New headlines this week are raising concerns for parents of high school football players.
According to a study published from researchers at Mass General Brigham, Boston University and the Concussion & CTE Foundation, one in four former NFL players who died between 2016 and 2021 might have had chronic traumatic encephalopathy (CTE). There were 338 brains donated to study, and 315 of them had evidence of CTE, a brain disorder that can happen because of repeated injuries to the head.
Allan Walsh, a sports agent and lawyer, said in a tweet: “This is a crisis.”
Parents have previously debated among themselves the risks and rewards in letting a son or daughter play a contact sport, but this new study regarding football head injuries is once again going to rattle, if not cause a retreat, from some allowing family members to participate in football.
“It causes concern,” said Mike Hamilton, a former high school football and basketball coach who has a son playing football at Chatsworth High. “Sometimes I’m like, ‘Do I want him to play?’ I’m apprehensive. He has a passion for the game. He’s conscience about his health. What gives me relief is knowing that practices are going well. There are protocols parents should abide by. We didn’t let our son play football until he got to high school because of the hits.”
Tim Moscicki, an athletic trainer at Loyola High for 38 years, said much has changed for the better in protecting football players from concussions and other head injuries. He said new policies, improved equipment, a focus on tackling fundamentals and new protocols are all having an impact.
Loyola athletic trainer Tim Moscicki doing baselining of students in 2014 to help diagnose concussions.
(Eric Sondheimer / Los Angeles Times)
He remembers the days when coaches would say, “He got his bell rung.” The player would sit out a few plays, then get put back in. Now that term is barred from everyone’s vocabulary. New rules requiring players to sit out a minimum of seven days following a concussion while needing clearance from a doctor to return and tackling restrictions put in during weekly practices show the CIF is taking CTE concerns in a serious matter for high school sports.
“To me. football has gotten a lot safer,” Moscicki said. “Right now, given what’s in place, it’s safe to play football. Kids are being held out now when they develop any kind of symptom. Back in 1990, if a kid had a concussion and they were free of symptoms for 24 hours, we’d give them their helmet back, ‘You can play.’
“My thing it’s still up to parents if they want their sons to play football. My youngest played football, oldest played lacrosse. There’s always a risk. There’s a risk riding a bike. There’s risk playing baseball. It’s a just a little higher in the full-contact sports. The standards have changed so much. There really wasn’t a return to play protocol in the ‘70s ‘80s and ‘90s.”
Moscicki was one of the first high school athletic trainers to do baselining of all students, giving them tests of their balance and brain functions so it can be used and compared with a similar exam if the student is suspected of having a concussion. Loyola also started a return-to-school program because students with concussions have headaches that also affects their school work.
Parents must understand “you cannot prevent a concussion,” Moscicki said.
“If you get hit hard enough, there’s nothing out there that would 100% prevent a concussion,” he said. “A concussion happens as a result of your brain hitting the inside of your skull.”
The good news is everyone seems to be endorsing funding research into head injuries, including the NFL. It’s still too early to conclude where the research is headed.
That’s where parental choice comes into play.
“Football is a sport,” Moscicki said. “You don’t have to play it. You don’t have to watch it.”
And yet, the Super Bowl is the most watched annual television broadcast in the United States, with lots of monetary rewards for those who participate.
There are many challenges ahead. Pierce College and Orange Coast College paused their junior college football programs this year for lack of players. Junior varsity programs at lots of high schools have been discontinued for lack of players. A CIF participation survey for 2025-26 found 11-man football is the most popular boys sport with 87,718 participants, a drop of 4% from last school year.
“Anything that’s a contact sport runs a risk,” Hamilton said. “You want to protect your son.”
The importance of parental support goes meta in Julia Hart’s “Don’t Say Good Luck.” The YA musical drama, which premieres Friday, pays homage to musical theater, unconditional maternal love and the family-hour TV, er, Netflix movie. In a landscape littered with teenage dysfunction, “Don’t Say Good Luck” is a moving argument for aspirational television.
And with a star whose famous father serves as producer, it‘s an admonition to the term “nepo baby.”
We meet normal kid Sophie Birenbaum (Sunny Sandler) as she anxiously prepares for a day that will include auditioning for her high school’s production of “Waitress.” While her father, Ted (Max Greenfield, marvelously transformed by a beard), wrangles her rambunctious younger twin brothers, her mother, Elizabeth (Melanie Lynskey), assures her that she is talented and beautiful and will do just great. These sentiments are echoed by Sophie’s best friend, Carolyn (Scarlett Estevez), who joins her at the audition where the director is the super-cool Ms. Parker (“Brooklyn Nine-Nine’s” Stephanie Beatriz) and even theater department queen bee Mallory (Elyse Bell), who everyone knows is going to get the lead, is pretty nice.
It’s a high school experience that’s about as far from “Euphoria” or even “Glee” as one can get while still being situated on Earth. Still, all is not perfect in Sophie’s world. When Elizabeth learns that her cancer has returned, Sophie overhears her parents’ subsequent conversation via a butt-dial from her father’s phone. Her first impulse is to flee the audition; instead her emotional turmoil fuels a powerful performance that (spoiler alert?) lands her the lead role.
Determined to downplay the seriousness of her illness, Elizabeth insists that life continue on as normal — she and Ted own a local deli, which offers some nice bagel versus wrap shade and a Jon Lovitz cameo. Though Sophie is worried, she believes her mother who says she will beat cancer again. So she throws herself into the stomach-churning rigor of being the star of the show, which includes a painful separation from her bestie, a crush on her co-star and a struggle to find the confidence to let her obvious talent shine.
“Don’t Say Good Luck” is, obviously, a showcase for Sandler, whose parents, Adam and Jackie Sandler, serve as producers (which may have had something to do with the extraordinary supporting cast, which also includes Bebe Neuwirth and Steve Buscemi as Elizabeth’s parents). Adam Sandler and his Happy Madison Productions have a long and lucrative partnership with Netflix, which recently debuted “Happy Gilmore 2” and announced “Grown Ups 3” as part of their deal. One could see this as yet another case of nepo-baby triumph — streaming is currently littered with the progeny of famous parents — or simply a living example of the film’s theme. Like the Birenbaum parents, the Sandlers want to help their daughter shine in her chosen career and that she certainly does.
Adam Sandler serves as a producer, which may have had something to do with the extraordinary supporting cast, which also includes Steve Buscemi as Sophie’s grandfather.
