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The Brief

The most important stories for you to know today
  • The Riverside County facility will close in 2026
    A brown watchtower stand in front of two brown buildings behind barbed wire fencing. Behind the buildings are a group of palm trees and a mountain range in the distance
    The California Rehabilitation Center in Norco will close next year. The site was once home to an art deco resort.

    Topline:

    The California Department of Corrections and Rehabilitation said on Tuesday that the state prison in Norco is no longer needed because of the state’s falling incarcerated population.

    Why is it shutting down? In addition to projection of lower prison populations, Gov. Gavin Newsom signaled his intent to close another prison — four have closed already during Newsom's administration — when he released his budget proposal in May and grappled with a $12 billion deficit. It’ll be the fifth to close during his administration. The state expects to save about $150 million by closing the prison.

    What are future plans for the site? For years, Norco has been lobbying to close the California Rehabilitation Center, arguing the city can find a better use for the site.

    What was the facility before? It was an art deco hotel before it was a state prison. “The Norco City Council remains hopeful that one day, this historic gem will be restored to its former glory as a resort and will become a regional economic driver,” a city statement read.

    Read on ... for more about prison closures in California.

    Gov. Gavin Newsom shouldn’t expect much pushback from the next city in line to lose a state prison.

    Norco, in Riverside County, for years has been lobbying to close the California Rehabilitation Center, arguing the city can find a better use for the site. It was an art deco hotel before it was a state prison.

    Now, the prison is on track to close in 2026. Newsom’s corrections department said on Tuesday that the prison is no longer needed because of the state’s falling incarcerated population.

    It’ll be the fifth to close during Newsom’s administration. The state expects to save about $150 million by closing the prison.

    Other prison cities fought the closures by suing the state or lobbying to hold on to the jobs.

    Not Norco. It posted a statement on social media saying officials look forward to the “adaptive reuse” of the former hotel.

    “The Norco City Council remains hopeful that one day, this historic gem will be restored to its former glory as a resort and will become a regional economic driver,” the city statement read.

    About 1,200 people work at the prison. They won’t necessarily be laid off when the prison closes because some will be able to transfer to other sites.

    Newsom signaled his intent to close another prison when he released his budget proposal in May and grappled with a $12 billion deficit.

    The corrections department “is committed to managing its resources responsibly to enhance public safety and best serve the people of California. California’s 2025-26 budget called for a prison closure, one of many challenging actions required to address the state’s fiscal position.” Newsom’s corrections department said in a written statement about closing the Norco prison.

    In the past, the union representing California correctional officers has not spoken out against Newsom closing prisons. Instead, it worked to improve pay and working conditions for its members as the prison population plummeted from a peak of about 170,000 to today’s 91,000 people.

    That changed this week when its president issued a statement criticizing the closure of the Norco site.

    “Shuttering [the prison in Norco] eliminates essential physical space that relieves overcrowding, supports rehabilitative programming, and maintains a workable ratio between staff and incarcerated individuals,” Neil Flood, president of the California Correctional Peace Officers Association, said in a written statement. “This balance is critical to safety for all Californians: reducing capacity while raising population density leads to more violence overall, both within institutions and beyond their walls.”

    This article was originally published on CalMatters and was republished under the Creative Commons Attribution-NonCommercial-NoDerivatives license.

  • New plume rises two days after first fire ignited
    A large plume of smoke spreads across an urban street.
    The smoke from a fire that appeared to have reignited in Boyle Heights.

    Topline:

    A large plume of white smoke billowed out of a cold storage facility on Friday afternoon, two days after the fire first ignited at the Boyle Heights warehouse.

    What materials were burned in the fire?: The fire first broke out Wednesday at Lineage, a logistics company that offers cold storage services, according to the company’s website. The fire spread across the building’s rooftop solar panels. The fire also reached an ammonia line, causing it to off-gas the chemical, and adjacent structures were evacuated to keep people from breathing it in. The ammonia is not toxic to individuals unless they have respiratory issues or come into direct contact with it, fire officials said. 

