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The Brief

The most important stories for you to know today
  • How does a city get its own game?
    A photo of a Long Beach version of Monopoly
    Long Beach is the latest SoCal city to get its own Monopoly game

    Topline:

    A new Long Beach-themed Monopoly game turns local landmarks into playable spaces on the board. The game is part of a recent wave of city-specific editions that has the iconic game connecting with communities through nostalgia and local pride.

    How to get a Monopoly game: To be featured, a city has to have enough people excited enough to support the production of thousands of games.

    Why now: Top Trumps has expanded U.S. city editions in recent years as interest in board games has resurged after the pandemic. A company representative said that Long Beach, with its strong sense of community and recognizable landmarks, fit the model.

    Monopoly lovers can now buy up the Queen Mary, collect rent on Belmont Shore and park their token at a storied tattoo shop, Outer Limits.

    The Long Beach landmarks line the spaces of a new Monopoly edition themed around L.A. County’s second biggest city, released just this month.

    The Long Beach edition is part of an expanding series of Monopoly games featuring dozens of American cities, which Hasbro licensee Top Trumps started to produce about five years ago when interest in board games surged during the pandemic.

    What it takes to make the cut

    How does a city land on one of the world's most popular board games? Turns out, it’s not just a roll of the dice.

    “We’re looking for places with strong community pride, places where people will really love seeing their city on a Monopoly board,” said Jennifer Tripsea, a partnership sales executive with Top Trumps.

    Long Beach fit the bill and got to join a list of SoCal cities on Monopoly boards including Huntington Beach, Riverside and Palm Springs.

    Tripsea said in some instances, a city will pitch themselves to the company — she didn’t disclose which have — but not every place makes the cut.

    There has to be enough population — or local enthusiasm — to support a run of thousands of games.

    Top Trumps sells the games online and through local businesses, sometimes the same ones featured on the board. That creates a built-in customer base: residents, tourists and collectors hunting for their next addition.

    And while some businesses may offer to sponsor their way into consideration, their inclusion isn’t a given.

    Tripsea said when deciding who earns a spot, the company weighs cultural relevance, brand standards and community input.

    The community gets a turn

    Once a city is selected, residents are invited to help shape the board.

    That means emailing suggested landmarks and drafting potential Chance and Community Chest cards. For Long Beach, one Community Chest card directs players to collect $100 if they "attend a beach cleanup at Alamitos Beach."

    Hundreds of submissions flooded in over the last year, many pointing to the same top attractions, Tripsea said. The Queen Mary and Aquarium of the Pacific take up the same spots on the board that are occupied by Park Place and Boardwalk in the original game.

    A shot of an ocean liner marked as the "Queen Mary."
    Of course the Queen Mary historic ocean liner landed a plum spot on the Long Beach version of Monopoly.
    (
    Patrick T. Fallon
    /
    Getty Images
    )

    Others featured on the board are lesser known to outsiders, like Rosie’s Dog Beach and the Arts Council for Long Beach.

    The arts nonprofit was “surprised and excited” to hear from Top Trumps last year that they were being included in a version all about Long Beach, said interim executive director Lisa DeSmidt.

    “I describe Long Beach as a big city that's run like a small town, and that everybody kind of knows each other to some degree,” DeSmidt said. “Long Beach has a sense of community in that Long Beach takes care of Long Beach people.”

    A yellow Monopoly piece that reads "Arts Council for Long Beach" and features tiny renderings of buildings, a palm tree and ferris wheel.
    An intern for the Arts Council for Long Beach designed its space on the Monopoly board.
    (
    Arts Council for Long Beach
    )

    An intern for the arts council, Payton Smith, designed its space on the board, featuring small, intricate renderings of landmarks like the Long Beach Airport and the pyramid arena at Cal State Long Beach.

    For DeSmidt, the game serves as a kind of cultural snapshot highlighting the city’s mix of arts, neighborhoods and institutions. It’s reminiscent of the council’s own project mapping the city’s cultural assets.

    “This ties into uplifting what makes Long Beach unique and what people love about it,” DeSmidt said.

