Warner Bros. Discovery held its upfront presentation at the Theatre at Madison Square Garden, opening with a tribute to CNN founder Ted Turner, who died last week at 87. Anderson Cooper closed the segment with one of Turner’s signature lines: “Early to bed, early to rise, work like hell and advertise.”

Co-ad sales presidents Ryan Gould and Robert Voltaggio didn’t shy away from the company’s pending $110 billion acquisition by Paramount. “We do want to address the Ellison — I mean, the elephant in the room,” Voltaggio said, drawing a knowing laugh before pivoting to reassurance: whatever changes lie ahead for WBD or the broader industry, the team clients already know would remain in place to guide them through it.

Speaking of ad sales, WBD unveiled a new measurement and attribution dashboard and announced its participation in an outcomes-based measurement initiative spearheaded by OpenAP, a data and identity company. WBD also highlighted its new ad platform NEO and its linear ad tool DemoDirect, both of which originally launched last year.

Content-wise, the company arrived with an ambitious slate — more than 3,000 premiere hours spanning 98 new series and 127 returning titles across Discovery Channel, Food Network, HGTV, Investigation Discovery, TBS, TNT, TLC, Magnolia Network, Adult Swim, OWN and more. “Our brands are unstoppable,” said Channing Dungey, chairman and CEO of Warner Bros. Television Group and WBD US Networks. “We have the best creative team in the business and will continue to produce innovative, genre-defining programming that super-serves our fans.”

Highlights from the announced slate included:
· “President Curtis” (Adult Swim) — an adult animated comedy set in the “Rick and Morty” universe, starring Keith David
· “KPop Shark Heroes” — a Discovery Channel Shark Week special
· “100 Cooks” (Food Network) — the network’s largest home cook competition to date, hosted by Terry Crews, alongside new tournament series “Wildcard Kitchen: High Rollers at Sea”
· “Roast My Rental” (HGTV) — a short-term rental rescue series
· “Game Day Murders” (Investigation Discovery) — a true crime docuseries produced by Shaquille O’Neal
· “Stuart Fails to Save the Universe” (HBO Max) — a “Big Bang Theory” spinoff following a comic book shop owner who accidentally triggers a multiverse catastrophe

The sports segment, introduced by “Heated Rivalry” stars François Arnaud and Robbie Graham-Kuntz, covered NHL on TNT and Dunkman, a professional dunk league founded by Shaquille O’Neal — who took the stage in full marching band costume.

M. Night Shyamalan appeared to preview “Remain,” a supernatural romantic thriller he called the highest-testing film of his career. But the loudest applause of the afternoon went to Noah Wyle and Katherine LaNasa, on hand to represent the HBO Max hit “The Pitt,” now in production for season three and which, promised Wyle, is “ushering in a whole new set of emergencies and confrontations and complications.”

Netflix’s upfront event on Wednesday afternoon kicked off with celebrity appearances by Jennifer Lopez and Brett Goldstein, who are co-starring in “Office Romance,” premiering next month, and Millie Bobby Brown, featured in the upcoming summer movie “Enola Holmes 3.” The stars were introduced at Sunset Pier 94 Studios — Manhattan’s new Hudson waterfront film and television campus — where the streamer dropped a raft of news. For starters, Netflix announced its ad-supported tier has now surpassed 250 million active global viewers, up from 190 million last November, with more than 80 percent of ad-plan subscribers tuning in each week. Netflix will extend the tier to 15 new countries in 2027.

To help advertisers reach that growing audience, Netflix unveiled a suite of AI tools: one set of agents builds and optimizes media plans around brand objectives; another manages, optimizes, and executes ad purchases on the platform; and a third lets brands reformat existing creative assets for different placements.

“If the last couple of years were about proving we’re a durable player, this year is about establishing ourselves as a formidable one,” said Amy Reinhard, Netflix’s president of advertising.