    Air quality after the fire: A particle pollution advisory was in effect until at least Saturday afternoon for an area including Boyle Heights, central LA and parts of Northeast LA. At a press conference Thursday morning, LAFD officials said air quality was being monitored in the area. However, residents in Boyle Heights reported concerns over smoke, ash and the lingering smell; the air remained acrid and smelled like plastic on Thursday morning.

    A large plume of white smoke billowed out of a cold storage facility on Friday afternoon, two days after the fire first ignited at the Boyle Heights warehouse.

    Residents near the facility on S. Los Palos Street reported smelling came out of their homes to see the smoke and vehicles driving in that direction turned around as it appeared that the fire reignited shortly before 5 p.m.

    Firefighters were at the scene dousing the building.

    The fire broke out Wednesday, prompting an hours-long shelter-in-place order due to hazardous materials, including ammonia.

    The South Coast Air Quality Management District early Thursday afternoon extended a particle pollution advisory until at least 12:30 p.m. Friday for an area including Boyle Heights, central Los Angeles, and parts of Northeast LA following Wednesday’s fire.

    Early monitoring showed particles were generally present at background levels, AQMD said, but for several seconds at a time, they found increased levels of bromine and chlorine.

    “Bromine and chlorine are typically found at trace levels during structural fires and the levels seen were below short-term health-based exposure thresholds,” AQMD said. “Concentrations below this level are not expected to cause adverse health effects. No significant levels of air toxic metals were seen.”

    This is a developing story. We are working to get more information from authorities.

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  • Men's team advances to World Cup knockout stage

    Topline:

    The U.S. men's national soccer team advanced to the knockout round at the World Cup despite the absence of injured forward Christian Pulisic, beating Australia 2-0 today.

    The context: A deep U.S. roster overcame Pulisic’s absence to clinch a knockout berth after only two matches for the first time.

    Where was Pulisic? Pulisic, who plays for AC Milan and has 33 goals in 87 international appearances, missed today’s match because of a calf injury.

    How'd they win? Alex Freeman, the youngest player on the team at 21 and son of Super Bowl champion Antonio Freeman, gave the Americans a 2-0 lead in the 43rd minute off a set piece.

    SEATTLE — For days, questions about the health of star winger Christian Pulisic's left calf had loomed large over the U.S. men's national soccer team: After being kicked in the leg during last week's Paraguay game, would he be available in the pivotal second U.S. game of the FIFA World Cup?

    In the end, it didn't matter.

    The U.S. dominated Friday's match against Australia, winning 2-0 even as Pulisic, who was ultimately deemed unavailable before kickoff, watched his teammates from the sidelines.

    The scoring started early when American striker Folarin Balogun streaked down the left side of the field and powered a pass into the penalty area, where Australian defender Cameron Burgess booted it into his net for an own goal in the 11th minute.

    "I want to be dangerous. I want to create opportunities. And it might not always be myself that scores, but if I can force an error that gives us the lead, for me that's like a goal as well," Balogun said. "It was a special start to the game to give us the momentum, and then I think we carried it out."

    The U.S. added a second goal when defender Alex Freeman knocked in a header just before halftime. The chippy match resulted in seven total yellow cards, three for the U.S. on defenders Antonee Robinson and Chris Richards and Balogun.

    After the game, U.S. head coach Mauricio Pochettino praised his team and their approach. "We build the victory in our attitude," he said.


    The win guarantees that the U.S. will advance to the knockout stage of the tournament, and it puts the Americans in the driver's seat to win Group D. That would set up the team for a more advantageous path through the knockout round, which begins Sunday, June 28.

    Men on a bump each other as they chase a soccer ball.
    Cristian Volpato #20 of Australia and Weston McKennie #8 of the United States battle for the ball during the team's World Cup Group D match on Friday in Seattle.
    (
    Emilee Chinn
    /
    Getty Images
    )

    About 90 minutes before kickoff, Pochettino told Fox that Pulisic would be unavailable due to the nagging left calf injury suffered last Friday. "It is hoped, as soon as possible, [that he] can be ready to be selected again to be part of the team," Pochettino said.

