Netflix Live Events Still Struggle: Why Skyscraper Failed [2025]

Netflix's Live Event Problem: Why Skyscraper Live Stumbled

Last spring, thousands of Netflix subscribers tuned in expecting to watch one of the most audacious feats of human athleticism: Alex Honnold free-soloing a skyscraper. Instead, many found themselves reaching for the mute button within minutes.

The issue wasn't the climber or the building. It was Netflix's commentary.

Skyscraper Live, which premiered as a Netflix live event featuring Honnold ascending a 1,000-foot building without safety equipment, should have been a triumph. Honnold is a compelling figure. The concept is inherently dramatic. Netflix had spent considerable resources securing exclusive streaming rights to an event that would captivate millions.

But something went wrong. Viewers flooded social media with complaints about the same thing: the on-air talent was insufferable. Their commentary felt forced, overly enthusiastic, and worst of all, intrusive. When you're watching someone risk their life on a vertical surface, the last thing you want is constant chatter about what you're already seeing.

This wasn't an isolated incident. Netflix has launched dozens of live events in recent years, from comedy specials to sporting events. Yet viewers consistently report the same frustration. The streaming giant, which revolutionized on-demand content, seems genuinely confused about how to produce live television. And Skyscraper Live proved that confusion goes far deeper than just bad commentary.

Here's what happened, why it matters for Netflix's future, and what other platforms are doing better.

Understanding Netflix's Live Event Strategy

Netflix didn't invent live streaming. That ship sailed a decade ago. But the company did recognize something crucial: live events drive subscriptions in ways that even the best prestige dramas can't match.

When you release a new season of a hit show, viewers can watch it on their schedule. They can pause, rewind, watch other things in between. There's no urgency. Live events are different. They create a moment. You either watch it at 8 PM when it airs, or you've missed the cultural moment entirely. That FOMO works.

Netflix saw this with sports. When the streamer began experimenting with live boxing matches and NFL games, subscriber bumps followed. But quantity doesn't equal competence. Netflix could stream an event and gain thousands of subscribers. But could they produce an event that didn't annoy viewers? That proved far more challenging.

The company's approach has been scattershot. They've tried live comedy specials, which mostly worked because comedians perform alone and comedy fans actually want to hear the jokes. They've tried live sports, which worked when production focused on the action and not on forced narratives. They've tried entertainment events, which have been... inconsistent.

Skyscraper Live fell into that entertainment category. And unlike comedy, where the talent is the whole show, or sports, where the game itself carries momentum, an event like this requires a delicate hand. You need commentary that enhances the experience without overwhelming it. You need pacing that lets tension build naturally. You need production choices that respect your audience's intelligence.

Netflix got none of that right.

Strategic improvements like better camera placement and professional preparation could significantly enhance viewer engagement. Estimated data.

The Commentary Problem That Killed Skyscraper Live

Let's be specific about what annoyed viewers. The commentary team couldn't stop talking.

When Alex Honnold is 500 feet up a vertical surface with no ropes, no harness, no safety net, the drama is already there. You don't need someone excitedly explaining that this is dangerous. You don't need constant play-by-play narration. You don't need talking heads analyzing what you're watching in real-time.

Yet that's exactly what Netflix provided.

Viewers reported that the commentators would state the obvious, then rehash it moments later. They'd build false tension where none existed. They'd interrupt moments of genuine suspense with tangential stories. One user described it as "listening to a podcast while trying to watch a documentary."

This is a fundamental misunderstanding of the medium. Good live broadcasting requires restraint. The best sports commentators understand that sometimes the silence is more powerful than the commentary. The best documentary filmmakers know that not every moment needs explanation.

Netflix's production team seemed to operate on the assumption that silence equals dead air. That viewers need constant stimulation. That without commentary, people would get bored and turn off.

They were wrong.

The climbing community, which includes millions of enthusiasts who follow Honnold's career obsessively, came to watch a climber they respect accomplish something extraordinary. They didn't come for entertainment analysts explaining what free-soloing means. Yet Netflix treated the audience like they needed everything explained, contextualized, and dramatized.

This is a pattern across Netflix's live events. Whether it's been their comedy specials or sporting events, there's a consistent preference for over-produced entertainment rather than letting the event speak for itself. It's as if the streaming platform doesn't trust its audience to find drama in reality.

