UCLA football practices simulate as many aspects of a game as possible, including TV timeouts. In a Bob Chesney practice, those simulated breaks become a chance for coaches to share information with the players.
“Instead of just taking a break … the coaches get together and then they break up and disseminate that information to the players, and then they come back together again and then we go out and play,” Chesney said.
Chesney wants his entire team to adapt, overcome and perform. These goals are often utilized in rest periods. They’re spread throughout practice to break the monotonous nature of it.
“I want the coaches to talk about the new plays they’re seeing from the offense and the new things they’re seeing from the defense,” he said. “I want them to practice coaching in-game, and they themselves want to practice coaching in-game.”
The coaching staff tries to slow things down for players. They don’t want players to rush through learning the playbook, and there’s no concrete deadline for installing plays into practice, offensive coordinator Dean Kennedy said.
“It’s fluid,” he told reporters last week.
In previous seasons at James Madison, Kennedy and Chesney noticed there were times when they would focus on learning plays too early in spring practice, leading to execution mistakes during games. This convinced them to put a hold on finalizing certain plays so players had more time to process details and make necessary adjustments.
“There’s a million football plays, but if you just install stuff and you don’t actually get a rep of it, what’s the point, right? You can’t assess it on film,” Kennedy said. “You can’t teach it to them the proper way because realistically, just like us, there’s only so much they can learn, right?”
Competition is at the heart of Chesney’s efforts to revitalize the Bruins. From the weight room to sitting in meetings, to the way the lockers are kept — everything is a competition, Chesney said.
“Every single thing is going to be graded and judged and held to a high standard, and accountability will follow it,” he said. “That has got to be it, we have to be able to compete. We play a game where you keep score and everybody’s in a one-on-one matchup and [compete] as hard as possible for 80, 90, however many plays it might be in a game.”
For UCLA, it’s important to set a level of competition that mimics game-time energy during practice.
“I want Saturdays to feel as much like a Tuesday and Wednesday as humanly possible,” Chesney said.
That includes the pressure of trying to filter out thousands of screaming fans. In punt return drills involving receiver Mikey Mathews, UCLA players rushed him, screamed at him and sprayed him with water in an attempt to prevent him from catching the ball.
Chesney doesn’t want to wait until the season starts to see if his players crack under pressure.
“I’d rather find out right now in practice three and just continue to elevate it week in and week out,” he said. “I think that’s probably the focal point of this entire program is that you pay attention to no virtue that has not been tested in fire, and I want to make sure that we test everything that we can out here in fire.”
Injury update: Linebacker Ryan McCulloch, who transferred from Cal, could see some practice time near the “very end” of the spring practice period, Chesney said. McCulloch missed most of the 2025 season because of injury.
The UCLA women’s gymnastics team enters the NCAA regionals on Friday in Corvallis, Ore., focused on three principles — calm, confidence and commitment to one another. The Bruins started leaning on the mantra to help them stay dialed in as they took home the Big Ten tournament title, Mika Webster-Longin said.
Now, they will use it as they to push to reach the NCAA championship.
“The Big Ten win really feels good and helps our confidence going [into NCAA regionals],” she said. “It felt great to put everything together because I feel like we really built off of one another and showed what we can do to not only the Big Ten competition, but to everyone.”
“It gives us just the right amount of confidence going into regionals and then seeing where it takes us,” Tiana Sumanasekera said.
UCLA gymnasts Nola Matthews, left, and Tiana Sumanasekera, right, cheer as Jordan Chiles lands a jump during her floor exercise routine at Pauley Pavilion on Jan. 17.
(Gina Ferazzi / Los Angeles Times)
During the NCAA Corvallis Regional, San José State and Washington will face off for spots in the main pool. No. 4 seed UCLA then competes in one of two sessions on Friday at 7 p.m. against No. 13 seed Minnesota, Iowa and the winner of the Spartans versus Huskies early matchup.