    In his place, forward Ricardo Pepi made the start on the left side. For Freeman, his first career World Cup goal was the latest step in a remarkable trajectory for a 21-year-old player who made his first appearance for the U.S. national team just over a year ago. 

    It was unclear whether Pulisic would be available for the third and final U.S. group stage game, a match against Turkey set for next Thursday.

    Whether that game will matter depends on the outcome of Friday night's Turkey-Paraguay matchup; if Turkey draws or loses, the U.S. is guaranteed the top spot. If Turkey wins, that sets up next week's head-to-head game to determine the group winner.

    Turkey, whose roster features stars like Arda Güler of Real Madrid and Kenan Yıldız of Juventus, had been considered by some analysts to be the strongest team in the group.

    The U.S. victory over Australia was the second win in the group stage — the first time the American men have done that in a World Cup since 1930.
    Copyright 2026 NPR

  • Past and present meet in dance performance
    A group of people in the middle of a dance performance. One person, centered, is being held by the arms by four others surrounding them.
    Dancers performing Bernard Brown's work "Sissies: Something Perfect Between Ourselves."

    Topline:

    To preserve the history of L.A.’s Black queer underground clubs, Bernard Brown recreated them in his dance performance "Sissies" at the Pieter Performance Space in Lincoln Heights June 20.

    The inspiration: The show is drawn in large part from Brown's own experiences before he became a choreographer. “I won't say my age. I don't wanna get nobody in trouble,” he joked. “But I went to clubs like The Catch — The Catch One — and The Study on Hollywood and Western and places like that that are no longer with us.”

    What to expect: “The invitation to everyone who is a guest in the show, who has bought a ticket is: Let it go,” said Rosalie Tucker, Pieter Performance Space's executive director. “Let yourself be in the club. React. You don't have to be quiet. This isn't a silent setting. This is not a traditional theater setting, and that is intentional.”

    The performers: Many of Brown’s dancers have performed with people like Beyoncé, but they’re also artists doing their own thing. The score for the show is by DJ DeFacto X, a co-founder of Black Bass Collective, a staple of L.A.’s warehouse scene. It'll also turn into something of a dance party after the performance wraps.

    How to see the performance and exhibit: The performance will be at 8:30 p.m. on Saturday, June 20. If you can’t make it, the installation will also be on view in the afternoon throughout Juneteenth weekend. Brown told LAist he also hopes to find a permanent home for the archives and exhibits he’s amassed.

    Bernard Brown grew up going to parties all around Los Angeles. Maybe a little before he was supposed to.

    “I won't say my age. I don't wanna get nobody in trouble,” he joked. “But I went to clubs like The Catch — The Catch One — and The Study on Hollywood and Western and places like that that are no longer with us.”

    Brown went on to become a contemporary dancer and choreographer, and he remembers watching those dancers, and the tenderness they had for each other. He told LAist that was exactly what informed his new art installation and dance performance, “Sissies: Something Perfect Between Ourselves,” at the Pieter Performance Space this Juneteenth weekend.

    “ I thought a lot about how intergenerational learning was starting to slip away, and what does it mean to learn how to be a Black queer person?” Brown said. “Where are those spaces, and how did I learn how to be this way? And so making this work has been about this labor, this love, this intergenerational learning, and also community.”

    What to expect

    “Sissies” has two components: an installation on view Friday through Sunday, and a dance performance featuring some of L.A.’s most prominent dancers and voguers this Saturday night at 8:30 p.m.

    Rosalie Tucker, director of Pieter Performance Space, said this will look a little different from other dance performances you may have been to.

    “The invitation to everyone who is a guest in the show, who has bought a ticket is: Let it go,” she said. “Let yourself be in the club. React. You don't have to be quiet. This isn't a silent setting. This is not a traditional theater setting, and that is intentional.”

    That’ll culminate after the performance, when the audience will also be invited to join the dancefloor.

    If you can’t make it to the performance, the installation will also be on view in the afternoon throughout Juneteenth weekend. Brown told LAist he also hopes to find a permanent home for the archives and exhibits he’s amassed.