(Netflix)
Though Sophie is the only older daughter ever to escape the task of caring for her younger brothers (or doing any chores at all), Sandler makes her completely believable as a nice, self-conscious kid who just needs a push to trust her talent. If the tone of the film is 1970s-family-comedy aspirational (particularly in the mother-daughter scenes), that shouldn’t be construed as a low level of difficulty.
Indeed, it is almost revolutionary to see emotionally resonant teenage characters who aren’t mired in abuse, addiction or some kind of horror; leveraging dysfunction has become shorthand for “drama.” “Don’t Say Good Luck” is based on the real-life experience of co-writer Laura Hankin (collaborating here with Hart and Jordan Horowitz), and though the stakes are emotionally high, portraying a loving family doing their best to get through a devastating situation with minimal meltdowns is its own act of bravery.
It certainly helps that this family is firmly anchored by Lynskey, who proves, yet again, that she can do anything. Her Elizabeth is neither martyr nor saint, just a woman who wants to live as she’s always lived for as long as she can. Lynskey lifts what could have been a sappy (or even worse, guilt-inducing) cancer-mom tale into a quietly transcendent contemplation of motherhood. (A scene in which she flips through the calendar trying to figure out when to let the kids know what’s really going on drove the breath from this mother’s body.)
Does “Don’t Say Good Luck” skirt around the grim realities of cancer as cavalierly as it paints a Pinterest mood-board vision of high school? Absolutely. But that doesn’t mean the message and the feelings (yes, you absolutely will cry) are not just as authentic. Love is the root of much pain, but it’s also what conquers it in the end.
Melanie Lynskey as Elizabeth, Max Greenfield as Ted and Jon Lovitz as Lenny in “Don’t Say Good Luck.”
As if the college sports world weren’t crazy enough with roster limitations and rising numbers in the transfer portal, a new trend that isn’t really new but is accelerating involves coaches telling players they will have little chance to play as motivation for the player to leave and open up a roster spot.
That’s how a coach escapes bad publicity for chasing off a player. But maybe the coach is being honest in their evaluation? It’s all part of the strange happenings taking place.
When one door closes, opportunity knocks on another. I want to thank all my family, friends, teammates and coaches who have reached out to me since learning of my involuntary decommittment. I know I will find a new home soon and it will be better than before.@IowaPremierFP
Check out social media to see the growing number of high school and junior college players suddenly searching for new schools this summer by saying, “My recruitment is back open” or announcing an “involuntary decommitment.”
Just this week, Ole Miss is facing criticism after a longtime high school baseball commit from Iowa who has been battling cancer for three years, Brett Harris, said he had his baseball scholarship pulled.
College baseball, in particular, is being disrupted. Members from the high school class of 2027 are being forced to reopen their recruitment as schools take into consideration a new NCAA rule giving players five years of eligibility across five years.
Braden Ruiz, a Mater Dei High graduate who played shortstop at Cypress College, signed with Oregon last January. Last month he asked for his release from Oregon.
“It was the vibe I was getting,” Ruiz said. “They said I could still go up there and give it a shot. The conversations were they didn’t seem interested as before. I decided to decommit. The coach who recruited me ended up leaving Oregon a week later.”
Ruiz played with a hamstring injury at Cypress College last season.
“It’s all about performance,” he said. “If you’re not performing, it makes the coaches think differently.”
Ruiz has come to understand how college sports has become a business.
“They pretty much can do whatever they want,” he said. “They can pull your offer or in the conversations tell you you’re not wanted anymore. But it’s part of their job. They need to win to keep their job.”
Mater Dei coach Richard Mercado said he’s advising parents and players “if a school is giving out NIL money, it’s a business. You’re not going there to be friends with the coach. It’s a business relationship. They have to win immediately and with limited roster spots. They can’t be wrong.”
Players being pushed away to open a scholarship spot is not new. It’s happened in all sports. College baseball coaches have been engaged in a balancing act for years. Remember the days when Division I schools were limited to 11.7 scholarships. Players were being given partial scholarships and coaches had to project who might leave or stay after the amateur draft. Now college programs can offer full scholarships (think SEC), but rosters dropped to a maximum 34 players last season, forcing coaches to revise and regroup.
Add the impact of no more transfer restrictions and it’s understandable there’s uncertainty. The word loyalty is going to cease to exist in many programs.
So what’s the advice to players and parents?
Betting on yourself still works. If someone doesn’t want you, find someone who does.
“Everybody’s journey is different,” Ruiz said. “You can commit early or late. I would say people who commit now will make it on campus. Their past season was probably good. People performing better more recently have a better chance of playing.”
Do research to find programs that stick with old-fashioned rules and commitments and maybe mention academics.
On Thursday, Ruiz signed with New Mexico State. He’s one of the fortunate ones finding a school with a roster opening this summer before Saturday’s amateur draft begins. He’ll have three years of eligibility left. He’s finally healthy and can’t wait for the day he gets to play against Oregon.
If he becomes a standout, who knows, maybe the Ducks will want him again in this new world of college athletics.
U.S. forward Christian Pulisic heads to the locker room at halftime during the loss to Belgium.
(Allen J. Schaben / Los Angeles Times)
More Americans are playing for bigger clubs and having more success in Europe than ever before, but that pipeline has yet to produce a true superstar. Many of the teams that have had success in this tournament have at least one player — Mbappé, Haaland, Lionel Messi, Harry Kane — who can change the game on their own.
The U.S. doesn’t have anyone who would be sure to start on any of the World Cup semifinalists and until it does, closing the gap will be difficult.
“We are USA and [we’re] competing against Belgium, Portugal,” Pochettino said last March. “I think for sure Belgium and Portugal have [players] in the top 100. We don’t.”
He is right. When the Guardian published its annual list of the world’s top players last winter, Christian Pulisic, the top American, didn’t make the top 100. And he didn’t play a full game in this tournament, missing one to injury, leaving three early and entering another as a late second-half substitute. He played just 223 minutes — 19 more than Ricardo Pepi — and finished with one assist.
Landon Donovan was arguably the closest thing to a game-changing player the U.S. had, so it’s no surprise he scored key goals in the team’s most important World Cup games in the last 32 years: one against Algeria in stoppage time in 2010 that allowed the Americans to finish atop their group for the first time since 1930, and another against Mexico in the round of 16 in 2002, sending the team to the quarterfinals for the only time.
