Though Gruden has improved as an analyst since he debuted in 2009, he has always had the luxury of relying on a second analyst during a broadcast. Now, with additional airtime and a promotional campaign that will revolve around his star, Gruden's tendency to overpraise players and coaches will get evaluated under a brighter light. He'll be graded on the same scale against Troy Aikman, Cris Collinsworth, Mike Mayock and Phil Simms, the top analysts at the other football networks.
Asked what a cameraperson should be thinking when he or she is shooting a live game, Peterson said in an email: "While the ball is in play, frame the action so that the viewer can anticipate what might happen next, and while the ball is dead, shoot what the announcers are talking about. I try to shoot what I want to see when I'm at home watching the game. It sounds simple, but there are subtleties that separate good camera operators from great ones...Every shot has to be within the confines of each camera operators responsibility. The producer and director define the look of the show. My responsibility is to stay within the parameters given to me, and be as creative as I can be."
It was Faircloth who took the memorable shot of Patriots owner Robert Kraft looking forlorn in his suite on the game's final play. Viewers never see the talented behind-the-scenes people in sports television but so often they are the difference between an average and extraordinary broadcast. These guys lived up to the moment for the biggest broadcast of the year.
"It's bittersweet, but I'm excited and thrilled with some of the projects I'll be working on moving forward," Jaworski told SI.com. "I have an opportunity to do some things that can be creative, so in that regard I am excited about the future."
In an interview last week, Jaworski talked excitedly about a Ron Jaworski-branded show in which he watches game tape with current NFL quarterbacks and discusses their reads and decision-making on camera. That has the potential to be terrific television for fans who love the X's and O's of the game.
"I'm drawn to real-time stories," Cunningham said. "We've used extensive archival materials in some of our films, but we've been fortunate to find compelling stories that can be documented as they're happening. It's not unlike covering sporting events. The 'script' of what happened is written in the editing, but shooting a story as it unfolds gives the filmmakers a level of involvement and understanding of the people involved in a compelling way."
Cunningham said his next project involves two men legally fighting over the custody of one of the man's amputated left leg. "It's been a passion project for many years, and it may finally get to see the light of day," he said.
Lin's impact locally has been even greater. According to John Ourand of the
Regarding the ESPN headline, the most public of these gaffes, the
That does not appear to be coming.
On Sunday, an ESPN spokesperson told SI.com that the company is not going to comment beyond its current statements. That's a shame, but ESPN does have an ombudsman on its payroll (The Poynter Institute) and if there was ever a time to provide transparency for readers and viewers about how an editorial breach happened, this is it.
You can debate the punishments handed out -- a 30-day suspension for anchor Max Bretos seemed way too excessive and typical of ESPN's Jordan Rules with certain employees; you can judge for yourself
Was this an element of damage control? Absolutely, and ESPN can often be clumsy with damage control as we saw in the