The Brief

Even before President Donald Trump took office for a second time, panic about his promised “mass deportations” — and raids by U.S. Immigration and Customs Enforcement (ICE) — was already spreading throughout California.

For example, in an early January operation unrelated to ICE, the Santa Clara County Sheriff’s Office served two search warrants related to retail theft. But photos of the vans used by the sheriff’s office began spreading on social media, accompanied by messages claiming that ICE was present and detaining people in East San José, where thousands of immigrant families live.

“People in the community were reaching out to me to ask me if this was true,” said Huy Tran, executive director of Services, Immigrant Rights and Education Network (SIREN), an organization with offices in San José and Fresno that offers legal aid, trainings and leadership development to immigrant communities.

Throughout California, there are networks of dedicated volunteers and attorneys who are responding to possible ICE activity around the clock — called Rapid Response Networks. SIREN, for example, forms part of Santa Clara County Rapid Response Network, which, on Jan. 26, responded to reports from neighbors about ICE sightings in East San José. This time around, the Rapid Response Network confirmed that the rumors were true: ICE agents were indeed transferring individuals who had received deportation orders.

Since the inauguration, social media posts about apparent ICE sightings in the Bay Area’s immigrant communities have ramped up — bringing understandable concern and panic with them. Last week, a San Francisco middle student’s report that they were questioned by an immigration agent on a city Muni bus prompted SFUSD officials to send emails to local families warning them about the alleged incident — even though representatives for both ICE and the San Francisco Sheriff’s Office ultimately denied any involvement in the incident.

But it can be difficult to distinguish fact from rumor while you’re scrolling, especially when the news is concerning. We spoke to immigration experts and advocates about what to know about current ICE operations in California and how to avoid sharing misinformation about ICE raids yourself — even with the best of intentions.

ICE, fear and perception

In California, a state with roughly 2 million undocumented individuals, according to the Pew Research Center, advocates say Trump has been weaponizing fear, along with harsher enforcement of immigration policies.

“The federal government is more likely going to do the things that can get the Trump administration visibility,” said Lourdes Martínez, who helps lead the immigrants’ rights practice at Oakland legal services nonprofit Centro Legal de la Raza. “They only have to detain a few people for the fear to really reverberate.”

It’s normal to feel scared about ICE showing up in your community, said Tran from SIREN. “I understand the desire to want to do something, to share information right away,” he added.

But fear also makes it hard for people to sort bad information from good, and panic can lead folks to quickly share online posts without checking them out further. “Anxiety, fear, it spreads incredibly quickly,” Tran said. “When people send information out to these huge networks, it spreads far, wide and fast.”

Students and supporters of DACA (Deferred Action for Childhood Arrivals) rally in downtown Los Angeles on Nov. 12, 2019.

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What have ICE arrests looked like in Trump’s first days, and what is the focus?

During his 2024 campaign, Trump promised his administration would launch “the largest deportation program of criminals in the history of America.” He even promised to deploy the military for deportations.

In his first week back as president, Trump signed both an executive order declaring “an invasion” at the southern border and ended a Biden-era rule that restricted immigration officers from detaining people at “sensitive locations” like schools, churches and hospitals. ICE detentions have also intensified in Chicago since the inauguration, where officials said they have launched “enhanced targeted operations.”

But while Trump still said his administration would go ahead with mass deportations, officials appointed by him are being more careful with their words — laying emphasis, for now, on people with criminal convictions. “If you’re in the country illegally, ICE can visit you,” said Tom Homan, who Trump designated as “border czar.” “But right now … we’re concentrating on the worst first,” he clarified during an interview with Fox News on Wednesday. “The public safety threats.”

In the same interview, Homan said that ICE had arrested 308 undocumented individuals with criminal convictions the previous day alone. For context, that’s still way below the average daily number of arrests and deportations during the Obama administration.

As for Trump’s promise of using the military for deportations, the only evidence of the administration doing this is using military aircraft to fly migrants detained by ICE to their countries of origin. Additional troops have arrived in San Diego, but the Pentagon said these troops will not be involved in law enforcement.

What should I do if I see an online post about ICE in the community?

The major takeaway: If you think you see ICE in your neighborhood or see ICE reported nearby on social media, advocates advise that you call them instead of circulating anything online.

