​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.AdvertisementAdvertisementAdvertisementStart 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.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.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.AdvertisementAdvertisementAdvertisementThe 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 ea