    Monopoly's lasting pull

    Outer Limits Tattoo was also invited to be part of the game, where it now appears next to VIP Records on the board.

    Recognized as the country’s oldest continuously working tattoo shop, Outer Limits’ history dates back to 1927, when it opened in the waterfront amusement district known as The Pike, now home to the Pike Outlets.

    Outer Limits' general manager Matt Hand said once word got out that the shop was stocking the game, customers started showing up just to buy it.

    “It’s just a cool thing,” Hand said. “Especially when it’s like, ‘The business where I get tattooed’ is on the board.”

    A big reason Hand thinks these editions are catching on is nostalgia. Seeing your own city in a board game that you played as a kid — and may be now playing with your own kids — is thrilling.

    “You're basically like a part of the game now,” Hand 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

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  • Men's team advances to World Cup knockout stage
    Men in uniform embrace on a soccer field.
    Alex Freeman #16 of the U.S. celebrates with teammates after scoring his team's second goal in a victory over Australia on Friday.

    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 (AP) — 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 on Friday.

    A deep U.S. roster overcame Pulisic’s absence to clinch a knockout berth after only two matches for the first time. The last time the Americans served as World Cup hosts in 1994, they advanced by being one of the best third-place teams. They then lost to eventual champion Brazil in their next match, which was in the round of 16.

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

    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. Freeman headed in a deflected shot by Sergiño Dest for his first career World Cup goal. The goal was confirmed after a video review.

    The U.S. took a 1-0 lead in the 11th minute after a run down the left sideline by Folarin Balogun, who scored two goals in the 4-1 victory over Paraguay on June 12.

    Balogun directed a centering pass towards striker Ricardo Pepi, who started in place of Pulisic. The ball never reached Pepi, deflecting off Australia defender Cameron Burgess and into the Socceroos’ net for an own-goal.

  • School board attempts to save dozens of trees
    A white banner reads TREE REMOVAL does not equal SOIL REMEDIATION
    Tree advocates put up a banner in front of PUSD's headquarters on Tuesday.

    Topline:

    Pasadena residents fighting a school district plan to remove nearly 200 trees scored a win Thursday night. On Thursday, the district’s board voted unanimously to attempt to save up to 57 of those trees.

    The background: Pasadena Unified School District officials had said 193 trees across 11 campuses need to be cut down to clean up soil contaminated by the Eaton Fire. Local residents condemned the plan, including a Pasadena teen who spent more than eight hours in the branches of an oak tree slated for removal at the district’s headquarters.

    What happens now? The adopted motion is no guarantee trees will be saved, but it directs staff to evaluate other ways to remediate soil around certain mature, protected trees.

    Pasadena residents fighting a school district plan to remove nearly 200 trees scored a win Thursday night.

    Pasadena Unified School District officials had said 193 trees across 11 campuses need to be cut down to clean up soil contaminated by the Eaton Fire. But on Thursday, the district’s board voted unanimously to attempt to save up to 57 of those trees.

    The adopted motion is no guarantee trees will be saved, but directs staff to evaluate other ways to remediate soil around certain mature, protected trees.

    The vote came after public outcry from local residents, including a Pasadena teen who spent more than eight hours in the branches of an oak tree slated for removal at the district’s headquarters.

    Why is the district trying to remove trees?

    Last May, the school district released the results of soil tests taken after the Eaton Fire, which found elevated levels of toxic metals, primarily lead and arsenic, at 13 campuses. (You can see the reports for each campus here).

    Then, late last month, the district announced it planned to remove nearly 200 trees to excavate one to 4 feet of contaminated soil at the remaining 11 campuses it has to clean up. Officials said they need to get the work done before students return from summer break.

    The plan angered many residents.

    Chapman University soil scientist Christine Sierra O’Connell said removing contaminants is critical, but cutting down too many trees could swap out one problem for another.

    “You could easily imagine taking down all these trees, and the next time there's a big heatwave before the end of the school year, these campuses are super hot,” she said.