Why Netflix Struggles With Live Production

There's a reason Netflix built a business around on-demand content. They're exceptional at it. They understand pacing, editing, storytelling structure, and audience psychology when viewers have control over playback.

Live television is the opposite. You get one take. You can't fix editing mistakes in post-production. You can't reshoot a scene if the lighting was bad. Your commentary team can't be replaced if they're bombing with audiences. Everything happens in real-time, and if it goes wrong, millions of people are watching it happen simultaneously.

Netflix's entire culture was built around precision control. Executives review footage multiple times before it's released. Creative decisions go through layers of approval. Content is polished to perfection before a single subscriber sees it.

Live events demand a completely different skill set. You need people who can make split-second decisions. You need crews who've practiced extensively and can adapt on the fly. You need commentators who know when to talk and when to shut up. You need directors who understand visual storytelling in real-time.

These are skills that exist in traditional television. Cable networks, broadcast outlets, and even YouTube streamers have been doing live events for decades. They understand the nuances.

Netflix doesn't. Or at least, they didn't when Skyscraper Live aired. The company was still learning, and viewers paid the price.

Traditional broadcasters excel in using multiple camera angles and professional crews, achieving high effectiveness in live event production. Estimated data.

Technical Problems Beyond Commentary

But the issues with Skyscraper Live went beyond commentary quality. Viewers also reported technical glitches that undermined the experience.

Stream buffering plagued some regions. Audio synchronization issues made the commentary feel even more awkward (imagine hearing words a half-second before seeing the speaker's lips move). And in some cases, the camera work itself was inadequate for the subject matter.

When you're filming someone climbing a vertical surface, you need cameras positioned carefully to convey height, depth, and scale. Netflix's production struggled here. Several viewers reported that the best moments—when Honnold was highest and the exposure was greatest—were filmed in ways that didn't convey the genuine terror of the situation.

This is partly a technical challenge. Free-soloing is inherently difficult to film because safety regulations prevent camera operators from being in positions where they could capture the most dramatic angles. But skilled productions work around these constraints. Netflix's production seemed to ignore them entirely.

The stream itself, on Netflix's backend, apparently held up reasonably well. But there's more to technical quality than just whether the video plays without buffering. There's camera placement, shot composition, switching timing, and audio mixing. These are the invisible elements that separate professional live broadcasting from amateur hour.

Netflix's production showed signs of being understaffed, under-rehearsed, or both.

How Traditional Broadcasters Handle Live Events

If you've ever watched a major sporting event on cable television, you've experienced the fruits of decades of accumulated knowledge about live event production. Networks like ESPN, Fox Sports, and even smaller outlets understand how to make live events compelling.

They do this through specific techniques:

Restraint with commentary. Professional sports broadcasters understand that they're commenting on the action, not providing constant narration. They wait for dramatic moments before speaking. They let plays develop. They trust the audience to understand what's happening.

Multiple camera angles. Live broadcasts use 5-20 cameras depending on the event. This allows directors to cut between angles, showing different perspectives, building visual interest without relying on commentary.

Professional crews. The people working on live broadcasts have usually done hundreds of them. They've trained for years. They know what works and what doesn't.

Rehearsal. Major live events are extensively rehearsed. The broadcast team practices with the actual talent, runs through multiple scenarios, and plans for contingencies.

Graphics and visual enhancements. Rather than relying on commentary to explain statistics or context, broadcasters use on-screen graphics, score overlays, and visual elements that provide information without requiring someone to say it out loud.

Netflix either didn't use these techniques or used them poorly. The Skyscraper Live production felt like a first attempt rather than the work of seasoned professionals.

This makes sense, in a way. Netflix's expertise is in on-demand production. They hired people skilled in that domain. When the company wanted to launch live events, they didn't necessarily have the institutional knowledge to do it well. They were learning on the job, and viewers experienced the learning curve.

Audience Expectations for Live Events

There's an interesting psychological component to live broadcasts. Audiences watch live events differently than they watch on-demand content.

With on-demand, viewers are in control. They can rewind if they miss something. They can watch at their own pace. There's no time pressure. This trains audiences to be passive consumers—they sit back and expect the content to be perfect because it was carefully edited.