If the Bruins place in the top two, they advance to the regional final on Sunday to face the top two teams in the other regional pool that includes No. 5 seed Alabama, No. 12 seed Utah, Denver and host Oregon State.
The top two teams in the regional final along with the top individual all-around performer and top event finishers not on a qualifying team advance to the NCAA championship.
Last year, UCLA finished in first place during its opening regional matchup and second during the finals, advancing to the championship meet.
The Bruins’ biggest takeaway from last season’s competition has been to be intentional, attack their gymnastics and be aggressive with their routines, UCLA coach Janelle McDonald said.
“The best teams that have the most success at these competitions are the ones that really leave no doubt out there,” she said.
At this point in the season, performing a familiar routine isn’t hard for UCLA. The Bruins’ main focus is on nailing details and to be present during every moment of their routines to score every possible point. With a two-day competition waiting for them in Corvallis, the Bruins also need to make sure they commit to recovery treatment so that they’re as sharp as possible for the second day of competition, McDonald said.
“That’s really been our mentality, be really efficient, very confident, very present and intentional about what we’re doing,” she said.
The stakes are higher, but the conference champions say they will treat this as business as usual. The Bruins want to lock in and highlight the areas that have helped them demonstrate competitive greatness throughout the season.
“Each and every weekend we’re building that mentality,” McDonald said. “We have so many experiences under our belt that we’ve learned from.”
Sumanasekera said hard work all season has helped prepare the team for the test it faces this weekend.
“We’re really excited, we have incredible depth on this team, so I think that really helped us in the long run,” she said.
UCLA teammates cheer as gymnast Jordan Chiles completes her floor routine during the Big Four competition at Pauley Pavilion on Feb. 27.
(Etienne Laurent / For The Times)
Webster-Longin experienced the postseason last year as a freshman. This year, she had a late start due to an illness that kept her out for three meets.
Since returning on Feb. 27, she has competed in all-around events during the last three meets and has improved her scores each week.
That was the moment Webster-Longin remembered just how competitively great she is, McDonald said.
“I’ve seen the details become more consistent, and I’ve just seen her just be excited to go out and help the team in any way they need,” McDonald said, “And boy, has she done just that.”
Webster-Longin was asked to fill in as an emergency injury replacement during her first meet of the season and has figured out how to be successful whenever she’s placed in the lineup.
“At least for me, trusting the work I put in this year and even the experience I’ve had last year helped me be able to step up for those pressure situations and important moments,” she said.
Alipio has turned the page
UCLA gymnast Ciena Alipio celebrates after competing on the uneven bars during the Big Four meet at Pauley Pavilion on Feb. 27.
(Katharine Lotze / Getty Images)
During the Big Ten championship, Ciena Alipio fell during her balance beam routine. It was a moment when she was looking forward to doing her best, McDonald said, but Alipio didn’t have the result she wanted. Instead, it was a great lesson for her to learn — mistakes happen.
“She’s just really been able to turn the page and get back into training,” she added. “She’s had a great week of training. She looked phenomenal and just really dialed in and it kind of put those kinds of mistakes behind you.”
Within the first 72 hours of a 26-day game, “Survivor 50,” featuring 24 veteran players, had already delivered feuding, anguish and heartbreak. Legendary rivals Ozzy Lusth and Benjamin “Coach” Wade appeared to bury the hatchet, only for their conflict to reignite soon after. Kyle Fraser was forced out due to injury, and Jenna Lewis-Dougherty, who competed in both the show’s inaugural season and “All-Stars,” was the first person voted out after more than two decades away from the game.
Yet there were also moments of nostalgia, connection and excitement as returning players arrived on the beach, grateful to be part of the show’s landmark 50th season.
This raw display of humanity has kept the show’s torch burning for over 25 years. “‘Survivor’ is built on a timeless idea because human nature doesn’t change,” says Jeff Probst, the host, executive producer and showrunner of the reality competition series. “It’s essentially behavioral psychology in the wild.”
