Credit: The Dan Patrick Show / Eric Hartline-Imagn Images
Dan Patrick isn’t fully on board with the swings Netflix took to dress up Monday’s Home Run Derby.
Discussing the broadcast on Tuesday’s episode of his eponymous show, Patrick said Netflix could stand to do a better job getting the word out about the star power it brought to the event, noting he had no idea names like Barry Bonds and Albert Pujols were involved until the broadcast was already underway.
“I’d like to think I’m at least socially aware of sporting events, but I had no idea,” Patrick said. “And then all of a sudden, it’s like Netflix, and then you had Will Ferrell show up, you had Bonds and Pujols, and I’m like, OK. They’re trying. Netflix is trying, trying different things. Now, sometimes you can try too hard. Sometimes you can try to dress something up, and you really don’t need to.”
That tracks with the broader reaction to Monday’s broadcast, which got the Derby’s new swing-based format right while stumbling on execution elsewhere, including a Will Ferrell-led intro segment that landed with viewers about as well as it did with Patrick.
“I didn’t need Will Ferrell on the broadcast. I think they tried too hard in what they were trying to do there,” he said. “But, still, you’re trying to do new things. Sometimes, it’s just good the way it is.”
Patrick has been down this road with Netflix before. Back in March, he tore into the streamer’s Opening Night broadcast, an hour-long pregame slog padded with celebrity cameos that pushed first pitch to 8:25 p.m. and left him feeling like he’d “tuned into a PowerPoint on Netflix” with a baseball game buried somewhere inside it.
He wasn’t uniformly critical of Monday’s broadcast, though. Patrick praised Bonds’ ability to pick out small, specific details in hitters’ swings, after previously knocking him for spending too much time rambling about his own playing days a few months prior.
Netflix gets another shot Aug. 13, when the Phillies and Twins play at the Field of Dreams in Dyersville, Iowa. Two broadcasts into the deal, Patrick has made a habit of grading its work. There’s little reason to think he sits this one out.
Netflix’s second crack at live baseball came with a built-in advantage: the Home Run Derby doesn’t need much help to be entertaining. Strip away the ceremony, and it’s just batting practice with stakes, and this year, MLB handed the streamer a genuine upgrade by scrapping the countdown clock in favor of a format that lets hitters keep swinging as long as they’re producing. It’s the best change the event has seen in years, and it deserved a broadcast that didn’t get in its own way.
For long stretches, Netflix delivered that. For other stretches, it seemed determined not to.
Start with the good, because there’s a lot of it. Untethering the Derby from a timer was an easy, obvious improvement, and it’s the rare format tweak that generated no real pushback. Well, besides maybe Jeff Passan. The new setup rewards hot streaks instead of racing a clock, and it made for a night with a noticeably different rhythm than derbies past. Whatever else went wrong Monday night, the league deserves full credit for finally fixing this.
The picture itself, in the moments the broadcast let you see it clearly, backed that up. The image was sharp, the graphics package was clean and legible — almost to a fault — and this was a clear step forward from Netflix’s Opening Night broadcast back in March, if only because the network mostly resisted the urge to remind viewers every few minutes that they were watching Netflix.
Mostly.
But before the swinging started, Netflix leaned on Will Ferrell, Jimmy Tatro, and Luke Wilson to open the broadcast, and the segment landed with a thud. The audio made it hard to hear what anyone was saying, the comedy felt manufactured rather than spontaneous, and the whole bit doubled as an ad for a Netflix original. It’s the same instinct that dragged down the network’s Opening Night pregame in March — a reflexive need to cross-promote the platform’s other content — just in a smaller dose this time.
Oh my God, the three guys doing supposed comedic commentary on the Home Run Derby player intros are the least funny people to be given such a national stage, without question. They. Are. Brutal. Who wrote these godawful lines for them? Embarrassing, Netflix. Utterly embarrassing.
Elle Duncan’s aside about the 1996 Derby being a topic of enduring conversation in Philadelphia, which Philadelphia sports fans were quick to note isn’t actually true, was a minor unforced error in the same vein.
Elle Duncan on Netflix’s Derby broadcast: The 1996 Home Run Derby is something “Philadelphians talk about to this day.”
But the pregame, promos, and all were never going to be the story of the night. Once the players stepped in and the swings started counting, the broadcast had to stand on its own, and that’s where the real test began.
The lounge pairing of Duncan, Barry Bonds, and Albert Pujols had the makings of the better booth, and the set itself worked. But calling live swings wasn’t where Bonds and Pujols were comfortable, and the commentary came out vanilla and subdued — pleasant, but not adding much to what was already on screen. Duncan held her own despite not being the one expected to call the action, and the read on her was fair: this wasn’t a knock on her so much as a format that didn’t play to the group’s strengths.
There’s an easy fix sitting right there, too, as The Athletic’s Andrew Marchand noted. Instead of parking the lounge as a standalone set, Netflix could use it as a between-batters destination, where they bring a hitter over for a quick conversation with Bonds and Pujols once his round wraps, rather than sending Lauren Shehadi or CC Sabathia to chase an interview down mid-swing. It would give the lounge a job beyond commentary and solve the in-game interview problem in the same move.