    How to see 'Sissies'

    The performance will be from 8:30 p.m. to 10 p.m. on Saturday night. Tickets are available here, and they will not be available at the door.

    To see the free exhibition, you can RSVP here. Here are the opening hours:

    • Friday, June 19 from 1 p.m. to 5 p.m.
    • Saturday, June 20 from 1 p.m. to 4 p.m.
    • Sunday, June 21 from 11 a.m. to 2 p.m.

    The inspiration behind ‘Sissies’

    Normally, projects of this kind involve archival research, and that’s certainly a big part of the work. But for Brown, who was actually there at clubs watching vogue practitioners work the dancefloor, the research process looks a little different.

    Brown calls the work “autoethnographic” — that’s to say, a big part of what you’ll see is based on his own experiences watching others over the decades.

    “ We're talking about vogue, all of the elements: hand performance, floor performance, catwalk, duck walk,” Brown said. “All of those things appear in the work, but it's based on the truth, uh, and the authenticity of our people.”

    The themes in Brown’s work resonated with Tucker, especially in this political moment.

    “What we're seeing is our histories being not just erased, but violently erased, and, uh, excluded and lied about,” she said. “So we really have, I think, a responsibility to the future, to ourselves, to claim the truth of, this is what happened then, this is what's happening now.”

    How to support Pieter Performance Space

    You can find more information on supporting the nonprofit performance space here.

    Brown’s collaborators

    Los Angeles has a long history of queer Black underground clubs and events, one that continues to this day in underground parties and warehouse shows.

    “ Bernard has built this with the people who are the Black underground in Los Angeles as well, so it's not just like a theoretical thing,” Tucker said.

    Many of Brown’s dancers have performed with people like Beyoncé, but they’re also artists doing their own thing. The score for the show is by DJ DeFacto X, a co-founder of Black Bass Collective, a staple of L.A.’s warehouse scene.

    “They are creating their own work,” Brown said. “They are making spaces where people congregate, and they're doing the Lord's work in that regard, finding their way to the movement of our queer ancestors.”

    Though Brown won’t be performing in the show, he said he’s moved when he sees younger people go through the same movements as the voguers and other dancers he used to see in clubs.

    “I am filled with joy — literal joy — and sometimes tears at how beautiful it is to see Black queer men being together intimately, folding into each other their individual kikis and lalas that happen during performance, the authenticity of their visceral connection to each other,” he said.

  • Director of 'Cheers,' Taxi,' 'Friends' and more

    Topline:

    James Burrows, who helped create volumes of laughter as director of more than a thousand episodes of such classic television comedies as "Cheers," "Taxi," "Friends" and "Will and Grace," died today. He was 85.

    What we know: His family confirmed his death in a statement to People, saying he "passed away peacefully today surrounded by his family." No location or cause of death was provided.
    About his career: Burrows got his start in television relatively late at age 35 in 1974, directing episodes of "The Mary Tyler Moore Show," "The Bob Newhart Show," and "Laverne & Shirley." He co-created "Cheers," directing 243 of the 273 episodes, as well as all 246 episodes of "Will and Grace." He also helmed multiple episodes of such hits as "Frasier," "Friends" and "Mike & Molly," and the pilots of "Two and a Half Men" and "The Big Bang Theory."

    LOS ANGELES — James Burrows, who helped create volumes of laughter as director of more than a thousand episodes of such classic television comedies as "Cheers," "Taxi," "Friends" and "Will and Grace," died Friday. He was 85.

    His family confirmed his death in a statement to People, saying he "passed away peacefully today surrounded by his family." No location or cause of death was provided.

    Burrows spent his career behind the camera specializing in situation comedies. Few viewers recognized him or knew his name, other than to see it flash quickly on the screen in the opening credits. But they knew his work.

    Burrows got his start in television relatively late at age 35 in 1974, directing episodes of "The Mary Tyler Moore Show," "The Bob Newhart Show," and "Laverne & Shirley."

    He co-created "Cheers," directing 243 of the 273 episodes, as well as all 246 episodes of "Will and Grace."

    He also helmed multiple episodes of such hits as "Frasier," "Friends" and "Mike & Molly," and the pilots of "Two and a Half Men" and "The Big Bang Theory."