With live events, it's different. Viewers know they're watching something happening in real-time. There's an inherent authenticity to it. But they also expect the production team to respect their time and intelligence. If you're asking someone to watch a two-hour live event, you're asking them to commit to a specific timeframe. They're sacrificing the ability to do other things.

This creates a hidden expectation: the production should be essential. It should justify the time investment. It should enhance the experience, not distract from it.

Skyscraper Live failed this test. Viewers felt like they could have watched a YouTube compilation of climbing footage, or a documentary about Honnold, and gotten a better experience. Instead, they got a production that distracted from the actual event.

This is especially true for niche audiences. The climbing community isn't huge, but it's passionate. These are people who've invested time in learning about their sport, watching climbers, understanding the nuances. They don't need everything explained. They wanted to watch something remarkable and be left mostly alone to experience it.

Netflix served them something else entirely.

Estimated data shows that over-explanation was the most common complaint among viewers, followed by false tension and interruptions.

Netflix's Comedy Special Success (and Why It Works)

Interestingly, Netflix has found more success with live comedy specials. Specials like John Mulaney's and other comedians' live recordings have generally been well-received. Why the difference?

Because in comedy, the talent IS the production. You're not watching something happen in the world—you're watching someone perform. The comedian is talking the whole time anyway. There's no distinction between the event and the commentary on the event. They're the same thing.

This actually plays to Netflix's strengths. They're good at letting performers do their thing, with minimal interference. A comedy special is essentially a filmed performance. Netflix can do that. It's like shooting a movie, but live.

Sporting events and extreme athletics events are different. With these, you're watching the event happen, and you need production support that enhances without overwhelming. Netflix hasn't figured this out yet.

The success of comedy specials has apparently given Netflix confidence to expand into other live categories. But they're applying the wrong lessons. They're treating all live events like performances, when many of them are more like documentaries of something actually happening.

Comparing to Competitors: How Others Do It Better

Let's look at how other platforms handle live events differently.

YouTube's approach is often hands-off. Creators stream events, and production quality varies wildly. But for official YouTube productions, they tend to favor simplicity. Fewer cuts, fewer graphics, more focus on letting the event speak for itself. Audiences appreciate this for events like climbing, extreme sports, and other niche content.

Traditional cable networks like ESPN, Discovery, and others have entire divisions dedicated to live event production. They've spent decades building expertise. When they broadcast climbing events (like competitions), they have cameras positioned by experienced crews who understand how to convey height, scale, and drama through cinematography. They use commentary sparingly, letting dramatic moments breathe.

Disney+ has experimented with live sports through ESPN+. Their production quality is typically higher than Netflix's because they inherited ESPN's expertise when Disney bought the network. They understand live broadcasting as a distinct discipline.

Amazon Prime Video launched live sports content and took a different approach than Netflix. Rather than over-producing with heavy commentary and graphics, they focused on clean, straightforward presentation. Viewers have responded well.

The common thread: established broadcasters understand that live event production is a specific skill. Netflix tried to apply its on-demand expertise to a different domain and stumbled.

What Skyscraper Live Should Have Done Differently

Let's imagine a better version of this broadcast. What would have worked?

Minimal commentary with expert insight. You don't need commentators explaining that Alex Honnold is climbing a building. But you could have a brief expert analysis during moments when he's resting or between segments. Focus on insights that viewers couldn't gain just by watching.

Strategic camera placement and cinematography. Use camera angles and shot composition to convey height and danger. Let the visuals tell the story. Don't rely on words to explain what the images should communicate.

Silence. This is radical but effective. Some of the most dramatic moments in extreme sports footage are silent. Let viewers experience the moment without constant narration.

Relevant graphics. If you need to provide information about Honnold's previous climbs, his speed, or other data, use on-screen graphics. Don't have commentators read statistics that could be displayed visually.

Professional preparation. Rehearse extensively. Have your commentary team practice with the footage. Cut anything that doesn't add value. Test all technical systems multiple times.

Respect for the subject matter. Honnold's climb is remarkable not because of entertainment value, but because of genuine human achievement. Respect that. Don't try to manufacture drama that doesn't exist. Don't turn it into a reality TV spectacle.