If those are structural things that have long held U.S. Soccer back, there also were issues specific to this team, a supposed Golden Generation whose core was formed in the wake of the failure to qualify for the 2018 World Cup.
The talent was undeniable, which led to great expectations. But what has this generation accomplished? Two round-of-16 exits in the World Cup, one Gold Cup title in the last four tournaments — the team’s worst stretch this century — a fourth-place finish in the last Nations League and a group-stage departure in the last Copa América.
Impressive wins over Paraguay and Australia to start the World Cup gave the Golden Generation a bit of a shine and suggested progress. But when the Americans met a top-10 team in Belgium, the matchup proved a mismatch.
“We want to have higher hopes,” Pulisic said. “We want to be able to go and compete with some of the best in the world. We just still have that next step to climb.”
Against Belgium, that step looked as steep as Mt. Everest.
On a recent summer day at Crossroads School for Arts & Sciences, students ambled through yawns, braces and acne into their creative writing class. The day’s lesson tackled “style,” that elusive, ultra-subjective choice of expression.
“Who was the first author you encountered to do something different on the page?” asked the teacher, Clarke E. Andros.
They named Dr. Seuss, Shel Silverstein and Lemony Snicket before moving on to a précis of Joy Williams’ flash fiction. “These stories are weird — she’s weird,” Andros warned.
In some ways, high school looks much the same as it did 20, even 100 years ago: sleepy eyes either light up or glaze over when a teacher poses a Socratic question. Nervous laughs and unexpected insights emerge as young people use stories to make sense of themselves and the world around them.
(Fingerprint; Penguin Classics; Pantheon)
The idea of the “Great American Novel” took shape in the aftermath of the Civil War, when a fractured nation looked to literature to define itself. As classrooms evolved, so did the canon that reflected America’s changing identity.
But the syllabus today is at a tipping point. Forces — some visible, some harder to see — are upending literature and education itself. American students are in a decade-long reading recession, while fewer students are reading for pleasure than in previous generations.
Reading scores among high school seniors are at their lowest in decades, according to federal testing data, while schools across the country are grappling with how to respond to waning attention spans and artificial intelligence. The Los Angeles Unified School District has begun a course correction, voting to limit student use of laptops and tablets during class — the first major American school system to do so.
We spoke with five high school English teachers across the city — three from LAUSD, one from a charter and one from a private school — to find out what literature belongs in today’s classroom, and which stories can help us understand America, past and present.
Interviews have been edited and condensed for clarity.
Raquel Olvera, Roosevelt High School, Boyle Heights
What books in the American literary canon are you teaching (old and new)?
In 11th-grade American Literature, as part of the LAUSD-approved Odell curriculum, we read four book options: “Friday Night Lights,” “Beloved,” “The Great Gatsby” and “The Warmth of Other Suns.” For my 10th-grade World Literature course, I like “Antigone” and “Things Fall Apart.” I also teach “In Cold Blood,” using it to explore Americans’ fascination with true crime and what the genre reveals about race, gender, class and the justice system.
(Simon & Schuster; Sky Publishing; Vintage)
What’s one work from the canon adults should revisit today?
“The Great Gatsby.” When I read it in high school, I wasn’t engaging with its undercurrents of racism, xenophobia, antisemitism, gender or sexuality in the way I do now. Its themes of power, wealth, consumerism and American identity remain as relevant as ever.
What are English teachers up against in the classroom in 2026?
Besides large class sizes and underfunding, I think public educators are largely battling apathy. Students and young people aren’t engaging with books like they used to. A side effect of that is a lack of empathy and curiosity. At the very least, you can model what it means to be a reader and a writer, and hope that years later, students remember that one nerd English teacher who showed them what humanity can look like.
Schehrezade Lodhy, Da Vinci Schools, El Segundo
What books in the American literary canon are you teaching (old and new)?
Students really enjoy Arthur Miller’s “The Crucible” — it’s all about the human condition and cancel culture, forbidden love and lies and deceit, with witches in the forest. In poetry, we explore a range of American voices, from Walt Whitman and Langston Hughes to Amanda Gorman, and sometimes even song lyrics. I also use “The Moth: Storytelling” podcast when students are working on personal essays. The goal is to make literature, poetry and storytelling as accessible as possible. At a charter school, we have quite a bit of autonomy with what we teach.
What’s one work from the canon adults should revisit today?
James Baldwin’s “Giovanni’s Room” and “Go Tell It on the Mountain.” I read Baldwin a few summers ago, and that was quite an education for me. Unfortunately, some of the content is a bit too mature for high school, but I do talk about Baldwin a bit in my classes when we cover African American authors.
(Reader’s Library Classics; W. W. Norton & Company; Simon & Schuster)
What are English teachers up against in the classroom in 2026?
Artificial intelligence, big time. I really pared back technology in my class, and we’ve pivoted back to paper and pencil. Going into my 18th year of teaching, my biggest goal is re-creating that experience of thinking critically for oneself and studying literature through a critical lens. We’re in this era of going back to the basics. With decreased attention spans, teachers are being forced to become even more creative. It feels like we’re reinventing ourselves every year.
Aiden Brown, John F. Kennedy High School, Granada Hills
What books in the American literary canon are you teaching (old and new)?
From an educationally traditional background, I still believe in canon disruption — mixing the new and old. In American Lit, I’ve taught “Their Eyes Were Watching God” 11 times now. It’s a hard one to get on the first try because the vernacular is so particular, but when we read it physically while also listening to the audiobook, it’s such a great novel to hear. I pair it with bell hooks’ “All About Love.” I teach “Macbeth” from a performance-based lens, making it less intimidating. My favorite book is “Frankenstein,” written by a teenage girl who invented science fiction. My ninth-graders’ favorites were “Fahrenheit 451,” “The Odyssey” (Emily Wilson translation) and “Persepolis,” a graphic novel about a girl discovering punk rock and rebelling against the established order.
What’s one work from the canon adults should revisit today?
All of the lonely young men need to reread “The Great Gatsby,” and anyone freaked out by the state of the world should read “Parable of the Sower.” One quote from the book hangs on a poster board in my classroom: “A community’s first responsibility is to protect its children — the ones we have now and the ones we will have.”
What are English teachers up against in the classroom?
Teenagers are still the funniest people on the planet. As the world around them becomes more atomized, I find that they’re increasingly interested in connection. In the classroom, we are seeing skill loss and a decreased ability to focus on a task. I don’t think that’s just because of AI or the pandemic — it’s also phones, screens and the world kids are growing up in. One thing teachers seem to agree on is a return to pen and paper.
