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What to know about college football’s new helmet communication rules

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What to know about college football’s new helmet communication rules

Consider it a high-stakes game of telephone.

You may have noticed the uptick of college football quarterbacks cupping their helmets to muffle the sounds of the loudest stadiums in the country. That’s because coach-to-player helmet communication arrived this season for all 134 Football Bowl Subdivision programs.

Thirty years after the NFL debuted the technology, the NCAA Playing Rules Oversight Panel approved the use of helmet communication (as well as sideline tablets) for FBS teams in April, following a trial period in last season’s bowl games.

Here’s how it works.

Who has access to helmet communication, and how does it work?

One player on the field for each team — one on offense and one on defense — can have helmet communication. On offense, that player is typically the quarterback.

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The designated player is identified by a green dot on the back of his helmet, just like the NFL. If more than one green dot per team is detected on the field by the officials, the team will be penalized with a 5-yard equipment violation penalty, automatically initiating a conference review, per the NCAA.

The conference review would examine whether teams intentionally allowed a second green-dot helmet in the game at the same time. The review would occur in the days following the game and any additional discipline would be up to the conference, an NCAA source with knowledge of the review process said.

On the sideline, each team is limited to three coach-to-player caller radios and belt packs. Presumably, teams allocate those to the head coach, offensive coordinator and defensive coordinator.

Coach-to-player helmet communication shuts off at the 15-second mark on the play clock or when the ball is snapped, whichever happens first, and remains off throughout the down. When the play clock is reset to 25 or 40 seconds, the communications are restored. (The play clock is set to 25 seconds after a penalty, charged team timeout, media timeout or injury timeout for an offensive player and to 40 seconds after a play ends or after an injury timeout for a defensive player.)

The cutoff operator is hired, assigned and managed by each conference.

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On free-kick plays, the coach-to-player communication is not in effect.

Each team can use a maximum of 23 regular headsets within the team area, coaches’ box or coaches’ booth. Any team personnel can wear one, and two additional headsets are used by technicians to monitor the system and address any technical issues.

Is coach-to-player helmet communication mandatory?


USC coach Lincoln Riley reviews a tablet on the sideline against LSU on Sept. 1 at Allegiant Stadium. (Photo: Ric Tapia / Getty Images)

No. The technology is optional, as is using tablets to view in-game video — including broadcast feeds, All-22 sideline and end zone angles.

A team can use helmet communication even if its opponent does not. If a team opts not to use or fully rely on the technology, a coach can communicate with the QB through the traditional methods of sideline signs and hand signals.

If one team’s communication stops working, however, the opposing team must also cease use of its helmet comms.

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What happens when an FBS team plays an FCS team?

Helmet communication is not permitted at the Football Championship Subdivision level, but FCS teams can use the technology when playing an FBS opponent.

North Dakota State did so when it opened its season against Colorado in Week 1. Bison offensive coordinator Jake Landry said in August the single-game adjustment would still be “a learning curve” for the team, which fell to the Buffaloes 31-26.

“How much is too much information?” Landry said, according to 247Sports. “How much do you want to know? What little tidbits can we provide?”

Important ones, according to Georgia quarterback Carson Beck.

This offseason, Georgia’s QB1 said he “loves” that offensive coordinator Mike Bobo can talk into his ear “because there’s maybe like a little cue that he might say for a play, like look out for this coverage or look out for this, if they do this, do this — just like little things.”

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Advantages vs. disadvantages


Michigan staffers on the sideline of last year’s championship game. College teams have long used signs — some unorthodox — to communicate plays to the team on the field. (Photo: Carmen Mandato / Getty Images)

A coach can do more than tell his QB which play to run. Helmet comms can also be used for bigger-picture reminders of time, down and situation and when it’s time to take a risk or play it safe.

Another big advantage is what it could help minimize — sign stealing.

Using electronic equipment to record, or “steal,” opponents’ signs is not legal in college football. The NCAA also prohibits off-campus, in-person scouting of future opponents during the same season. An alleged scheme at Michigan concerning the latter led to an NCAA investigation this past year.

But on-field, in-person sign stealing is allowed. Former Michigan QB J.J. McCarthy estimated “80 percent” of college football teams steal signs, “which is legal,” he said in January.

go-deeper

GO DEEPER

‘That’s as big as it gets’: How much does knowing an opponent’s signals matter?

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Teams haven’t stopped using sideline signals. But move some of that communication to the helmet, and you can take away — or at least, reduce — the interception of it, right?

“Sign-stealing happens every game,” Nebraska coach Matt Rhule said in March. “There’s nothing wrong with teams looking over trying to steal our signs. There’s nothing wrong with us trying to look at their signs. That’s why you should have mics in the helmets.”

The enemy of coach-to-player helmet communication is, ironically, noise. College games “just have a tendency” to be louder than NFL games, said Rhule, who coached the Carolina Panthers from 2020 to 2022.

“In general, how loud (the fans) can be in a stadium really impacts the game,” Rhule told reporters following Nebraska’s Week 1 win over UTEP.  “It’s not just, ‘It’s third down, let’s try to make them jump offsides’ anymore, it’s ‘Make it really hard for them to hear the play calls and the checks,’ because it was hard for us at times.”

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While helmet communication is helpful, it is imperfect. Auburn coach Hugh Freeze said the team is preparing for alternate solutions as it heads to a hostile road environment in Georgia on Saturday. The Tigers played their first five games of the season at home.

“We’re making it loud at practice for them to have difficult time communicating and see how they handle that,” Freeze said, according to AL.com. “Having alternative plans of how we are going to do play calling, or whatever it takes to try to make sure our kids at least have a good understanding of what’s fixing to go on.”

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(Photo: James Black / Icon Sportswire via Getty Images)

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Video: The A.I. threat to audiobooks

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Video: The A.I. threat to audiobooks

new video loaded: The A.I. threat to audiobooks

Artificial intelligence has made pirated audiobooks faster to make and harder to detect. Our reporter Alexandra Alter tells us about the latest threat to the publishing industry.

By Alexandra Alter, Léo Hamelin and Laura Salaberry

May 20, 2026

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.

The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.

With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.

“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”

Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.

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In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.

Your work has been categorized as Black romance, but how do you see yourself as a writer?

I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.

What intrigued you about the period of history you capture in the Hollywood Renaissance series?

I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.

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What about that period feels resonant now?

The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.

How does this moment in your career feel?

I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.

Why would it all go away?

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Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.

When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.

Why are you so firmly committed to defending the “happy ending” in romance novels?

It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.

I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.

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You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?

First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.

How does this apply to being a very visible Black author in romance?

I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.

How do you define success for yourself at this point?

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I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.

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How Many of These Books and Their Screen Versions Do You Know?

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How Many of These Books and Their Screen Versions Do You Know?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.

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