These changes would have required Netflix to think differently about live event production. But they're standard practice in the industry. They're not revolutionary. They're just professional.

Estimated data suggests that Netflix's live comedy specials have significantly increased new subscriber sign-ups, highlighting the platform's strength in this content type.

The Bigger Problem: Netflix's Lack of Live Event Expertise

Skyscraper Live is symptomatic of a larger issue. Netflix doesn't have institutional knowledge about live broadcasting. The company was built as a streaming platform for recorded content. When executives decided to move into live, they couldn't simply hire a few more people and scale up expertise they already had.

Live broadcasting requires different thinking, different workflows, different talent, and different technology. Netflix's infrastructure was designed for uploading pre-recorded content. Scaling that to handle live events with broadcast-quality production is genuinely difficult.

The company has made investments. They've hired some people with broadcast experience. But organizational culture and expertise aren't built overnight. Netflix's instinct is still to over-produce, to control every element, to perfect everything in post-production. These instincts are counterproductive for live television.

Moreover, Netflix's business model created incentives for the wrong kind of thinking. The company made money by keeping people subscribed, which meant every piece of content needed to appeal to the broadest possible audience. For on-demand content, that meant adding explanatory dialogue, visual effects, and entertainment value to make content accessible to everyone.

But live events are inherently niche. A climbing event will always have a smaller audience than a superhero movie. Netflix's approach of trying to make content accessible to everyone doesn't work as well for niche live events. You serve the niche audience well, and accept that you'll never reach mass appeal.

Netflix seems psychologically unable to accept this. So instead, they make climbing events into entertainment spectacles with bombastic commentary and manufactured drama. And the niche audience that actually cares about climbing hates it.

Industry Predictions: Where Netflix's Live Strategy Goes Next

So what happens now? Will Netflix learn from Skyscraper Live and improve? Or will they keep stumbling?

Honestly, the trajectory is unclear. Netflix has committed significant resources to live events. The company understands that live content is valuable for driving subscriptions. But understanding the value of something doesn't automatically translate into executing it well.

Our prediction: Netflix will continue trying, and they'll continue having mixed results. They'll have successes with live comedy specials (where their current approach works). They'll have mixed results with sporting events (where they're slowly learning). They'll probably abandon niche events like climbing spectacles (because they can't figure out how to produce them properly without upsetting audiences).

Over the next 2-3 years, expect Netflix to either acquire a production company with serious live event expertise, or partner with established broadcasters. Doing it in-house has proven challenging.

Alternatively, Netflix could completely change their approach to live events. Instead of trying to produce entertainment, they could focus on simply capturing events with high production values and minimal commentary. Let the event be the entertainment. This would require a complete reversal of their current instincts, but it might be the only way they actually succeed.

The climbing community and other niche audiences are watching. Netflix has one more chance, maybe two, before these viewers stop even trying to watch Netflix's live content.

What This Means for Streaming's Future

Skyscraper Live matters because it reveals something about the streaming wars that executives don't like to admit: live events are hard.

Streaming platforms thought they could replicate traditional broadcasting. They could stream sports, comedy specials, events. They thought it was just a matter of technology. But it's not. It's about understanding the medium, understanding your audience, and having the institutional knowledge to execute at scale.

Netflix has figured this out for on-demand content. They've become the best in the world at it. But live is different. And learning that difference—through public failures like Skyscraper Live—is costly.

This is also why traditional broadcasters still matter. They have decades of expertise. They know how to produce live events because they've been doing it for a really long time. Cable networks, broadcast TV, sports networks—these aren't going away because they serve a purpose that streaming platforms are still struggling to replicate.

The future of streaming likely involves some combination of pure-play streamers (Netflix, Disney+, Amazon Prime) partnering with traditional broadcasters or acquiring broadcast expertise. Doing it completely in-house, as Netflix is attempting, is proving more difficult than anyone predicted.

For viewers, this is actually good news. It means the market will eventually push toward better live event production. Audiences will reward platforms that respect their time and intelligence. Netflix will either learn or lose mindshare among the audiences that care most about live events.

Skyscraper Live was a learning opportunity. Let's hope Netflix actually learns from it.