Back in Fiji’s Mamanuca Islands for “Survivor 50: In the Hands of Fans,” the show has added a novel element. Fans were given a say in key decisions, voting online to shape production and game mechanics, from choosing tribe colors to requiring castaways to earn rice and supplies instead of receiving them at the start.
“What a great twist,” says Wade in an interview over Zoom. “‘In the Hands of Fans’ transforms the game. Instead of it being, ‘They are playing,’ it’s ‘We are playing.’”
Though he was disappointed to be deprived of staples upon his arrival, he smiles and says that if he were watching at home rather than competing, he also would have wanted players to start with nothing.
Singer-songwriter and “Survivor” superfan Zac Brown coooked and performed for contestants on the show.(Robert Voets/CBS)
“Survivor” has also leaned into its famous fan base this season, bringing in self-proclaimed superfans, including Grammy-winning singer-songwriter Zac Brown — who appeared in Episode 4 as a reward for a winning tribe for whom he spearfishes, cooks and performs. The show also nods to Billie Eilish via the Billie Eilish Boomerang Idol featured in the season premiere. The game piece was handpicked by the Oscar- and Grammy-winning pop star — whose 2022 song “TV” references “Survivor” — and accompanied by a letter in which she outlined its instructions.
But Mike White, creator of “The White Lotus,” represents the show’s most intertwined cultural crossover. He drew inspiration for his hit HBO series from “Survivor” and cast several former tribemates in cameos. “Survivor 50” also features “The White Lotus” Easter eggs.
Returning to the franchise for the first time since he finished as runner-up in 2018, in the Season 50 premiere he says, tearfully, “There are times in ‘White Lotus’ where I’m so fried … it’s a 129-day shoot, but I look back on my ‘Survivor’ experience, and I’m like, ‘Dude, I did that and I can do this.’” Yet White’s hard-won resilience couldn’t protect him from being voted out in a blindside in Episode 4, proving that fame offers no immunity.
And that is the point. At its core, “Survivor” is about watching people from all walks of life dropped into a remote, unforgiving landscape where they must outwit, outplay and outlast one another for a $1 million prize — hungry, exhausted and sore, roasting in the blazing sun or shivering through rainstorms, and enduring grueling physical competitions. They must cooperate with the very people they’re competing against. And as alliances form and fracture, each day grows more fraught.
Former “Survivor” contestants Mike White, left, and Quintavius “Q” Burdette in Season 50.
(Robert Voets/CBS)
“It’s very simple but very deep,” Probst says. “The goal is not to get voted out, but the strategy in achieving that goal is infinite, so the game’s easy to understand, but it’s impossible to master. That’s why it’s so much fun to watch. You’re constantly asking yourself, ‘What would I do?’”
It’s one thing to ask from the comfort of home, but another to live it out, and on national television to boot, says Wade. Coach “When you step on that beach, the stakes are so much higher,” he explains. “Nobody really thinks about the million dollars. They’re thinking about surviving, not getting voted off.”
“Most people would be able to do it,” he continues. “But what you’d realize is what happens to your character and your facade when you’re deprived of everything — food, comfort, reaching out to your friends and having a support system that you know and trust. When you strip all of that away, this stops being a game, and your character will be forged, revealed or shattered.”
A four-time player, Season 23 runner-up and 2015 Survivor Hall of Fame inductee, Coach is one of the show’s most legendary figures. Known as the Dragon Slayer, he’s often shown meditating, praying, waxing philosophical, and pontificating on nobility, integrity and honor. His grandiose persona rubbed many the wrong way early on, earning him a villain label.
Reflecting on his legacy, Wade partly blames the edit but acknowledges he often took himself too seriously, was arrogant, and tried too hard to be larger than life, yet he stresses his authenticity. “The way I look, dress and talk — I’m polarizing,” he says. “That’s who I am in my real life, so that’s who I am out there.”
