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How will the EU’s new border system work?

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Katy AustinTransport correspondent

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The next time you travel from the UK to Europe, you might notice some changes.

The EU’s much-delayed new digital border system, the Entry/Exit System or EES, will be gradually introduced this autumn.

The system is meant to strengthen security and ultimately make travel smoother, but there are concerns it could lead to long queues when people first register.

What is EES and where is it being introduced?

EES is a digital system designed to keep track of when non-EU citizens enter and leave the Schengen Area.

This covers 29 European countries – mainly in the EU – which member citizens can travel across freely without border controls.

It includes many popular destinations for UK travellers, such as France, Spain, Portugal, Italy and Greece.

EES will eventually replace the current system which requires individual passports to be checked and stamped by a border officer.

When will EES start?

After being postponed several times, the European Commission confirmed in July that EES will begin on 12 October. It will be phased in gradually over six months.

At Dover, coach passengers will start using the new system on 12 October, followed by other tourist traffic on 1 November.

At Eurostar terminals, EES will be introduced more gradually.

Only a small number of business travellers will be invited to use the new system from 12 October. More passengers will be directed to use it over subsequent months.

Eurotunnel, which runs vehicle shuttles through the Channel Tunnel, is also expecting to introduce EES in stages from 12 October.

EES should be active at every Schengen border crossing point in all 29 participating countries by 10 April 2026.

What will passengers have to do under EES?

The first time they use the new system, people from most non-EU countries – including the UK – will have to register biometric information while having their passport scanned.

This may be done with a border officer, depending on where people travel to.

Flight passengers will register when they arrive at their destination airport.

But registration will be done as you leave the UK if you are crossing the English Channel by ferry from the port of Dover, taking the Eurotunnel shuttle to France, or getting the Eurostar train.

At these places, passengers will have to follow the instructions on kiosks – automated machines installed in dedicated areas.

The machines will scan each passport, then take fingerprints and a photo.

Children under 12 won’t have to provide fingerprints. Staff should be on hand to help.

The machine’s screen will also present travellers with four questions about their trip, such as confirming where they will be staying and that they have enough money.

However, at Eurotunnel, those questions will be asked by border officers instead, and only on a discretionary basis.

imageTwo of the 49 new automated kiosks which Eurostar has installed at London St Pancras station, ready for the launch of the Entry/Exit System in October. Each white machine has a computer screen and a scanning device for passports.

Eurostar has installed 49 EES kiosks in three areas around its London St Pancras terminal. Passengers will use them before presenting their ticket at the departures area.

But it says all passports will continue to be stamped manually until EES is fully rolled out in 2026.

Eurotunnel has installed more than a hundred kiosks at each side of the Channel.

Customers who are travelling in cars will be directed to drive up to a kiosk bearing their registration number, and provide their biometric information there. Coach passengers will go through the process with a border officer.

imageTwo of Eurotunnel's EES kiosks. Each machine has a camera and a touchscreen which reads "Welcome/ Bienvenue".

A mobile phone app has been developed to enable passengers to do part of the process before reaching the border. However, this won’t be widely used when EES is first introduced.

The EES registration will be valid for three years, with the details verified on each trip during that period.

What are the concerns about the introduction of EES?

Concerns have repeatedly been raised that the extra couple of minutes it takes for each traveller to complete the registration process could lead to big queues, particularly at space-constrained Dover.

However, bosses at cross-Channel travel hubs hope that the decision to introduce EES gradually, instead of with a “big bang” start, will reduce the risk of disruption.

The port of Dover previously planned to give ferry passengers tablet devices so they could register inside their vehicles, but will now use kiosks similar to those at Eurostar and Eurotunnel. The port has reclaimed some land from the sea to create more space for processing.

During the initial transition period, the port will be able to temporarily stand down EES if queues get too long, and revert to manual passport stamping.

Eurotunnel chief executive Yann Leriche says there will be no “chaos” or queues at the Channel tunnel, insisting his company has done extensive modelling and is fully prepared.

Similarly, Eurostar hopes its decision to limit EES initially to some business travellers before expanding its use will help to prevent queues.

What is ETIAS and when is that coming?

The EU is also introducing a new visa waiver system linked to passports called the European Travel Information and Authorisation System (ETIAS), which will build on the EES.

Citizens of non-EU countries who don’t need a visa to enter the EU – including people from the UK – will be able to apply online for authorisation before they travel.

ETIAS isn’t due to start until the end of 2026, but the final date has not yet been confirmed.

It will cost €20 (£17.47) per application, and will be valid for three years.

People aged under 18 and over 70 will need to apply, but won’t have to pay.

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A Michael Flatley press event was packed out today – but he’s back talking dancing, not politics

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DOES 30 YEARS of the same live dance musical performance not eventually get a little stale?

