Will Ferrell’s Show: Why Critics Hate It

Will Ferrell’s latest foray into television, The Hawk, arrived on Netflix in July 2026 with the promise of a comedic journey. It centers on the acclaimed actor playing Lonnie Hawkins, an iconic but largely forgotten figure in the world of golf, and immediately sparked a fascinating debate among critics regarding the show’s execution.

Despite launching with massive star appeal, The Hawk did not quite land the laugh track that might have been expected from a comedy series. When measured by Rotten Tomatoes, the show achieved a modest 28% Tomatometer score based on over 30 reviews, signaling a noticeable disconnect between the premise and the critical response.

Many reviewers struggled to find the comedic footing in the series. Some felt that the humor was sparse and that the characters were thinly drawn, leading to questions about why this particular narrative felt so subdued despite its comedic roots. One critic noted that the show was difficult to forgive for not being packed into a shorter runtime, suggesting that the story needed more punch than it delivered.

The critique went beyond just the jokes; some observers found the overall execution ungainly. Reviewers pointed out an air of desperation emanating from every scene, suggesting the tone felt heavy rather than lighthearted. This created friction between the show’s comedic aspirations and its dramatic reality.

What makes this contrast even more intriguing is the caliber of the creative team behind the series. While Ferrell spearheaded the concept, he was joined by a strong crew of executive producers including Jessica Elbaum, Alix Taylor, Rian Johnson, Ram Bergman, Nena Rodriguez, and Andy Campagna. This collective involvement brought a complex layer to the production that critics were grappling with.

The ensemble cast also contributed to the overall atmosphere. Alongside Ferrell, the series features a compelling group, including Fortune Feimster, Luke Wilson, Chris Parnell, Katelyn Tarver, and David Hornsby, bringing their unique energies to Hawkins’ struggle.

Ultimately, The Hawk remains a fascinating study in television creation: a high-profile project that managed to capture attention but struggled with its ability to deliver truly resonant comedy. It stands as an interesting example of how even big names and ambitious concepts can face the difficult task of satisfying critical expectations when crossing over from screen to story.