Clarke E. Andros, Crossroads School, Santa Monica
What books in the American literary canon are you teaching (old and new)?
A newer addition I would recommend is “Hunger: A Novella and Stories” by Lan Samantha Chang. Especially in California, we have a lot of great Asian American literature, including works by Amy Tan, but I enjoy the writing level in Lan’s — it’s accessible to students but pushes them, all about intersectional identity and the first-gen experience. A lot of the Latino students I’ve taught in Los Angeles also connect with that book.
(Penguin Classics; Grand Central Publishing; Mariner Books Classics)
What’s one work from the canon adults should revisit today?
“Of Mice and Men.” Revisiting it today opens up deeper conversations about labor, social conciousness and power. Steinbeck creates a microcosm of American society, where disability, gender, race and class are all represented and shaped by an economic hierarchy. The characters are left navigating a world where people often turn on each other rather than challenge the systems around them. It’s novella-length, so you could read it in a Sunday morning.
What are English teachers up against in the classroom in 2026?
We’re up against systems that often prioritize ed-tech and third-party vendors over smaller class sizes and more teachers. When I was at LAUSD, it was clear from our superintendent — who just stepped down over his fraud investigation — was just in bed with tech. It’s hard for me to imagine the folks in power didn’t look at [the failed AI chatbot venture] and see it as a grift.
On the flip side, at hyper-competitive, elite schools like this, students are approaching high school with college in mind rather than with high school in mind. When students understand the value of the process, they’re less likely to look for an easy shortcut like AI.
Adam Tan, Los Angeles Center for Enriched Studies, Mid-City
What books in the American literary canon are you teaching (old and new)?
With independent reading, memoirs are big, like “Crying in H Mart” and Sylvia Plath’s fictionalized “The Bell Jar.” Younger kids gravitate to “Musashi,” a celebrated epic based on a famous samurai. We have a lot of Korean American students here, so they like “Pachinko,” dealing with racism and the Korean population in post-World War II Japan. I’ll also throw in “The Bluest Eye.”
In ninth grade, we read “Slaughterhouse-Five,” “Of Mice and Men,” “The Thief and the Dogs” and “Romeo and Juliet,” with the film adaptations to use media literacy. In American Literature, the major texts are “The Great Gatsby,” “The Things They Carried” and “The Crucible.” We also read nonfiction articles, including pieces on AI and robots, while focusing on rhetorical devices.
(Blackstone Publishing; Knopf; Little, Brown and Company)
What’s one work from the canon adults should revisit today?
“The Catcher in the Rye” benefits from the distance of adulthood. It’s a novel about disillusionment and the search for identity, but when you revisit it, you also see that it’s very much a love story. I often encourage students to look for forms of love beyond romance — love for family, friends and fellow human beings. Even today, students can tell you that the biggest phony in the book is Holden himself. The novel reminds us that while literature may not have answers to the world’s problems, it can help us examine our wounds and find solace in art.
What are English teachers up against in the classroom in 2026?
A lack of accountability in the modern world. In general, we have a school district focused on 100% graduation rates, no F’s. [LAUSD] wanted everything on computer, and now they want less computer time, which is great, but not everyone at top management is on the same page. Teachers are often trying to balance what the district wants with what we know our students need.
What I try to instill instead is an intrinsic desire to grow as a thinker. How do you make sure students are reading without taking the joy out of it? A lot of us are going back to pen and paper. Despite all the concerns about AI, I still think the soul and spirit of young people is as strong as ever. The core is not rotting.
“I’ve talked about rain on this show more than I have in my entire life,” Kittrell says.
It was a constant consideration, both on set and in the writers room. Weather became a way to distinguish Elle from those around her in Seattle. The locals never carry umbrellas; Elle shows up with a pink one.
“We had a writer from Seattle who always said the city gets a bad rap because of the rain,” Kittrell says. “But the rain is what makes it beautiful — it makes Seattle green.”
Elle entering the halls of Rainier West High School with her pink umbrella.
(Kimberley French / Prime Video)
That philosophy stayed with the writers, later showing up in a line Miles (Jacob Moskovitz), Elle’s crush, says to her, and ultimately leading them to Garbage’s “Only Happy When It Rains” as the show’s theme. “We were like, of course,” says Kittrell. “This is what we’ve been talking about the entire time.”
The song was originally meant to end the pilot. “Then we decided we should just be hearing it in every single episode,” says Neustadter. (The pilot instead uses Radiohead’s “Creep,” which also bookends the series.) The main title sequence, an animated “saga sell” from the studio Shine, tells the story of Elle’s move from Bel-Air to Seattle.
“We’re constantly reminding the audience of the contrast between Elle’s essence and the world she’s now in,” Neustadter adds. “There’s an optimism to ‘Only Happy When It Rains’ that feels very Elle Woods. And the irony of it is so delightful.”
For the second straight year, the City Section is allowing a pilot program of high schools forming a boys flag football league as its popularity grows.
This year’s group of high school participants is expected to double in size between eight and 16 teams, City Section commissioner Vicky Lagos said. All will be small charter schools. Last year, several teams that temporarily dropped 11-man football, Sotomayor and Torres, had flag teams in a league that was played in the fall. Sotomayor and Torres will have 11-man teams this season.
When Lagos mentioned the pilot boys flag football league at an 11-man coaches meeting this month, there was clear skepticism voiced by coaches. If boys flag football ever gets approved, Lagos said schools would have to choose between having an 11-man team or a flag team. When Lagos mentioned having the flag season in the spring, there was concern it would take away participants from track and field teams.
This issue figures to come up around the state as schools in the California Interscholastic Federation have similar discussions. Flag football is likely to gain a boost in exposure when it is played at the 2028 Olympic Games in Los Angeles.
Lagos points out that boys flag football participants would be different than 11-man. Middle school students engage in flag football and attract students whose parents don’t want them to play 11-man tackle football for fear of head injuries.
Girls flag football is in its fourth year and rising fast. Adding boys flag football is a debate and issue that will need to be addressed in the future.
Ron Nocetti, executive director of the CIF, said a section must first bring up adding boys flag football as a sport before real discussions can begin.
Commentary: New CTE study renews parental concerns about teenagers playing football
New headlines this week are raising concerns for parents of high school football players.