Stream buffering was the most reported issue, followed by audio synchronization problems. Estimated data based on viewer feedback.

Viewer Feedback and Social Media Reaction

The social media response to Skyscraper Live was telling. Rather than celebrating an extraordinary athletic feat, viewers were complaining about production choices.

On Reddit's climbing communities, the feedback was blunt. Climbers said they would have preferred watching raw footage with no commentary. Others said they turned off the broadcast after 20 minutes because the commentary was making them angry. One user summed it up: "Netflix turned something genuinely impressive into something annoying."

On Twitter, trending hashtags weren't about Honnold's climb—they were about Netflix's commentary being insufferable. This is the opposite of what should happen. The athlete and the feat should dominate discussion, not the production choices.

This tells us something important about how audiences evaluate live events. They're not thinking about production values in the abstract. They're thinking about whether the production enhanced or detracted from their experience of the event.

Netflix detracted. And viewers weren't shy about saying so.

The comments also reveal that viewers didn't think this was a technical failure (buffering, stream outages). They thought it was a creative failure. The technology worked fine. It was the choices Netflix made about what to show and what to say that didn't work.

This is actually harder to fix than a technical problem. You can upgrade your servers and improve your encoding. You can't fix creative judgment by throwing more infrastructure at it. You have to actually think differently about the problem.

The Role of Talent and Production Team Selection

We should probably spend a moment on the actual commentary team for Skyscraper Live. They received a lot of criticism from viewers, but to be fair, they were probably put in a bad situation.

The production team likely gave them instructions: "Keep the energy up. Keep people engaged. Explain what's happening." These are reasonable instructions for an entertainment production. But they're terrible instructions for covering a live climbing event. The commentary team was probably doing exactly what they were told to do.

The real failure was upstream. Someone at Netflix decided what the approach should be, and they got it wrong.

That said, the commentary team could have pushed back. Experienced broadcasters would have recognized that the instructions were off. They might have said, "We're going to overexplain and annoy audiences with this approach." But if Netflix hired commentary talent who weren't experienced in live event broadcasting, they might not have known better.

This points to another failure: Netflix didn't assemble a team with the right expertise. They probably hired based on other factors—maybe the commentary people were well-known in other contexts, or had online followings, or seemed like they'd be entertaining. But for live event production, you need people who've done this before and understand the genre.

Lessons for Other Streaming Platforms

Every streaming platform is now figuring out how to do live events. Skyscraper Live is a cautionary tale for all of them.

The lesson isn't "don't do live events." Live events drive subscriptions. They create moments. They're valuable. The lesson is: "respect the domain." Live event production is different from filmed entertainment. It requires different skills, different workflows, different decision-making processes.

If you're a streaming platform entering the live space, don't try to apply your existing expertise directly. Don't hire people based on their track record in other contexts and assume they'll figure it out. Hire people with genuine experience in live broadcasting.

Also, know your audience. If you're covering a niche event, understand what that niche audience wants. For climbing, that audience wants to see an accomplished athlete do something remarkable. They don't want entertainment theatrics. Respect that.

Finally, test extensively. Do dry runs with your production crew. Practice with the talent. Run scenarios. Identify what works and what doesn't. Use that feedback to iterate before you go live at scale.

Netflix didn't do enough of this, and Skyscraper Live suffered.

The Path Forward for Netflix

Looking ahead, Netflix needs to make some real changes if they want to succeed in live event production.

First, hire experienced broadcasters. Not people who used to work in broadcasting 10 years ago and have since moved to entertainment. People actively working in live television. Pay them well. Give them authority over production decisions.

Second, embrace simplicity. Netflix's instinct to over-produce comes from their on-demand background. They need to learn to let events be what they are. Minimal commentary. Clean production. Respect for the audience.

Third, specialize. Netflix can't excel at all types of live events simultaneously. Pick 2-3 categories and get genuinely good at them. Sports, comedy, and maybe one other. Get really good at those. Stop trying to do everything.

Fourth, invest in infrastructure. Live broadcasting requires different technical infrastructure than on-demand streaming. Netflix has that infrastructure now, but they need to keep investing and improving.