Probst affirms that what you see is what you get. “Coach shows up authentically every day,” he says. “He wears his mythology on his sleeve and has it tattooed on his body. When he pulls back his hair into a ponytail and quotes Magellan, that’s Coach: ‘I’m the guy with quotes about war and victory and fearlessness and courage. That’s actually who I am.’”
This season, Wade calls himself “Coach 4.0,” but Probst remains skeptical. “Every time he plays, Coach refers to himself as the new version of Coach,” Probst says. “But the minute he starts talking, everybody thinks the same thing: ‘Coach, you may have some more maturity and life experiences now that you’re married and have kids, but you’re exactly the same.’”
That’s not a critique of Coach. After observing more than 750 players over 25 years, Probst believes, “We are capable of much more than we think we are, and simultaneously, at our core, we generally are who we are. It doesn’t mean you can’t change or become a better version of yourself, but you’re going to have some core instincts.”
Benjamin “Coach” Wade in “Survivor 50.” (Robert Voets/CBS)
Coach in 2011’s “Survivor: South Pacific,” the show’s 23rd season. (Monty Brinton/CBS)
The show’s unflinching exploration of human nature traces back to visionary British television producer Charlie Parsons. He conceived the social experiment based on a combination of his curiosity about people, the influence of “Lord of the Flies” and “Robinson Crusoe,” and his boarding school experience.
“It was an all-boys school and quite a competitive place, so there was an element of survival in that,” Parsons says over Zoom. “It wasn’t a bad experience, but if you’re 13 and you’ve never lived away from home before, it can be quite a wrench to live for a month at a time away from your parents. On one occasion I called my parents and said, ‘Will you rescue me?’ And they didn’t.”
In 1988, Parsons turned his concept into “The Castaways,” a three-part documentary for a magazine-style television program he was showrunning.
Several years later, he was approached by Disney’s Buena Vista Productions to make an American version of a successful British morning show he created. When that didn’t pan out, he pitched what would eventually become “Survivor,” developing it with Buena Vista in hopes of selling it to ABC.
But, he says, the radical concept didn’t fit neatly into existing TV genres, and the network balked. “It’s difficult to imagine, but back in the ‘90s this idea of reality TV basically didn’t exist,” Parsons says. “Television was reasonably siloed … ABC took a long time deciding because they could see that there was something about it, but in the end they passed.”
In 1997, however, the concept found immediate success in Sweden with “Expedition Robinson,” leading to expansion in more Scandinavian countries.
The leap to America required a new alliance. During Parsons’ development process with Buena Vista, he’d met fellow British TV producer Mark Burnett at a party in Los Angeles where he’d told him about the reality competition format he was building. Burnett then called every six months pressing to produce it until Parsons finally agreed to grant him the American licensing rights.
“Mark had an incredible energy and presence, which meant that he could go and sell the s— out of it,” Parsons says. “He could persuade the networks to take a risk on something risky.”
Even so, as Burnett relayed in a comprehensive 2010 Television Academy interview, he faced a difficult pitching process. But after every major network passed, he re-approached CBS, where then-CEO and President Les Moonves was game to try original programming during summertime when reruns caused dwindling viewership. But when Moonves commissioned a pilot, Burnett said a stand-alone episode was too costly and couldn’t capture the show’s slow-burn endgame.
Instead, he proposed a sponsorship model built on integrating products into the game, pitching the value of a castaway using a branded cellphone to call home, or the desperation for a slice of pizza and a beer. After Burnett secured corporate sponsors, Moonves greenlighted “Survivor.”
Though firmly embedded in the culture today, “Survivor” was revolutionary when it debuted May 31, 2000, quickly becoming a cultural phenomenon. The Season 1 finale averaged 51.7 million viewers, surpassing both the Academy Awards and Grammys that year. Time magazine featured Lewis-Dougherty on its late June 2000 cover, and “The Late Show With David Letterman” featured a “Survivor”-themed Top 10 list presented by the show’s 16 castaways.