According to a study published from researchers at Mass General Brigham, Boston University and the Concussion & CTE Foundation, one in four former NFL players who died between 2016 and 2021 might have had chronic traumatic encephalopathy (CTE). There were 338 brains donated to study, and 315 of them had evidence of CTE, a brain disorder that can happen because of repeated injuries to the head.
Allan Walsh, a sports agent and lawyer, said in a tweet: “This is a crisis.”
Parents have previously debated among themselves the risks and rewards in letting a son or daughter play a contact sport, but this new study regarding football head injuries is once again going to rattle, if not cause a retreat, from some allowing family members to participate in football.
“It causes concern,” said Mike Hamilton, a former high school football and basketball coach who has a son playing football at Chatsworth High. “Sometimes I’m like, ‘Do I want him to play?’ I’m apprehensive. He has a passion for the game. He’s conscience about his health. What gives me relief is knowing that practices are going well. There are protocols parents should abide by. We didn’t let our son play football until he got to high school because of the hits.”
Tim Moscicki, an athletic trainer at Loyola High for 38 years, said much has changed for the better in protecting football players from concussions and other head injuries. He said new policies, improved equipment, a focus on tackling fundamentals and new protocols are all having an impact.
Loyola athletic trainer Tim Moscicki doing baselining of students in 2014 to help diagnose concussions.
(Eric Sondheimer / Los Angeles Times)
He remembers the days when coaches would say, “He got his bell rung.” The player would sit out a few plays, then get put back in. Now that term is barred from everyone’s vocabulary. New rules requiring players to sit out a minimum of seven days following a concussion while needing clearance from a doctor to return and tackling restrictions put in during weekly practices show the CIF is taking CTE concerns in a serious matter for high school sports.
“To me. football has gotten a lot safer,” Moscicki said. “Right now, given what’s in place, it’s safe to play football. Kids are being held out now when they develop any kind of symptom. Back in 1990, if a kid had a concussion and they were free of symptoms for 24 hours, we’d give them their helmet back, ‘You can play.’
“My thing it’s still up to parents if they want their sons to play football. My youngest played football, oldest played lacrosse. There’s always a risk. There’s a risk riding a bike. There’s risk playing baseball. It’s a just a little higher in the full-contact sports. The standards have changed so much. There really wasn’t a return to play protocol in the ‘70s ‘80s and ‘90s.”
Moscicki was one of the first high school athletic trainers to do baselining of all students, giving them tests of their balance and brain functions so it can be used and compared with a similar exam if the student is suspected of having a concussion. Loyola also started a return-to-school program because students with concussions have headaches that also affects their school work.
Parents must understand “you cannot prevent a concussion,” Moscicki said.
“If you get hit hard enough, there’s nothing out there that would 100% prevent a concussion,” he said. “A concussion happens as a result of your brain hitting the inside of your skull.”
The good news is everyone seems to be endorsing funding research into head injuries, including the NFL. It’s still too early to conclude where the research is headed.
That’s where parental choice comes into play.
“Football is a sport,” Moscicki said. “You don’t have to play it. You don’t have to watch it.”
And yet, the Super Bowl is the most watched annual television broadcast in the United States, with lots of monetary rewards for those who participate.
There are many challenges ahead. Pierce College and Orange Coast College paused their junior college football programs this year for lack of players. Junior varsity programs at lots of high schools have been discontinued for lack of players. A CIF participation survey for 2025-26 found 11-man football is the most popular boys sport with 87,718 participants, a drop of 4% from last school year.
“Anything that’s a contact sport runs a risk,” Hamilton said. “You want to protect your son.”
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‘Don’t Say Good Luck’ review: Sunny Sandler and Melanie Lynskey shine
The importance of parental support goes meta in Julia Hart’s “Don’t Say Good Luck.” The YA musical drama, which premieres Friday, pays homage to musical theater, unconditional maternal love and the family-hour TV, er, Netflix movie. In a landscape littered with teenage dysfunction, “Don’t Say Good Luck” is a moving argument for aspirational television.
And with a star whose famous father serves as producer, it‘s an admonition to the term “nepo baby.”
We meet normal kid Sophie Birenbaum (Sunny Sandler) as she anxiously prepares for a day that will include auditioning for her high school’s production of “Waitress.” While her father, Ted (Max Greenfield, marvelously transformed by a beard), wrangles her rambunctious younger twin brothers, her mother, Elizabeth (Melanie Lynskey), assures her that she is talented and beautiful and will do just great. These sentiments are echoed by Sophie’s best friend, Carolyn (Scarlett Estevez), who joins her at the audition where the director is the super-cool Ms. Parker (“Brooklyn Nine-Nine’s” Stephanie Beatriz) and even theater department queen bee Mallory (Elyse Bell), who everyone knows is going to get the lead, is pretty nice.
It’s a high school experience that’s about as far from “Euphoria” or even “Glee” as one can get while still being situated on Earth. Still, all is not perfect in Sophie’s world. When Elizabeth learns that her cancer has returned, Sophie overhears her parents’ subsequent conversation via a butt-dial from her father’s phone. Her first impulse is to flee the audition; instead her emotional turmoil fuels a powerful performance that (spoiler alert?) lands her the lead role.
Determined to downplay the seriousness of her illness, Elizabeth insists that life continue on as normal — she and Ted own a local deli, which offers some nice bagel versus wrap shade and a Jon Lovitz cameo. Though Sophie is worried, she believes her mother who says she will beat cancer again. So she throws herself into the stomach-churning rigor of being the star of the show, which includes a painful separation from her bestie, a crush on her co-star and a struggle to find the confidence to let her obvious talent shine.
“Don’t Say Good Luck” is, obviously, a showcase for Sandler, whose parents, Adam and Jackie Sandler, serve as producers (which may have had something to do with the extraordinary supporting cast, which also includes Bebe Neuwirth and Steve Buscemi as Elizabeth’s parents). Adam Sandler and his Happy Madison Productions have a long and lucrative partnership with Netflix, which recently debuted “Happy Gilmore 2” and announced “Grown Ups 3” as part of their deal. One could see this as yet another case of nepo-baby triumph — streaming is currently littered with the progeny of famous parents — or simply a living example of the film’s theme. Like the Birenbaum parents, the Sandlers want to help their daughter shine in her chosen career and that she certainly does.
Adam Sandler serves as a producer, which may have had something to do with the extraordinary supporting cast, which also includes Steve Buscemi as Sophie’s grandfather.