Fifth, measure and iterate. Use viewer feedback seriously. Not just subscriber numbers, but actual feedback about what worked and what didn't. Iterate quickly based on what you learn.

Netflix has the resources to execute on all of these. The question is whether they have the institutional willingness to admit they need to think differently about live than they do about on-demand. If they do, they can eventually become good at live events. If they don't, expect more Skyscraper Live–style failures.

Conclusion: The Bigger Picture

Skyscraper Live failed not because Netflix lacked resources or talent. It failed because Netflix tried to apply on-demand thinking to a live broadcast, and those two domains require fundamentally different approaches.

This is actually a normal part of innovation. Companies rarely nail new categories on the first try. Netflix revolutionized streaming, but they're not revolutionizing live broadcasting. That's okay. But it means they need to learn, and learning costs money and reputation.

The streaming wars are ultimately won by the platform that best respects its audience's time and intelligence. For on-demand content, Netflix has generally gotten this right. For live events, they haven't yet. Skyscraper Live was a clear loss. The question now is whether Netflix can learn and adjust.

Based on the company's track record, they probably will. But it'll take time. And in the meantime, viewers should expect more mixed results as Netflix continues experimenting with live event formats.

The bigger lesson extends beyond Netflix. As more platforms enter the live event space, the ones that win will be the ones that respect the medium. They'll hire experienced broadcasters. They'll embrace simplicity over spectacle. They'll understand that sometimes the best production is the one audiences don't notice because it's so seamlessly supporting the event itself.

Skyscraper Live taught us what not to do. Now the industry needs to apply that lesson.

FAQ

What was Skyscraper Live?

Skyscraper Live was a Netflix live broadcast featuring climber Alex Honnold ascending a 1,000-foot building without safety equipment. The event was meant to showcase an extraordinary athletic feat, but it became notable for viewer complaints about poor production choices, particularly the commentary.

Why did viewers dislike the commentary on Skyscraper Live?

Viewers found the commentary excessive and intrusive. Commentators constantly explained what was obvious to viewers and spoke over moments that would have been more powerful with silence. Audiences felt the commentary distracted from rather than enhanced the experience of watching Honnold's climb.

How is live event production different from on-demand content production?

On-demand content can be edited, perfected, and revised before release. Live events happen once, in real-time, and can't be fixed in post-production. Live broadcasting requires different skills, including quick decision-making, understanding when to use silence, and knowing how to let events unfold naturally without over-producing them.

What expertise does Netflix lack in live event production?

Netflix was built as a company that perfects content through careful editing and post-production work. Live event production requires completely different skills, including experienced directors who can make split-second decisions, commentary talent who understand restraint, and technical crews who've practiced handling live broadcasts multiple times.

How do traditional broadcasters handle live events differently than Netflix?

Established broadcasters like ESPN and cable networks have decades of experience with live television. They use techniques like strategic silence, multiple camera angles, professional crews trained through hundreds of live events, and careful coordination between talent and production teams. They understand that the quality of live broadcasting comes from professional execution, not just technology.

Will Netflix improve at live event production?

Netflix has the resources to become better at live events, but it will require significant changes in how the company thinks about production. They'll need to hire experienced broadcasters, embrace simplicity over spectacle, and invest in the specific expertise that live television requires. Current trends suggest improvement is possible but not guaranteed.

What should streaming platforms do differently for live events?

Streaming platforms should recognize that live event production is a specialized skill that requires hiring experienced broadcasters rather than trying to apply on-demand production techniques to live broadcasts. They should also respect their audience by producing events that enhance rather than distract from the content itself, and they should avoid over-producing with excessive commentary and graphics.

Key Takeaways

• Netflix's live event production suffers from over-produced commentary and lack of institutional broadcasting expertise that traditional networks possess
• On-demand streaming expertise doesn't automatically translate to live broadcasting competency; these are fundamentally different disciplines requiring different skills
• Professional broadcasters use restraint, silence, and visual storytelling to enhance live events, while Netflix tends to fill every moment with commentary and explanation
• Viewer satisfaction with live events depends on respecting audience intelligence and niche expertise rather than trying to make content appeal to everyone
• Streaming platforms competing in live events need to hire experienced broadcasters and specialize in specific event categories rather than trying to do everything simultaneously

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