    "When I direct a television show, I try to reach that sweet spot where the best script meets the best performance and the best chemistry between performers," Burrows wrote in his 2022 memoir "Directed by James Burrows." "Hitting that exact moment, where these factors land in combination, results in the sweetest and most enduring laugh."

    His family said, "Burrows understood that great comedy was never simply about laughter. It was about humanity, connection, and truth. That understanding became the foundation of a career that forever changed television.

    "But beyond his remarkable achievements, Burrows will be remembered for something even greater: his kindness, generosity, and unwavering belief in the people around him. He possessed a rare ability to make everyone better and was known for remembering every person he met by name, making colleagues at every level feel seen, valued, and appreciated," the family statement said.

    Born James Edward Burrows on Dec. 30, 1940, in Los Angeles, he moved to New York when he was 5 years old. He spent five years in the Metropolitan Opera Children's Chorus until his voice started to change. He attended LaGuardia High School of Music & Art.

    His father was writer, director and producer Abe Burrows, whose Broadway hits included "Guys and Dolls" and "Can-Can." The elder Burrows also mentored Larry Gelbart, future creator and producer of the TV show "M(asterisk)A(asterisk)S(asterisk)H."

    The younger Burrows spent hours of his youth in theaters and studios watching his father work, dining with him at such famed New York haunts as Sardi's and Gallagher's and meeting celebrities who attended his father's New Year's Eve parties.

    After earning a bachelor's degree from Oberlin College, Burrows attended the graduate program of the Yale School of Drama, where his classmates included actor-comedian Robert Klein, playwright John Guare and film director John Badham.

    At Yale, he was required to take directing classes and he got hooked.

    Burrows' first sitcom experience was as Burl Ives' dialogue coach on "O.K. Crackerby!" which was directed by his father and ran for one season on ABC in 1965.

    From there, he was an assistant on "The Patty Duke Show." He moved back to New York and worked for Broadway producers Lee Guber, Frank Ford and Shelly Gross. He first met actor Moore while working on the Broadway production of "Holly Golightly," an adaptation of "Breakfast at Tiffany's" that was directed by his father.

    Burrows eventually worked as a stage manager for various road productions, where he met such actors as Hugh O'Brien, Zsa Zsa Gabor and Julie Harris.

    By 1974, after working in dinner theater and summer stock, he turned on his television and saw Moore's eponymous TV show. He wrote her a letter asking if there was any opening "small or smaller" at her production company that he could fill, according to his memoir.

    Moore's husband and business partner, Grant Tinker, invited Burrows to Los Angeles to direct an episode of the comedy. He apprenticed for MTM Enterprises, which had four sitcoms on the air at the same time.

    Burrows cited his theater background for learning how to give actors direction and block out scenes. He's credited for being one of the first sitcom directors to increase the typical multi-camera television shoot from three to four cameras.

    The common thread between Burrows' shows were the bonds between friends and unrelated families, whether it was the motley crew of regulars meeting at the bar in "Cheers" or the drivers working toward a better life in "Taxi" or the 20-somethings sharing the same apartment building in "Friends."

    "The best sitcoms transcend the screen and reach out and grab the audience by the throat and by the heart," Burrows wrote in his memoir.

    He relished discovering new acting talent while directing more than 75 pilots that were picked up as series.

    "Having directed over a thousand shows means that almost any night you can turn on your television or go online and find a show that I directed. I'm very proud of that," he wrote in his memoir.

    In 2019, Burrows was an executive producer on live productions of "All in the Family" and "The Jeffersons" with famous actors re-creating episodes of those 1970s comedies.

    Burrows was married in 1997 to Debbie Easton, whom he met when she worked as a hairstylist on "Frasier." Daughters Kat Schatzow, Ellie Gluck and Maggie Burrows, who followed her father into directing, are from his first marriage to Linda Solomon, who died in 2004. His stepdaughter Paris is from his wife's previous marriage. He has a sister, Laurie Burrows Grad, and seven grandchildren.
    Copyright 2026 NPR