(Netflix)
Though Sophie is the only older daughter ever to escape the task of caring for her younger brothers (or doing any chores at all), Sandler makes her completely believable as a nice, self-conscious kid who just needs a push to trust her talent. If the tone of the film is 1970s-family-comedy aspirational (particularly in the mother-daughter scenes), that shouldn’t be construed as a low level of difficulty.
Indeed, it is almost revolutionary to see emotionally resonant teenage characters who aren’t mired in abuse, addiction or some kind of horror; leveraging dysfunction has become shorthand for “drama.” “Don’t Say Good Luck” is based on the real-life experience of co-writer Laura Hankin (collaborating here with Hart and Jordan Horowitz), and though the stakes are emotionally high, portraying a loving family doing their best to get through a devastating situation with minimal meltdowns is its own act of bravery.
It certainly helps that this family is firmly anchored by Lynskey, who proves, yet again, that she can do anything. Her Elizabeth is neither martyr nor saint, just a woman who wants to live as she’s always lived for as long as she can. Lynskey lifts what could have been a sappy (or even worse, guilt-inducing) cancer-mom tale into a quietly transcendent contemplation of motherhood. (A scene in which she flips through the calendar trying to figure out when to let the kids know what’s really going on drove the breath from this mother’s body.)
Does “Don’t Say Good Luck” skirt around the grim realities of cancer as cavalierly as it paints a Pinterest mood-board vision of high school? Absolutely. But that doesn’t mean the message and the feelings (yes, you absolutely will cry) are not just as authentic. Love is the root of much pain, but it’s also what conquers it in the end.
Melanie Lynskey as Elizabeth, Max Greenfield as Ted and Jon Lovitz as Lenny in “Don’t Say Good Luck.”
(Netflix)
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Sometimes cruel decisions happen in changing college sports environment
As if the college sports world weren’t crazy enough with roster limitations and rising numbers in the transfer portal, a new trend that isn’t really new but is accelerating involves coaches telling players they will have little chance to play as motivation for the player to leave and open up a roster spot.
That’s how a coach escapes bad publicity for chasing off a player. But maybe the coach is being honest in their evaluation? It’s all part of the strange happenings taking place.
Check out social media to see the growing number of high school and junior college players suddenly searching for new schools this summer by saying, “My recruitment is back open” or announcing an “involuntary decommitment.”
Just this week, Ole Miss is facing criticism after a longtime high school baseball commit from Iowa who has been battling cancer for three years, Brett Harris, said he had his baseball scholarship pulled.
College baseball, in particular, is being disrupted. Members from the high school class of 2027 are being forced to reopen their recruitment as schools take into consideration a new NCAA rule giving players five years of eligibility across five years.
Braden Ruiz, a Mater Dei High graduate who played shortstop at Cypress College, signed with Oregon last January. Last month he asked for his release from Oregon.
“It was the vibe I was getting,” Ruiz said. “They said I could still go up there and give it a shot. The conversations were they didn’t seem interested as before. I decided to decommit. The coach who recruited me ended up leaving Oregon a week later.”
Ruiz played with a hamstring injury at Cypress College last season.
“It’s all about performance,” he said. “If you’re not performing, it makes the coaches think differently.”
Ruiz has come to understand how college sports has become a business.
“They pretty much can do whatever they want,” he said. “They can pull your offer or in the conversations tell you you’re not wanted anymore. But it’s part of their job. They need to win to keep their job.”
Mater Dei coach Richard Mercado said he’s advising parents and players “if a school is giving out NIL money, it’s a business. You’re not going there to be friends with the coach. It’s a business relationship. They have to win immediately and with limited roster spots. They can’t be wrong.”
Players being pushed away to open a scholarship spot is not new. It’s happened in all sports. College baseball coaches have been engaged in a balancing act for years. Remember the days when Division I schools were limited to 11.7 scholarships. Players were being given partial scholarships and coaches had to project who might leave or stay after the amateur draft. Now college programs can offer full scholarships (think SEC), but rosters dropped to a maximum 34 players last season, forcing coaches to revise and regroup.
Add the impact of no more transfer restrictions and it’s understandable there’s uncertainty. The word loyalty is going to cease to exist in many programs.
So what’s the advice to players and parents?
Betting on yourself still works. If someone doesn’t want you, find someone who does.
“Everybody’s journey is different,” Ruiz said. “You can commit early or late. I would say people who commit now will make it on campus. Their past season was probably good. People performing better more recently have a better chance of playing.”
Do research to find programs that stick with old-fashioned rules and commitments and maybe mention academics.
On Thursday, Ruiz signed with New Mexico State. He’s one of the fortunate ones finding a school with a roster opening this summer before Saturday’s amateur draft begins. He’ll have three years of eligibility left. He’s finally healthy and can’t wait for the day he gets to play against Oregon.
If he becomes a standout, who knows, maybe the Ducks will want him again in this new world of college athletics.
“The portal is crazy,” Ruiz has concluded.
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Seven reasons why U.S. soccer keeps crashing out of World Cup
U.S. forward Christian Pulisic heads to the locker room at halftime during the loss to Belgium.
(Allen J. Schaben / Los Angeles Times)
More Americans are playing for bigger clubs and having more success in Europe than ever before, but that pipeline has yet to produce a true superstar. Many of the teams that have had success in this tournament have at least one player — Mbappé, Haaland, Lionel Messi, Harry Kane — who can change the game on their own.
The U.S. doesn’t have anyone who would be sure to start on any of the World Cup semifinalists and until it does, closing the gap will be difficult.
“We are USA and [we’re] competing against Belgium, Portugal,” Pochettino said last March. “I think for sure Belgium and Portugal have [players] in the top 100. We don’t.”
He is right. When the Guardian published its annual list of the world’s top players last winter, Christian Pulisic, the top American, didn’t make the top 100. And he didn’t play a full game in this tournament, missing one to injury, leaving three early and entering another as a late second-half substitute. He played just 223 minutes — 19 more than Ricardo Pepi — and finished with one assist.
Landon Donovan was arguably the closest thing to a game-changing player the U.S. had, so it’s no surprise he scored key goals in the team’s most important World Cup games in the last 32 years: one against Algeria in stoppage time in 2010 that allowed the Americans to finish atop their group for the first time since 1930, and another against Mexico in the round of 16 in 2002, sending the team to the quarterfinals for the only time.
