, grants or rebates.

“Everybody thought, ‘We are Hollywood. Why do we have to do anything?,’” said Lori Balton, a top location manager, whose list of credits spans nearly 40 years and includes such films as “Heat” and “Once Upon a Time in … Hollywood.”

“They always thought that they had the golden goose. And it was going to keep laying eggs and instead, it packed up its bags and moved.”

Earlier this year, while speaking at Burbank City Hall chambers, Sen. Adam Schiff (D-Calif.) dropped some sobering data: 45% of all U.S. films and scripted television shows were shot abroad in 2025, up from 33% in 2022.

Like most filmmakers, Miles Millar would prefer to work in Los Angeles, where he lives, but he hasn’t done so for 25 years, since he was a co-producer and writer on the CBS action series “Martial Law.”

“It is not financially viable to shoot the kinds of shows we do here,” said Millar, whose work includes “Smallville” and “Beetlejuice Beetlejuice.”

It was too expensive to film in Los Angeles, so the Netflix hit “Wednesday” shot its first season in Romania before relocating the show to Ireland.

(Netflix)

When Millar and his “Wednesday” co-creator and co-showrunner Alfred Gough began pre-production on the first season of the Netflix hit series about five years ago, L.A. as a location wasn’t even discussed.

They settled on Romania. Tim Burton, “Wednesday’s” executive producer and primary director, “loved the idea,” said Millar, noting that the director was predisposed to its gloomy and gothic wonders, having once visited Dracula’s castle in a Transylvanian mountain village with rocker Alice Cooper.

“We built the whole town of Jericho and six standing sets at a huge scale. There was no way you could even begin to construct the level and scale of sets that we did, in L.A.,” he said. “We’re talking about the difference of tens of millions of dollars.”

Still, the former Eastern Bloc country had its challenges. The crew didn’t speak English and its promised tax rebates never materialized.

When “Wednesday” was picked up for a second season (it is now filming its third), the show moved to Ireland, where it received more than $23 million in tax credits last year, according to the country’s Tax and Customs office.

“The last thing I want to do is shoot thousands of miles away from my family for nine months, year after year,” Millar said. But it has come down to “where do we get the most bang for the buck?”

Outsourcing scores and VFX

Other critical components of filmmaking, including visual effects and musical scoring, have also been outsourced over several years.

L.A. was once home to 18 film scoring stages that could accommodate full symphony orchestras. Today only three remain, driven away partly by high labor costs and cheaper overseas competition.

Similarly, many visual effects studios have moved elsewhere. Vancouver alone has dozens of visual effects studios, including Sony Pictures Imageworks and a major branch of Industrial Light & Magic.

“We’ve allowed that piece of the market to leave,” said Marielle Abaunza, president of the California Post Alliance, an advocacy group backing a state bill offering post-production firms their own tax breaks, similar to what New York offers.

“For 16 years, places like New York have slowly been building up their talent, their facilities, their relationships with filmmakers and their relationships with studios,” Abaunza said.

Even as other states and foreign governments invested in their own film industries and began luring away productions from California, lawmakers in Sacramento were initially skeptical of giving tax breaks to producers. Some critics saw them as little more than a handout that diverted resources from more pressing needs such as healthcare and education.

“If you’re on the outside looking in, there is this false sense that everyone who works in Hollywood has to be rich whether you’re crew or not,” said Amy Baer, a producer and former Sony executive who now runs Artists Equity, Ben Affleck and Matt Damon’s production company.

As production losses mounted in L.A., a coalition of labor and industry groups lobbied then governor and actor Arnold Schwarzenegger to take action.

Schwarzenegger, a longtime champion of tax credits, was able to get a program passed as part of an economic stimulus provision of the state’s 2009 budget. It was dubbed “The Ugly Betty” bill, named after the ABC show that had relocated from L.A. to New York.

Though hailed as a significant step, the new film sweeteners had some key limitations. The pool of money was small — capped at $100 million annually over five years. And it couldn’t be applied to offset the cost of actors’ salaries, a key driver of budgets.

In reality, the program was too small and restrictive to compete with a growing crop of rivals that had larger tax breaks and fewer restrictions.

Chief among them was the United Kingdom, which soon began to attract a number of big-budget movies thanks to a hugely popular 25% cash rebate on production expenses, including money spent on actors’ salaries and other above-the-line costs.

In a paradigm-shifting move, Warner Bros. purchased Leavesden Studios outside of London in 2010, investing more than $160 million into the facility. Much of the blockbusters “Wonder Woman” and “Barbie” were filmed there.