    She said areas like sports fields and open soil playgrounds make sense for excavation, but a variety of methods can be used to remediate soil near trees, including phytoremediation, in which plants are used to take up metals in the soils.

    “In my opinion, PUSD should not be moving forward with a wholesale excavation strategy without circling back and deeply investigating whether or not alternative soil remediation strategies can be utilized around the root beds of these large, mature, important trees,” O’Connell said.

    District has concerns about additional costs

    The district’s facilities director, Michael Dunning, said at the Thursday board meeting that he and his staff will assess 57 mature, protected trees where it may be possible to use an “air excavation method” to clean the soil at their base.

    “It does take longer periods of time,” Dunning said. “It does come with some risk. We could go through the cost of trying this method at each tree and still not come to a conclusion.”

    If the district doesn’t clean up the soil to accepted levels, they’d have to enter into a “land use covenant” with the state’s Department of Toxic Substances Control. That would require certain areas to be permanently closed off, or possibly made impermeable with concrete, as well as additional training and staff for maintenance, which could cost the district $30,000 per year in perpetuity, Dunning estimated.

    “I’m not certain that our budget could withstand such a thing,” said Boardmember Michelle R. Bailey.

    The original full excavation plan is estimated to cost $6.6 million, though the district would be reimbursed by the state if the contamination is reduced to public health standards.

    Benjamin Stanphill, Southern California division chief at the state Department of Toxic Substances Control, told board members that the agency is "somewhat agnostic” about the method of contaminant removal and that they’d consider approving a plan involving bioremediation or phytoremediation methods.

    Meanwhile, the district said in a statement that staff and arborists “will continue refining site-specific approaches, site by site, tree by tree… with the goal of maintaining as many protected trees within the removal areas as possible.”

  • Big art block party's taking over Wilshire
    A street view of the LACMA building that houses the David Geffen Galleries. The building is finished with smooth grey concrete.
    LACMA's David Geffen Galleries

    Topline:

    LACMA is turning a stretch of Wilshire Boulevard in front of its new David Geffen Galleries into a living gallery on Saturday.

    The backstory: The Art Parade is the creation of gallerist Jeffrey Deitch, who first put on the event in New York’s SoHo from 2005 to 2008.

    The details: The inaugural L.A. edition will include 1,400 participants marching down Wilshire. There will be a massive, mirrored inflatable sculpture, a custom-painted 1959 Cadillac powered by humans and an 18-piece marching band.

    Read on ... for the details.

    LACMA is turning a stretch of Wilshire Boulevard in front of its new David Geffen Galleries into a living gallery.

    The Art Parade is the creation of gallerist Jeffrey Deitch who first put on the event in New York’s SoHo from 2005 to 2008.

    Two people, one pained blue, one painted white, ride a replica white horse.
    A scene from one of the east coast Art Parades of years past.
    (
    Courtesy LACMA
    )

    The inaugural L.A. edition will include 1,400 participants marching down Wilshire. There will be a massive, mirrored inflatable sculpture, a custom-painted 1959 Cadillac powered by humans and an 18-piece marching band.

    “It’s going to give you the feeling of Mardi Gras, but obviously not New Orleans. I think what people are going to recognize is just the enthusiasm and excitement for this moment here in L.A.,” Naima Keith, senior vice president of education, public programs and regional partnerships at LACMA, told LAist.

    You can also expect a cotton candy-themed entry from Meow Wolf, the group behind a number of immersive art museums that is slated to open an installation in L.A. later this year. L.A. artist Gary Baseman, whose exhibition recently opened at Johnie’s Coffee Shop at the corner of Wilshire Boulevard and Fairfax Avenue, will present “Peace Thru Purr.”

    The Art Parade
    LACMA, 5905 Wilshire Blvd., Los Angeles
    Sat, June 20, 6 p.m.
    Free
    More info on LACMA’s website.

    Keith said Art Parade is in line with LACMA director Michael Govan’s mission to make the Mid-City art institution and the surrounding space a communal “living room.”

    “It’s a celebration of L.A., of L.A. artists, of the vibrant art community that’s here,” Keith said.