If those are structural things that have long held U.S. Soccer back, there also were issues specific to this team, a supposed Golden Generation whose core was formed in the wake of the failure to qualify for the 2018 World Cup.
The talent was undeniable, which led to great expectations. But what has this generation accomplished? Two round-of-16 exits in the World Cup, one Gold Cup title in the last four tournaments — the team’s worst stretch this century — a fourth-place finish in the last Nations League and a group-stage departure in the last Copa América.
Impressive wins over Paraguay and Australia to start the World Cup gave the Golden Generation a bit of a shine and suggested progress. But when the Americans met a top-10 team in Belgium, the matchup proved a mismatch.
“We want to have higher hopes,” Pulisic said. “We want to be able to go and compete with some of the best in the world. We just still have that next step to climb.”
Against Belgium, that step looked as steep as Mt. Everest.
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American books we should all be reading now, according to high school teachers
On a recent summer day at Crossroads School for Arts & Sciences, students ambled through yawns, braces and acne into their creative writing class. The day’s lesson tackled “style,” that elusive, ultra-subjective choice of expression.
“Who was the first author you encountered to do something different on the page?” asked the teacher, Clarke E. Andros.
They named Dr. Seuss, Shel Silverstein and Lemony Snicket before moving on to a précis of Joy Williams’ flash fiction. “These stories are weird — she’s weird,” Andros warned.
In some ways, high school looks much the same as it did 20, even 100 years ago: sleepy eyes either light up or glaze over when a teacher poses a Socratic question. Nervous laughs and unexpected insights emerge as young people use stories to make sense of themselves and the world around them.
(Fingerprint; Penguin Classics; Pantheon)
The idea of the “Great American Novel” took shape in the aftermath of the Civil War, when a fractured nation looked to literature to define itself. As classrooms evolved, so did the canon that reflected America’s changing identity.
But the syllabus today is at a tipping point. Forces — some visible, some harder to see — are upending literature and education itself. American students are in a decade-long reading recession, while fewer students are reading for pleasure than in previous generations.
Reading scores among high school seniors are at their lowest in decades, according to federal testing data, while schools across the country are grappling with how to respond to waning attention spans and artificial intelligence. The Los Angeles Unified School District has begun a course correction, voting to limit student use of laptops and tablets during class — the first major American school system to do so.
We spoke with five high school English teachers across the city — three from LAUSD, one from a charter and one from a private school — to find out what literature belongs in today’s classroom, and which stories can help us understand America, past and present.
Interviews have been edited and condensed for clarity.
Raquel Olvera, Roosevelt High School, Boyle Heights
What books in the American literary canon are you teaching (old and new)?
In 11th-grade American Literature, as part of the LAUSD-approved Odell curriculum, we read four book options: “Friday Night Lights,” “Beloved,” “The Great Gatsby” and “The Warmth of Other Suns.” For my 10th-grade World Literature course, I like “Antigone” and “Things Fall Apart.” I also teach “In Cold Blood,” using it to explore Americans’ fascination with true crime and what the genre reveals about race, gender, class and the justice system.
(Simon & Schuster; Sky Publishing; Vintage)
What’s one work from the canon adults should revisit today?
“The Great Gatsby.” When I read it in high school, I wasn’t engaging with its undercurrents of racism, xenophobia, antisemitism, gender or sexuality in the way I do now. Its themes of power, wealth, consumerism and American identity remain as relevant as ever.
What are English teachers up against in the classroom in 2026?
Besides large class sizes and underfunding, I think public educators are largely battling apathy. Students and young people aren’t engaging with books like they used to. A side effect of that is a lack of empathy and curiosity. At the very least, you can model what it means to be a reader and a writer, and hope that years later, students remember that one nerd English teacher who showed them what humanity can look like.
Schehrezade Lodhy, Da Vinci Schools, El Segundo
What books in the American literary canon are you teaching (old and new)?
Students really enjoy Arthur Miller’s “The Crucible” — it’s all about the human condition and cancel culture, forbidden love and lies and deceit, with witches in the forest. In poetry, we explore a range of American voices, from Walt Whitman and Langston Hughes to Amanda Gorman, and sometimes even song lyrics. I also use “The Moth: Storytelling” podcast when students are working on personal essays. The goal is to make literature, poetry and storytelling as accessible as possible. At a charter school, we have quite a bit of autonomy with what we teach.
What’s one work from the canon adults should revisit today?
James Baldwin’s “Giovanni’s Room” and “Go Tell It on the Mountain.” I read Baldwin a few summers ago, and that was quite an education for me. Unfortunately, some of the content is a bit too mature for high school, but I do talk about Baldwin a bit in my classes when we cover African American authors.
(Reader’s Library Classics; W. W. Norton & Company; Simon & Schuster)
What are English teachers up against in the classroom in 2026?
Artificial intelligence, big time. I really pared back technology in my class, and we’ve pivoted back to paper and pencil. Going into my 18th year of teaching, my biggest goal is re-creating that experience of thinking critically for oneself and studying literature through a critical lens. We’re in this era of going back to the basics. With decreased attention spans, teachers are being forced to become even more creative. It feels like we’re reinventing ourselves every year.
Aiden Brown, John F. Kennedy High School, Granada Hills
What books in the American literary canon are you teaching (old and new)?
From an educationally traditional background, I still believe in canon disruption — mixing the new and old. In American Lit, I’ve taught “Their Eyes Were Watching God” 11 times now. It’s a hard one to get on the first try because the vernacular is so particular, but when we read it physically while also listening to the audiobook, it’s such a great novel to hear. I pair it with bell hooks’ “All About Love.” I teach “Macbeth” from a performance-based lens, making it less intimidating. My favorite book is “Frankenstein,” written by a teenage girl who invented science fiction. My ninth-graders’ favorites were “Fahrenheit 451,” “The Odyssey” (Emily Wilson translation) and “Persepolis,” a graphic novel about a girl discovering punk rock and rebelling against the established order.
What’s one work from the canon adults should revisit today?
All of the lonely young men need to reread “The Great Gatsby,” and anyone freaked out by the state of the world should read “Parable of the Sower.” One quote from the book hangs on a poster board in my classroom: “A community’s first responsibility is to protect its children — the ones we have now and the ones we will have.”
What are English teachers up against in the classroom?
Teenagers are still the funniest people on the planet. As the world around them becomes more atomized, I find that they’re increasingly interested in connection. In the classroom, we are seeing skill loss and a decreased ability to focus on a task. I don’t think that’s just because of AI or the pandemic — it’s also phones, screens and the world kids are growing up in. One thing teachers seem to agree on is a return to pen and paper.