Although the California program was tripled to $330 million annually starting in 2014, it did little to halt the continued exodus of film work. Marvel Studios began moving its production operations to Georgia, enticed by the state’s uncapped tax credits that could be used for actors’ salaries. Both “Black Panther” and “Avengers: Infinity War” were filmed largely at Trilith Studios in Fayetteville, Ga. Another historic town east of Atlanta attracted so many movies and TV shows it became known as “Hollywood of the South.” (Last year, Marvel shifted most of its operations to the U.K. in search of even bigger cost savings.)

Marvel Studios, which filmed blockbusters such as “Black Panther” in Georgia, has since shifted operations to the U.K.

(Film Frame / Marvel Studios)

While numerous studio facilities lay empty here, streamers and studios have built major production hubs outside of L.A. Though it still shoots dozens of productions in L.A., Netflix has spent billions to operate production hubs abroad while constructing massive facilities in places like New Jersey and New Mexico.

“Everyone kept saying, if we have more tax credits, then at least we’ll be able to bring production back,” said Monica Levinson, a veteran producer who has worked on FX’s “Love Story” and the movie “Zoolander.” “Well, that didn’t happen. And the crews got better and better out of the country.”

Rising costs

As the rest of the world courted Hollywood, L.A. did little to help itself.

Despite recent improvements to streamline and reduce costs, the city’s film approval system remains a maze of multi-layered permitting, fees and complex logistics, location managers say. The Greater L.A. area has more than 100 jurisdictions, many of which have their own rules, regulations and permitting fees for filming.

Filming in L.A. also has become more expensive compared with other film hubs due in part to higher labor costs and mandatory staffing requirements, such as paid on-set fire safety monitors, and traffic and parking controls.

What’s more, unlike New York, the city doesn’t have its own film commissioner who could advocate for the industry.

An L.A. commissioner would be “somebody that is beating the drum 365 days a year that is not aligned with a special interest other than creating more production in California, which makes our state and our people prosperous,” said Scott Budnick, a producer on the wildly successful “The Hangover” franchise who lobbied for the state’s enhanced film tax credits.

For a time, the loss of market share was masked by a surge in local TV shoots as studios spent heavily to supply content to their new streaming platforms.

But the pandemic and back-to-back strikes by actors and writers roiled the industry. Studios laid off thousands, cut back on films slates and slashed TV spending and it never rebounded. Film incentives became even more critical for those deciding where to shoot.

By the time Gov. Gavin Newsom announced a plan in October 2024 to more than double funding for the film and TV tax credit program, to $750 million annually (closer to New York’s annual allocation of $800 million, although it retained annual caps and doesn’t count actors’ salaries), the industry outlook was bleak.

“I think there was a tipping point between COVID and the strikes that shone a very bright light on the fact that the majority of production had fled the state,” said Baer, the producer.

There are a few bright spots, however.

The critically acclaimed HBO hit medical drama “The Pitt” is filmed almost entirely on the Warner Bros. lot in Burbank, and has injected tens of millions into the local economy while sustaining nearly 1,000 jobs. Two other Emmy-award winning series, Apple TV’s “The Studio” and HBO’s “Hacks,” which just ended, also shot locally.

At Jonathan Nolan‘s urging, Amazon agreed to relocate his post-apocalyptic series “Fallout” to Los Angeles in 2024 after filming its first season in New York, Utah and Namibia. The show received $67 million in California tax credits for its second and third seasons.

Walton Goggins plays the dual role of Cooper Howard and The Ghoul in Amazon’s post-apocalyptic series “Fallout.”

(Courtesy of Prime Video)

“We want to keep shooting here,” Nolan said. “I don’t want to pack my kids off to the back end of beyond just for the privilege of being able to continue doing what I’m doing.”

To build support for the expanded credits, Nolan last year allowed state lawmakers to visit the sets of “Fallout,” including at the Melody Ranch in Santa Clarita.

“I think they were struck by just how big an endeavor this is,” said Nolan, whose brother Christopher is director of “The Odyssey,” (The epic film was shot across Greece, Sicily and several other countries.) “These are hundreds or thousands of jobs on one production alone, hundreds of millions of dollars being put in the local economy.”

Nolan and others in the industry admit the California program is imperfect.