According to Michael Flatley, the Irish-American Lord of the Dance himself, it does not.

Ahead of the 30th anniversary of his hit stage production, Flatley was speaking in Dublin city today, across the road from the stage where the Lord of the Dance all began – the venue now known as the 3Arena but still commonly referred to by Dubliners as ‘The Point’.

Speaking to a room of reporters at the Gibson Hotel, Flatley explained that the hit musical show is not the same production that it was in 1996.


Michael Flatley picutred during the press event today. Photorapher / Photocall Ireland


Photorapher / Photocall Ireland / Photocall Ireland

“There’s a brand new set and a fabulous new lighting design, there’s new sound designs, new musical numbers, and a couple of new dance numbers,” Flatley said.

Interest in the anniversary performance is clearly high – the press conference was packed, with reporters lining a corridor afterwards for quick one-on-one chats with the now-retired superhoofer. 

A press statement passed around to the dozens of journalists in attendance humbly stated that Flatley “changed the face of Irish dance forever” with Riverdance, before moving on to the Lord of the Dance the following year.

Since its premiere just two years after Flatley’s iconic Riverdance performance as part of the 1994 Eurovision interval act, the Lord of the Dance has been viewed by over 60 million people across 60 countries.

Flatley parted company with the Riverdance producers just over a year after the Eurovision set-piece in a row over credit for the choreography of the show’s touring production. 

Lord of the Dance debuted in The Point in July of 1996 and went on to tour the world. An expanded version of the show was peformed to tens of thousands of people in London’s Hyde Park in 1998. 

According to Flatley, over 500 people from around the world attended the most recent round of auditions to join the show.

“I’m endlessly proud of those people. We had auditions recently here in Dublin, and my God, they were so prepared, it was very difficult to choose one from the other.”

On his new dancers, Flatley said that they’re “like I’ve never seen them.”

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A number of dancers who are set to perform in the anniversary gig. Leon Farrell / Photocall Ireland


Leon Farrell / Photocall Ireland / Photocall Ireland

“They’re bouncing off the walls, because this is what they work for. They just performed in South Africa a few weeks ago, on the opening night they got a 10 minute standing ovation.”

Flatley, now aged 67, will not be making an appearance in the show.

Does he miss performing?

“How could I not miss it? Of course, I do, I always will,” he said.

“There’s a hologram toward the end of the show of me performing that I recorded just before I retired back in 2016. The audience seems to love it, but that’s as close as I’ll get to being back on stage.”

Áras bid

Seperately, it was confirmed today that just three candidates – Catherine Connolly, Heather Humphreys and Jim Gavin – will be contesting the presidential election.

Was it a coincidence that Flatley held the press conference today, as nominations closed, considering he had mulled over a run for the Áras himself earlier this summer?

Yes, of course it was, but Flatley did address his potential Áras bid.

“I’m sure the right person will take that job,” Flatley said. “These things are in the hands of God.”

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Flatley pictured with two performers from the anniversary show. Photorapher / Photocall Ireland


Photorapher / Photocall Ireland / Photocall Ireland

Flatley is still receiving treatment for an aggressive cancer which he was diagnosed with two years ago.

He added that he could not “in good conscience” run for the presidency if he did not have “a clean bill of health”.

“If I did, it might have been different, but it wouldn’t be fair to the Irish people,” he added.

“You can’t lose track of the fact that this is for the Irish people. It’s not about me. It’s not about the individual, it’s for the Irish people.

“What do they want? It’s not up to me. My job is to represent my country to the best of my ability, and I believe under the current circumstances, I can better serve the Irish people by continuing to do what I do.

“If that ever changes, that’ll be the first thought in my brain.”

The Lord of the Dance will return to the 3Arena on 5 February to mark its 30th anniversary. Tickets will range from €30 to €80, and go on sale next week.

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Twenty injured in Yemen drone attack on Israel, rescuers and military say

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Rescuers say at least 20 people have been injured in southern Israel after the Israeli military said a drone was launched from Yemen.

The Israel Defense Forces (IDF) said the drone struck the resort town of Eilat on the Red Sea coast, with attempts made to intercept it.

The Magen David Adom emergency medical service said 20 people were taken to Yoseftal Hospital – including two men with serious limb injuries.

Israeli media has described it as a Houthi strike but the Yemeni group has not officially claimed responsibility.

Israeli TV stations broadcast live footage said to be of the drone strike and the area it hit, which showed billowing smoke rising from the site.

Footage posted on social media, verified by the BBC, shows a drone in the sky disappearing out of view as it flies down behind buildings. A few moments later, birds scatter as they fly up into the sky.