The preference, when the ball was actually in the air, ran toward the crew of Matt Vasgersian, Anthony Rizzo, and Hunter Pence. Rizzo was the standout of the group, sharp and insightful whenever the conversation turned to mechanics, which is exactly the kind of expertise a Derby booth should lean on. Hunter Pence brought real energy too — he was clearly locked in and into the moment, and that enthusiasm read as one of the booth’s better qualities. Where the group as a whole stumbled was in occasionally tipping past that energy into over-the-top territory during routine swings, something that applied to Rizzo, Pence, and Vasgersian alike at various points.
Chris Berman spent decades hollering his way through this exact event and never once sounded like he was performing enthusiasm rather than feeling it; the swings earned the volume. Monday’s booth hadn’t figured out that distinction yet, and by the third round of manufactured hysteria, the excitement had started to cancel itself out.
Neither booth had a poor showing. One added insight and energy but occasionally ran hot; the other was pleasant and composed but rarely had much to say. A happy medium between the two was exactly what was missing.
If there’s one throughline in how this broadcast will be remembered, it’s the camera work, and not in a good way.
I like this new format for watching on TV, I just need them to stop switching the camera angles so many times.
The Home Run Derby has one job: show the ball leaving the bat and show where it lands. Netflix, with its cinematic ambitions, treated that job as optional. Tight close-ups on hitters’ faces during their swings repeatedly cost viewers the actual moment of contact, and the broadcast leaned on those close-ups instead of following the ball in flight. On at least one stretch, the camera stayed locked on the pitcher through consecutive swings from Jordan Walker, which is about as far as you can get from what anyone tuned in to see.
they literally had the camera on the PITCHER for two straight swings by Walker
It wasn’t a matter of a broadcast finding its footing over the course of the night, either, as the same complaint kept surfacing swing after swing. The frustration turned into something close to a consensus among viewers: a Home Run Derby doesn’t need much more than a shot behind the pitcher and a shot on the ball’s landing spot, and Netflix kept finding ways to use neither. There was no shortage of suggestions for a fix, either, with multiple viewers noting that simply holding the camera on the hitter through contact and then following the ball would solve the entire problem. It’s a two-camera fix for a production with far more cameras than that at its disposal.
Dear @netflix production team and director: for the love of God, leave the camera on the batter until he hits the ball then just follow the ball. You only need two cameras for this. #homerunderby#mlb
The absence of exit velocity data compounded the issue. Between the missing numbers and the wrong camera angles, a broadcast built around a single visceral moment — bat meets ball — kept finding ways to obscure that exact moment.
Alright I’ve been silent about the @netflix Home Run Derby experience, but not having exit velocity and launch angle in a literal home run derby is akin to an attack on my life.
Then there was the non-call. Junior Caminero’s final swing of the round sent a ball down the left field line, and by the look on his face, he thought it was fair — which would have kept his turn going. Netflix never showed a replay, so nobody watching ever got to find out if he was right. A broadcast that spent the night favoring close-ups over the ball’s flight ran into the one moment where that habit actually cost something.
So Netflix, you have a just down the line fair or foul ball that Caminero clearly thinks was fair on his last swing (where if he gets a HR he keeps swinging).
This was a broadcast pulling in two directions. The format Netflix inherited from MLB was close to perfect, the picture was frequently excellent, and the network mostly avoided the self-promotional bloat that weighed down its Opening Night debut. But the actual job of a Home Run Derby broadcast — showing the swing, showing the flight, showing where the ball lands — kept getting lost to close-ups, ill-timed interviews, and a director seemingly more interested in mood than information. Netflix has the format and the infrastructure. What it still needs is the discipline to point the camera at the baseball.
The 2026 MLB Home Run Derby is on Netflix, and quite predictably, that’s led to Netflix going all in to promote its additional current and future content offerings. And with The Hawk — a Netflix comedy series starring Will Ferrell as Lonnie “The Hawk” Hawkins — set to premiere on July 16, Netflix even had the show’s stars on hand to provide commentary during the Home Run Derby player introductions.
Ferrell, Luke Wilson, and Jimmy Tatro sat at a desk on the field offering random commentary as Home Run Derby participants were introduced on Monday night at Citizens Bank Park. And for much of this time, legendary ring announcer Michael Buffer was introducing players at the same time, so the commentary clashed.
It was hard to even understand what Ferrell, Wilson, and Tatro were saying at times, with the commentary basically just serving as racket for Netflix viewers.
Even for fans of Ferrell and friends, this was a hard listen that felt very forced as an obvious promotional tactic for an upcoming Netflix series.
Here’s a look at how Netflix viewers reacted to the commentary from Ferrell, Wilson, and Tatro to open the Home Run Derby:
Maybe I’m way off, but I don’t think the Will Ferrell-Luke Wilson thing is working at all. (Honestly, I get the sense that *they* also know it isn’t working.)
This is the first Home Run Derby broadcast for Netflix (in year one of a three-year media rights agreement with MLB), and it didn’t get off to a great start.
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