Mayor Karen Bass, who backed the tax credit program in 2009 when she was speaker of the California Assembly, has touted the success of the expanded incentives, saying they’ve created “thousands of good-paying union jobs … right here in Los Angeles, bringing direct investment to our community.”

Since the expanded program went into effect last July, 179 projects have generated $7.2 billion in direct production spending, bringing nearly 38,000 cast and crew jobs to the state, according to the California Film Commission.

“We remain committed to supporting the entertainment industry here and feel optimistic and energized by the response from the community to the program’s modernization and enhancements,” Colleen Bell, the commission’s executive director, said in a statement.

Bass, who is up for reelection, said she would redouble efforts to remove tax credit caps and further reduce film permitting fees “because this industry is core to the history, culture and economic power of Los Angeles.”

The question, however, is whether L.A. is still core to the film industry.

Earlier this year, writer and director Ryan Coogler, who won an Oscar for his “Sinners” screenplay, began filming the pilot for a reboot of “The X-Files.”

During the “Happy Sad Confused” podcast, Coogler called the drama “one of the most beautiful American television shows ever made” and assured fans that while he planned to put his own stamp on the seminal series, his version would pay homage to the original.

“We intend on having both monsters of the week and also the overarching conspiracy,” he said.

And like the original series, it was shot in Vancouver.

Each time we travel to the Democratic Republic of the Congo (DRC), we first go to listen.

In Bunia, we have met dozens of community representatives: survivors, women, young people, local organisations, health workers and leaders from affected areas. Their message is direct: involve us. We know our communities. We know where families seek care, how information moves and why trust is breaking down. Give us the means to help drive the response. They are right.

Ebola spreads through communities and communities hold the knowledge required to stop it. They can identify illness early, alert health teams, help identify and trace contacts, challenge dangerous rumours and support families through access to treatment and safe, dignified burials. The response always moves faster when communities lead alongside national authorities and health workers.

One hundred days ago, the government of the DRC declared the country’s 17th Ebola outbreak, following confirmation of the Bundibugyo virus. WHO subsequently declared a Public Health Emergency of International Concern, followed by Africa CDC’s declaration of a Public Health Emergency of Continental Security.

The scale of the emergency is immense. As of August 21, the DRC has reported 5,290 confirmed cases and 2,516 deaths across 56 health zones. This is now the second-largest Ebola outbreak ever recorded and it is moving faster than any previous one. It is being fuelled by insecurity caused by decades of armed conflict that have undermined law, order and social services, and displaced more than a million people.

At the centre of the response are the people who show up every day. Health workers care for patients. Laboratory teams identify the virus. Contact tracers follow its path. Community health workers build trust where fear and misinformation have taken hold. Burial teams help families honour their loved ones safely and with dignity.

They are working under extraordinary pressure, often in insecure and hard-to-reach areas. Some have contracted Ebola in the line of duty.

Their service must be met with action: safety, protective equipment, training, sufficient medical supplies, timely payment, psychosocial support and access to rapid diagnosis and high-quality supportive care if they fall ill. The safety of frontline workers is central to stopping transmission.

The response has made progress. Under the leadership of national authorities, Congolese responders, WHO, Africa CDC and partners have expanded surveillance, deployed laboratories, supported treatment centres, reinforced infection prevention and delivered essential supplies.

Neighbouring Uganda has interrupted locally acquired transmission of the virus. Several health zones in northern Ituri and South Kivu provinces in the DRC have also interrupted transmission. These experiences prove that the outbreak can be stopped more quickly when rapid detection, decisive national leadership and close cooperation with communities break the chains of transmission.

But the continued emergency in the rest of Ituri province and five other provinces demands urgently scaled-up action.

To turn the corner, surveillance teams are being expanded and equipped to detect cases early and rapidly identify contacts. Safe clinical care and infection prevention measures are being increased wherever people seek treatment.

More risk communication and community engagement teams are being deployed to reach out to communities to empower them to participate in the response and address barriers to care. More safe and dignified burial teams are working to prevent transmission associated with deaths. Special efforts are being made to reach vulnerable populations and communities in insecure and hard-to-reach areas.

But despite all these efforts, more is needed. We need to scale our response by two to three times current capacities, across all the response pillars.

Health facilities also require urgent protection from infection. As of August 20, 158 health workers have been infected and 45 have died. Every facility in an affected or high-risk area needs trained staff, protective equipment, clean water, sanitation and functioning infection-prevention systems.

National and local teams need predictable funding for surveillance, laboratories, treatment, logistics, infection prevention and community engagement. Frontline workers must be paid on time. Local organisations need direct support to work consistently with communities. Supplies must arrive before stocks run out.

