Back in July, I was lucky enough to have my friend Louie Mantia on The Talk Show to talk about Liquid Glass and (as I wrote in the show notes) “the worrisome state of Apple’s UI design overall”. This was probably my favorite episode of the show all year, and I think it holds up extremely well now that we’re all using Liquid Glass, across Apple’s platforms, in release versions.

Included in the show notes was a link to Mantia’s essay making his case against Dye’s decade-long stint leading Apple’s UI design teams, “A Responsibility to the Industry”, which began thus:

Firstly, I maintain that it makes absolutely no sense that Alan Dye has the power he has, because he simply has no taste. But what’s worse is that he wields that power so clumsily, so carelessly. And because it goes unchallenged, unchecked by someone higher than him, the entire industry suffers the consequences.

Here’s Mantia today, regarding the news of Dye leaving Apple for Meta:

And good riddance!!

Tyler Hall, just one week ago:

Maybe it’s because my eyes are getting old or maybe it’s because the contrast between windows on macOS keeps getting worse. Either way, I built a tiny Mac app last night that draws a border around the active window. I named it “Alan”.

In Alan’s preferences, you can choose a preferred border width and colors for both light and dark mode.

That’s it. That’s the app.

The timing of this is remarkably serendipitous — releasing an app named “Alan” to fix an obvious glaring design shortcoming in recent versions of MacOS just one week before Alan Dye left Apple. (See Michael Tsai for more on the app’s name, including a callback to Greg Landweber’s classic Mac OS extension Aaron.)

It’s worth following Hall’s “the contrast between windows” link, which points to his own post from five years ago lamenting the decline in contrast between active and inactive windows in MacOS. That 2020 post of Hall’s refers back to Steve Jobs’s introduction of Mac OS X 10.5 Leopard in 2007:

As I was preparing the above video for this post, I completely forgot there was a final feature about the new Leopard Desktop that was highlighted in that keynote.

Jobs took time out of a keynote to callout that it was now easier to tell which window is focused. At 1:29 in that clip, you’ll hear an outsized “Wooo!” from some of the audience just for this one improvement.

Jobs even prepared a slide, highlighting “Prominent active window” as a noteworthy new feature. In 2007, the increase of visual prominence for the active window, going from 10.4 Tiger to 10.5 Leopard, drew applause from the audience. But the level of visual prominence indicating active/inactive windows was much higher in 10.4 Tiger than in any version of MacOS in the last decade under Alan Dye’s leadership.

Nick Heer on Alan (the app, and, indirectly, the man):

I wish it did not feel understandable for there to be an app that draws a big border around the currently active window. That should be something made sufficiently obvious by the system. Unfortunately, this is a problem plaguing the latest versions of MacOS and Windows alike, which is baffling to me. The bar for what constitutes acceptable user interface design seems to have fallen low enough that it is tripping everyone at the two major desktop operating system vendors.

That doesn’t look like one of the fancy Mitsubishi traction elevators at Apple Park, but otherwise, this jibes.

Mark Gurman, with blockbuster news at Bloomberg:

Meta Platforms Inc. has poached Apple Inc.’s most prominent design executive in a major coup that underscores a push by the social networking giant into AI-equipped consumer devices.

The company is hiring Alan Dye, who has served as the head of Apple’s user interface design team since 2015, according to people with knowledge of the matter. Apple is replacing Dye with longtime designer Stephen Lemay, according to the people, who asked not to be identified because the personnel changes haven’t been announced.

Apple confirmed the move in a statement provided to Bloomberg News.

“Steve Lemay has played a key role in the design of every major Apple interface since 1999,” Chief Executive Officer Tim Cook said in the statement. “He has always set an extraordinarily high bar for excellence and embodies Apple’s culture of collaboration and creativity.”

It sounds like Dye chose to jump ship, and wasn’t squeezed out (as it seems with former AI chief John Giannandrea earlier this week). Gurman/Bloomberg are spinning this like a coup for Meta (headline: “Apple Design Executive Alan Dye Poached by Meta in Major Coup”), but I think this is the best personnel news at Apple in decades. Dye’s decade-long stint running Apple’s software design team has been, on the whole, terrible — and rather than getting better, the problems have been getting worse.

Todd Vaziri, on the HBO Max Mad Men fiasco:

It appears as though this represents the original photography, unaltered before digital visual effects got involved. Somehow, this episode (along with many others) do not include all the digital visual effects that were in the original broadcasts and home video releases. It’s a bizarro mistake for Lionsgate and HBO Max to make and not discover until after the show was streaming to customers.

I decided to help illustrate the changes by diving in and creating images that might do better than words. The first thing I noticed is that, at least for season one, the episode titles and order were totally jumbled. The puke episode is “Red in the Face”, not “Babylon”.

So HBO Max not only ruined several episodes by “remastering” the wrong footage, but they both mis-numbered and mis-titled the episodes. Breathtaking ineptitude. Think about it. This is the entire raison d’être — streaming high quality movies and episodic series. That’s the one and only thing HBO Max does. And they have zero care or craft for what they do. They didn’t just do this to any show. They did it to one of the most cinematically beautiful and carefully crafted shows ever made.

Vaziri’s post, as is his wont, is replete with illustrated and animated examples of the mistakes in HBO’s versions compared to the correct originals available from AMC and iTunes. Vaziri notes:

The fun thing about this restoration mistake is that now we, the audience, get to see exactly how many digital visual effects were actually used in a show like “Mad Men”, which most would assume did not have any digital effects component. In this shot, not only were the techs and hose removed, but the spot where the pretend puke meets Slattery’s face has some clever digital warping to make it seem like the flow is truly coming from his mouth (as opposed to it appearing through a tube inches from his mouth, on the other side of his face).