Clarke E. Andros, Crossroads School, Santa Monica
What books in the American literary canon are you teaching (old and new)?
A newer addition I would recommend is “Hunger: A Novella and Stories” by Lan Samantha Chang. Especially in California, we have a lot of great Asian American literature, including works by Amy Tan, but I enjoy the writing level in Lan’s — it’s accessible to students but pushes them, all about intersectional identity and the first-gen experience. A lot of the Latino students I’ve taught in Los Angeles also connect with that book.
(Penguin Classics; Grand Central Publishing; Mariner Books Classics)
What’s one work from the canon adults should revisit today?
“Of Mice and Men.” Revisiting it today opens up deeper conversations about labor, social conciousness and power. Steinbeck creates a microcosm of American society, where disability, gender, race and class are all represented and shaped by an economic hierarchy. The characters are left navigating a world where people often turn on each other rather than challenge the systems around them. It’s novella-length, so you could read it in a Sunday morning.
What are English teachers up against in the classroom in 2026?
We’re up against systems that often prioritize ed-tech and third-party vendors over smaller class sizes and more teachers. When I was at LAUSD, it was clear from our superintendent — who just stepped down over his fraud investigation — was just in bed with tech. It’s hard for me to imagine the folks in power didn’t look at [the failed AI chatbot venture] and see it as a grift.
On the flip side, at hyper-competitive, elite schools like this, students are approaching high school with college in mind rather than with high school in mind. When students understand the value of the process, they’re less likely to look for an easy shortcut like AI.
Adam Tan, Los Angeles Center for Enriched Studies, Mid-City
What books in the American literary canon are you teaching (old and new)?
With independent reading, memoirs are big, like “Crying in H Mart” and Sylvia Plath’s fictionalized “The Bell Jar.” Younger kids gravitate to “Musashi,” a celebrated epic based on a famous samurai. We have a lot of Korean American students here, so they like “Pachinko,” dealing with racism and the Korean population in post-World War II Japan. I’ll also throw in “The Bluest Eye.”
In ninth grade, we read “Slaughterhouse-Five,” “Of Mice and Men,” “The Thief and the Dogs” and “Romeo and Juliet,” with the film adaptations to use media literacy. In American Literature, the major texts are “The Great Gatsby,” “The Things They Carried” and “The Crucible.” We also read nonfiction articles, including pieces on AI and robots, while focusing on rhetorical devices.
(Blackstone Publishing; Knopf; Little, Brown and Company)
What’s one work from the canon adults should revisit today?
“The Catcher in the Rye” benefits from the distance of adulthood. It’s a novel about disillusionment and the search for identity, but when you revisit it, you also see that it’s very much a love story. I often encourage students to look for forms of love beyond romance — love for family, friends and fellow human beings. Even today, students can tell you that the biggest phony in the book is Holden himself. The novel reminds us that while literature may not have answers to the world’s problems, it can help us examine our wounds and find solace in art.
What are English teachers up against in the classroom in 2026?
A lack of accountability in the modern world. In general, we have a school district focused on 100% graduation rates, no F’s. [LAUSD] wanted everything on computer, and now they want less computer time, which is great, but not everyone at top management is on the same page. Teachers are often trying to balance what the district wants with what we know our students need.
What I try to instill instead is an intrinsic desire to grow as a thinker. How do you make sure students are reading without taking the joy out of it? A lot of us are going back to pen and paper. Despite all the concerns about AI, I still think the soul and spirit of young people is as strong as ever. The core is not rotting.
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‘Elle’ taps into ’90s nostalgia with music from No Doubt, Mariah Carey
“I’ve talked about rain on this show more than I have in my entire life,” Kittrell says.
It was a constant consideration, both on set and in the writers room. Weather became a way to distinguish Elle from those around her in Seattle. The locals never carry umbrellas; Elle shows up with a pink one.
“We had a writer from Seattle who always said the city gets a bad rap because of the rain,” Kittrell says. “But the rain is what makes it beautiful — it makes Seattle green.”
Elle entering the halls of Rainier West High School with her pink umbrella.
(Kimberley French / Prime Video)
That philosophy stayed with the writers, later showing up in a line Miles (Jacob Moskovitz), Elle’s crush, says to her, and ultimately leading them to Garbage’s “Only Happy When It Rains” as the show’s theme. “We were like, of course,” says Kittrell. “This is what we’ve been talking about the entire time.”
The song was originally meant to end the pilot. “Then we decided we should just be hearing it in every single episode,” says Neustadter. (The pilot instead uses Radiohead’s “Creep,” which also bookends the series.) The main title sequence, an animated “saga sell” from the studio Shine, tells the story of Elle’s move from Bel-Air to Seattle.
“We’re constantly reminding the audience of the contrast between Elle’s essence and the world she’s now in,” Neustadter adds. “There’s an optimism to ‘Only Happy When It Rains’ that feels very Elle Woods. And the irony of it is so delightful.”
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Pilot program allowing boys flag football will have second season in City Section
For the second straight year, the City Section is allowing a pilot program of high schools forming a boys flag football league as its popularity grows.
This year’s group of high school participants is expected to double in size between eight and 16 teams, City Section commissioner Vicky Lagos said. All will be small charter schools. Last year, several teams that temporarily dropped 11-man football, Sotomayor and Torres, had flag teams in a league that was played in the fall. Sotomayor and Torres will have 11-man teams this season.
When Lagos mentioned the pilot boys flag football league at an 11-man coaches meeting this month, there was clear skepticism voiced by coaches. If boys flag football ever gets approved, Lagos said schools would have to choose between having an 11-man team or a flag team. When Lagos mentioned having the flag season in the spring, there was concern it would take away participants from track and field teams.
This issue figures to come up around the state as schools in the California Interscholastic Federation have similar discussions. Flag football is likely to gain a boost in exposure when it is played at the 2028 Olympic Games in Los Angeles.
Lagos points out that boys flag football participants would be different than 11-man. Middle school students engage in flag football and attract students whose parents don’t want them to play 11-man tackle football for fear of head injuries.
Girls flag football is in its fourth year and rising fast. Adding boys flag football is a debate and issue that will need to be addressed in the future.
Ron Nocetti, executive director of the CIF, said a section must first bring up adding boys flag football as a sport before real discussions can begin.
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