Delayed financing costs lives. Fragmented financing leaves gaps. Ebola exploits both. On the ground, we at WHO and Africa CDC have established tight integration among health and relief organisations working with the government. Donors therefore need to support and enhance that integration, rather than back siloed and disconnected efforts.

Cross-border coordination also must remain strong. People move within and between countries to trade, work, study, seek care and support their families. Borders must serve as bridges for coordinated public health action. This does not require closing borders or imposing blanket travel and trade restrictions. Such measures can disrupt response operations and livelihoods without stopping transmission. The priority is coordinated surveillance, rapid information-sharing and prepared health services along movement routes.

The first 100 days have made the priorities clear.

Find every case. Follow every contact. Break every chain of transmission, protect every health and frontline worker, save lives and ensure that no community is left behind. Bring testing and treatment closer to every affected community. Bolster cross-border coordination. Scale up international support. Turn every pledge into action.

WHO and Africa CDC will continue working with the DRC, neighbouring countries, communities and partners to deliver on these priorities. Our responsibility is to bring the full strength of international and continental cooperation behind the nationally-led response.

Uganda and areas in DRC have shown how the course of the outbreak can be turned, through rapid detection, decisive action and close cooperation with communities. But these measures must be delivered at scale. Success depends on sustained national leadership, continental solidarity and international support. We must rise to this challenge, together.

The views expressed in this article are the authors’ own and do not necessarily reflect Al Jazeera’s editorial stance.

GOING to the airport follows a strict process – check in, drop your bags off, head through security and – for many of us – get stopped for a search.

And when that inevitably happens, nine out of 10 times the reason is something that seems silly or you could have easily prevented.

And there are actually two items that we all carry that cause issues.

The first is our gadgets – whether that be a laptop, iPad or phone.

According to Which?, layering electronics can trigger a manual search.

Smiths Detections has said that layering electronics should be avoided.

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Instead, travellers should place them next to each other.

They explained: : “Where possible, avoid stacking multiple electronic devices directly on top of one another in cabin baggage. Instead, place them side by side.”

And another popular item most of us travel with – a water bottle – can also cause an issue.

Smiths Detection explained that travellers should avoid packing bottles and liquid containers near to gadgets.

They explained that they “should ideally be packed separately from electronic devices and not directly underneath or immediately adjacent to them”.

While in a lot of airports new CT scanners allow us to keep all our gadgets and liquids in our bag, these items can still be flagged.

The scanners are meant to make the security process faster, but you could still queue to have your bag manually checked.

If you are heading through an airport as a family, make sure to look out for family lanes which can help you bypass queues.

At London Luton Airport you can reserve a 30-minute window online from between four days and 60 minutes before you arrive at security to bypass the queues, for free.

Manchester Airport has a similar system but you get a 15-minute slot.

MORE Brits are facing problems at the border in Europe, with many being stopped and facing even longer queues – and it could affect thousands.

The new Entry/Exit System (EES), which requires biometric checks from Brits, has been in place since April.

But a new report from The Telegraph has found that those with ‘faded fingerprints’ are being rejected by the machines – a problem associated with older passengers.

One 80-year-old woman told the publication how EES failed to recognise her fingerprints on a trip to Palma in Majorca.

Angela Evans said: “I tried several times, on different machines and with assistance from a member of staff, but to no avail. My fingerprints would not register.

“I suspect this is because of my age – 80 – and that my fingers are probably worn smooth and not ‘ridgy’ enough to record.”

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Another holidaymaker, Barbara, struggled to register her fingerprints at Salzburg Airport.

After holding up a “long line of passengers”, Barbara said she discovered she has “no fingerprints”.

Both women had to then see a member of airport staff and queue to have their passports manually stamped.

Another older couple couldn’t get through the EES gates at Naples Airport and had to join a queue that was so long it went outside the terminal.

After waiting for two hours and missing their transfer pick up, the couple were seen by a member of staff but said they were “put off flying” as a result.

While fingerprints don’t technically ‘fade’, they do change as skin loses its elasticity with age.

The surface is then less defined and harder for digital scanners to read.

It’s not the first issue to come with the introduction of EES.

One woman who is an identical twin faced a problem when she was mistaken for her sister.

In some cases, Brits have been left in queues of up to six hours while waiting to register with EES.

Some holidaymakers have even missed their flight because of delays at passport control.