From its exotic location to the now-iconic buffs, “Survivor” established a world all its own, complete with a unique lexicon of immunity challenges, tribal council and Probst’s signature catchphrase, “The tribe has spoken.” As the enduring face of the show, Probst is central to its legacy, earning four Emmys for his role as host.
But even Probst’s survival wasn’t guaranteed. About 15 years ago, the relentless travel and schedule left him so depleted that he briefly quit the show. A few months of rest, however, allowed him to reevaluate. “It really was, ‘I don’t know if I have anything left in my tank to bring to the game.’ That might be what partly influenced Mark to make me showrunner even faster,” Probst says. “I needed to be more of a storyteller on this show.”
The cast of “Survivor” Season 1, standing from left: Ramona Gray, Dirk Been, Gretchen Cordy, Richard Hatch, Sonja Christopher, Susan Hawk, Kelly Wiglesworth, Sean Kenniff, B.B. Andersen and Rudy Boesch. Seated from left: Gervase Peterson, Jenna Lewis, Joel Klug, Stacey Stillman, Greg Buis and Colleen Haskell.
(Monty Brinton/CBS)
He’s quick to note the show’s collaborative ethos, however. “The term ‘showrunner’ is pretty misleading at this point. We make this as a team,” Probst says. Under his stewardship, “Survivor” is more cinematic, reimagined through the lens of Joseph Campbell’s “The Hero’s Journey,” and family friendly. Probst also notes the necessity of continually evolving game design, creating unexpected twists and advantages to keep players on edge and never knowing whom to trust.
The pandemic brought changes as well. With production shut down amid a world in turmoil, Probst felt “Survivor” needed more levity. When filming resumed, due to the 14-day quarantine requirement, back-to-back seasons were shot and the format was shortened from 39 days to 26. The faster-paced “New Era” that began with Season 41 also coincided with CBS’s 2020 diversity mandate requiring at least 50% of the cast to be nonwhite, and Probst dropped his longtime catchphrase “Come on in, guys” in favor of more inclusive language.
By Season 45, in keeping with Probst’s narrative-driven vision, the previously hourlong episodes expanded to 90 minutes.
Television habits have also changed since viewers once dissected tribal council proceedings at the office the next morning. Streaming breathed new life into “Survivor,” with younger viewers discovering it during the pandemic, while its cross-generational appeal keeps it a broadcast powerhouse. The Season 50 premiere drew 9.1 million viewers across live broadcast and delayed streaming, and in the weeks leading up to the launch, viewers revisited older seasons, boosting streaming numbers ahead of the anniversary.
According to Mitch Graham, CBS executive vice president of alternative programming, “Survivor” ranks No. 1 in the coveted 18 to 49 demographic, and the Season 50 launch generated the biggest social media engagement in the franchise’s history.
Even as the reality TV landscape has grown crowded, Probst remains unfazed. “It’s a show like no other,” he says. “It’s adventure, survival, strategy, interpersonal relationships, social politics. … This multi-layered storytelling gives it durability because any given week you have no idea what you’re going to watch.”
Meanwhile, as Season 50 continues to unfold, no one knows who will be crowned “Sole Survivor” on May 20 in Los Angeles, the show’s first live finale since 2019. But rest assured, by then they’ll have revealed exactly who they are.
For Nareg Kopooshian, the basketball coach at AGBU High in Canoga Park, there’s a big summer ahead. He’s going to be the head coach for the U16 Armenian national team in the FIBA U16 EuroBasket competition July 4-12 in Yerevan.
It’s the first time Armenia is hosting the event.
Los Angeles has the largest Armenian community in the United States with as many as 700,000 people.
Players selected for the training camp in Armenia include Anthony Sarkesian (Chaminade), Anthony Karayan (Village Christian), Ethan Kazanjian (AGBU), Edward Gemjian (La Canada) and Jivan Dorian (AGBU).
This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.