Tran of SIREN explained further: Before posting anything, you should first reach out to your local Rapid Response Network — a coalition of volunteers, organizations and attorneys that work together to confirm ICE sightings and connect people who have been detained by ICE to legal representation.

Find the Rapid Response Network that serves your community.

It’s possible that the Rapid Response Network in your city has already checked out the reported ICE sighting you’re seeing on your feed — so by calling them, you can get information from folks who are at the scene. You could also be alerting them to an ICE sighting that isn’t already on their radar.

San Francisco community organization Mission Action urged people to avoid sharing unverified information, with Executive Director Laura Valdez saying that such rumors “can unnecessarily heighten fear and confusion” and that communities should trust Rapid Response Networks to “verify reports and share clear, actionable updates.”

The organization said that anyone directly witnessing ICE activity can contact the 24-hour San Francisco hotline at 415-200-1548. (Find other hotlines available in Northern California.)

As a general rule, to be wary of misinformation online, check which organization is posting about apparent ICE sightings, and look for any sources for their information. Keep in mind that users of social media platform X can purchase “blue check marks,” so a blue check alone isn’t proof of reliability.

Google’s reverse image search can be a quick way to see where a photo has been used on the internet. For example, an image purporting to show a recent “ICE raid” could be, in fact, an archive image from another year entirely. However, keep in mind that Google prioritizes its own AI results at the top of the page. Those results have been proven to sometimes be unreliable, inconsistent and even inappropriate, so it’s best if you actually visit the source through the links provided.

Read more tips for spotting misinformation online.

How can I recognize an ICE agent in real life or in a video?

ICE agents can sometimes wear uniforms or gear that suggests they are police officers or probation officers, according to the American Civil Liberties Union Southern California.

This can sometimes convince people to let agents enter a home without a warrant. In 2018, several San Francisco police commissioners called on ICE to stop these practices, saying it interfered with local policing.

ICE agents can also wear civilian clothes or plain dark clothing with a bulletproof vest.

Police officers, however, usually wear a more specific-looking uniform “with identifying insignias,” ACLU SoCal said.

Q. What is the difference between ICE and CBP?

U.S. Immigration and Customs Enforcement, or ICE, and Customs and Border Protection, CBP, are both immigration enforcement agencies within the Department of Homeland Security. ICE conducts enforcement within the U.S. and manages detention and deportation operations. CBP conducts inspections at all U.S. “ports of entry” – at land borders, seaports, and airports. And the Border Patrol, which is part of CBP, polices the land borders in between the official ports of entry.

ICE and CBP officers generally need an administrative warrant (signed by an ICE or CBP supervisor) in order to arrest a person. However they can make an arrest without a warrant if they see a person illegally entering the country, or they have “reason to believe” a person is here illegally and likely to escape before they can get a warrant.

You have more protections if the encounter happens when you are in your home. Under the Fourth Amendment, if ICE or CBP agents (or any law enforcement officer) comes to your door and wants to enter your home, they either need to present a warrant signed by a judge (not just an administrative warrant from their agency) – or they need your consent. Agents could also technically enter without permission if they report hearing an emergency happening inside the home.

If you don’t want the agent to come in, legal advocates say, you don’t have to open the door unless the agent shows you a judicial warrant. (Advocates suggest asking the agent to slide the warrant under the door or hold it up to a window where you can read it.)

Similar to ICE, CBP officers may have “police” written prominently on their uniform. “U.S. Customs and Border Protection” may be written on their sleeve or on their back.

Federal law grants additional powers to CBP within a wide border zone that the government has defined as 100 air miles from an “external boundary” of the U.S. Within that zone – which covers most coastal cities in the country, including San Francisco – CBP agents can stop and question people, and board vessels, buses and trains to search for unauthorized immigrants without a warrant.

That said, you do still have constitutional protections, including the right to remain silent so you don’t say something that could incriminate you. Immigration officers cannot detain you without “reasonable suspicion” of a crime, and they cannot search you or your belongings without “probable cause” – unless you give your consent.

KQED’s Tyche Hendricks and Samantha Lim contributed to this article.

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.

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.

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.

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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.
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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.

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.”

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.

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.
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