“IDF troops, alongside the Israel Police, were dispatched to the area of Eilat after receiving a report of a UAV attack,” the IDF said in a statement.

It added troops and the police were assisting in evacuating the area and a helicopter had been deployed to evacuate the wounded from the scene.

Israeli Defence Minister Israel Katz said: “Wishing a full recovery to those injured in the UAV strike in Eilat.

“The Houthi terrorists refuse to learn from Iran, Lebanon and Gaza – and will learn the hard way.

“Anyone who harms Israel will be harmed sevenfold.”

The army earlier said air raid sirens had rung through the town.

The attack, if claimed by the Houthis, would be one of the most serious launched by the group in terms of casualties.

In July 2024, one person was killed and 10 injured in a Houthi drone attack on Tel Aviv when a drone hit an apartment building near the US embassy branch office.

Eilat, popular with tourists, has been the location of other recent drone attacks, with one striking the town’s hotel area last week, according to Israeli authorities. No casualties were reported.

Earlier in September, one person was wounded when a Houthi drone hit Ramon Airport, just north of Eilat.

The rebel Houthi group has been launching missiles and drones towards Israel as part of what it describes as acts of solidarity with the Palestinians in the war between Israel and Hamas in Gaza.

The Houthis have also been attacking vessels in the Red Sea since the start of the war in Gaza.

The Iranian-backed rebel group, which considers Israel its enemy, controls Sanaa and the north-west of Yemen, but is not the country’s internationally recognised government.

Israel has retaliated by bombing Houthi-controlled areas of Yemen, including the Red Sea port of Hudaydah.

Earlier in September, the Houthi-run health ministry said 35 people were killed in Israeli strikes on Sanaa and al-Jawf province.

And in August, the group said its self-proclaimed Prime Minister Ahmed Ghaleb Nasser al-Rahawi was killed in an Israeli air strike.

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An iconic Dublin city mural has just been removed and replaced with ‘gaudy’ NFL graffiti

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ONE OF DUBLIN’S best-known street murals has been painted over and replaced with NFL-themed graffiti ahead of an American football game in Croke Park this weekend.

The mural, titled Do Not Remove, stretched across a two-storey hoarding on Ormond Quay.

It depicted a man with bricks covering his head, with the words “Do Not Remove” painted on one of the bricks.

The site is the derelict Ormond Hotel, which famously featured in the Sirens episode of James Joyce’s Ulysses.


Artists are currently painting NFL-themed artwork over the mural. Andrew Walsh / The Journal


Andrew Walsh / The Journal / The Journal

 The hotel fell into disuse in the early 2000s, though planning conditions for its redevelopment stipulate that it must reopen as a hotel and retain the Ormond name.

In 2022, Brazilian artist Neto Vettorello and Dublin artist Asbestos collaborated on the Do Not Remove mural.

Commissioned by the Association of Brazilian Families in Ireland, with support from the Brazilian Embassy, site owners Monteco Holdings Ltd, and Dublin City Council, the project marked 200 years of Brazilian independence and was presented as a “gift” from the Brazilian community to Dublin.

The striking, colourful piece blended both artists’ styles while delivering a commentary on dereliction and the housing crisis.

Now, only fragments of the mural remain, almost entirely covered by NFL branding.

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Part of the new NFL artwork. Andrew Walsh / The Journal


Andrew Walsh / The Journal / The Journal

The removal comes as part of a wider rollout of football-themed installations across the city, including works on Tara Street, Dame Street, and Barnardo Square, where a giant helmet has been erected.

Sunday’s game is expected to draw in thousands of US visitors, as the Pittsburgh Steelers take on the Minnesota Vikings.

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A giant football helmet at Barnardo Square. Andrew Walsh / The Journal


Andrew Walsh / The Journal / The Journal

A passerby on Ormond Quay described the new NFL artwork to The Journal as “gaudy-looking.”

One of the artists installing the new artwork said that the replacement of the Do Not Remove mural had been ordered by Dublin City Council.

Artist Neto Vettorello told The Journal that he was not contacted by Dublin City Council before his mural was painted over.

“It’s quite ironic, since the title of the piece was actually “Do Not Remove”,” Vettorello said.

“The Council just did what they usually do: keep the city grey, silent, and stripped of colour and voice.”

He added that the NFL theme was disappointing, and quizzed the US influence on the Dublin artwork.

“Nobody questions it, because we live in apathetic societies where public art is rarely created as a form of questioning. That’s what made the Ormond Quay mural special, it wasn’t decoration or advertising, it was a dialogue.

“I was celebrating female symbolism and independence, while Asbestos raised the issue of how stories are constantly erased.”

The council has been contacted for comment.

The artist added that the NFL installation will be painted over following the game on Sunday.

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