I posted about it seven minutes into the first quarter, saying I appreciated “the minimalistic lower-thirds for this Super Bowl broadcast.” It was indeed refreshing, a break from the over-the-top 3D-animated sparkling. I thought the graphics were clear and utilitarian while being exquisitely-designed. They weren’t distracting from the action. As with any good interface design, this new scorebug kept the focus on the players and the game, not itself. I also thought they were a long-delayed response to Apple’s Friday Night Baseball scorebug.
Anyhow, as a man of good taste, John Gruber also noticed the excellence of the new graphics. Some of his followers, however, did not.
It looks as if they just let an intern knock something up in PowerPoint and didn’t bother having someone check it first. Awful. 👎
The scorebug is absolutely horrible! I really hope they don’t adopt this for the 2025 season, or I will riot. Horrible design and very distracting especially the score, this looks like something out of Fortnite.
Gruber has a wonderful and in-depth write-up about FOX Sports’ new NFL scorebug. Not only does it include a good design critique, but also a history lesson about the scorebug, which surprisingly, didn’t debut until 1994.
Until 1994, the networks would show the score and time remaining when they cut to a commercial break, and then show it again when they came back from commercials.
I had totally forgotten about that.
Better look at the new scorebug displayed during a pre-game broadcast test.
It is a classic political murder thriller, a film set in the shadow of France’s show of force to thwart the Algerian anti-colonialist revolution and Charles DeGaulle’s retreat. The Day of the Jackal (1973) was about the anti-DeGaulle faction that so vehemently sought to retain French colonies that they conspired to have the President assassinated. The Jackal was a nibble-paid assassin who was always one step ahead of the police. The new ten-part TV series, The Day of the Jackal from Sky, based on Frederick Forsyth’s 1971 novel, stars award-winning actors Eddie Redmayne and Lashana Lynch. The TV adaptation is a contemporary reimagining of the iconic film and is streaming on Peacock.
James Poniewozik, writing for The New York Times: > Whether they work in sand or spores, heavy-handed metaphor is the true material of choice for all these opening titles. The series are different in genres and tone. But all of them seem to have collectively decided that the best way to convey the sense of epic event TV is with an overture of shape-shifting, literal-minded screen-saver art. His point is that a recent trend in "prestige TV" main titles is to use particle effects…
The design blog that connects the dots others miss. Written by Roger Wong.
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