On the scripted side, new projects include “The Retrievals,” adapted from the investigative podcast about women who suffered unexplained pain during egg retrieval after a nurse stole their fentanyl; and “Myron Bolitar,” based on Harlan Coben’s novels about a sports agent. Also in development are “Calabasas,” a YA drama from “Bridgerton” creator Chris Van Dusen, and “Barbaric,” a medieval fantasy based on the hit Vault Comics series about a cursed barbarian and his talking axe. On the unscripted side, a docuseries will follow Nick Cannon navigating life with 12 children and six mothers.

“Running Point” was renewed for a third season despite a softer-than-expected second-season debut — the show rebounded with a 27 percent viewership bump in its second week and has spent three weeks in the global top 10. Also returning: “Big Mistake” (season 2), “Love Is Blind” (season 11), “My Life With the Walter Boys” (season 4), and “Quarterback” (season 3).

In film, Adam Sandler returns with “Grown Ups 3,” reuniting childhood friends on a summer vacation, while Ben Stiller leads “A Matter of Time,” in which an unlikely angel is dispatched from heaven to persuade a reclusive man to sacrifice himself for the greater good.

Sports loomed large, as they must at any 2026 upfront. Netflix expanded its NFL deal to include four games: the season opener between the 49ers and Rams played in Australia, the league’s first-ever Thanksgiving Eve game (Packers vs. Rams), a Christmas Day matchup, and a Week 18 regular-season finale. And in what the company is billing as a “massive live-sports acquisition,” Netflix will become the exclusive streaming home of the Westminster Kennel Club Dog Show — its 151st edition.

On the sports front, ESPN’s Joe Buck joined NFL Commissioner Roger Goodell to unveil two marquee matchups: the Kansas City Chiefs vs. the Denver Broncos in the Week 1 Monday Night Football opener, and a Week 9 international game pitting the Cincinnati Bengals against the Atlanta Falcons in Spain.

Disney also deepened its relationship with the Savannah Bananas, the viral exhibition baseball team. The deal makes Disney+ the exclusive U.S. home of The Banana Bowl this October and includes a 25-game streaming package, with all games available on the ESPN App and Disney+, with select matchups airing on ESPN and ABC. Off the field, Savannah Bananas player Jackson Olson is set to compete on the upcoming season of “Dancing with the Stars.”

Scripted programming highlights included “The Land,” an NFL-world drama starring Christopher Meloni as a head coach and William H. Macy and Mandy Moore as team owners, set for a 2027 debut on Hulu. New series also include “The Shards,” an FX thriller co-created by Ryan Murphy and Bret Easton Ellis; “Count My Lies,” a nanny drama starring Shailene Woodley, Kit Harington and Lindsay Lohan; and “The Spot,” a Hulu project headlined by Claire Danes and Ewan McGregor.

Rosario Dawson teased footage from Season 2 of “Star Wars: Ahsoka,” arriving on Disney+ in early 2027, while Paul Bettany previewed his miniseries “VisionQuest,” coming to Disney+ on October 14.

“American Horror Story” returns for its 13th season with a loaded cast: Angela Bassett, Evan Peters, Sarah Paulson, Emma Roberts, and Gabourey Sidibe are all back, joined by Paul Anthony Kelly, known for “Love Story: John F. Kennedy Jr. & Carolyn Bessette.”

When it was his turn to take the stage, Jimmy Kimmel didn’t disappoint. Opening his set with “I didn’t think I’d see you guys again either!”, Kimmel later joked, “You know, usually in order for ABC to pull you off the air, you have to throw a chair at your Mormon boyfriend.” As for the attempts to get fired, Kimmel said, “Yes, the President tried to get me canceled over the last six months. That’s one way to look at it. Another way is you could also say I’ve ‘generated unparalleled engagement across a variety of platforms.’ Largely thanks to our partners in Washington, we are up 25 percent among viewers.”

After drawing laughs as he mocked ABC and the competition, Kimmel closed with, “Now that’s it for me, probably forever.” Not quite — he brought out his 11-year-old daughter, Jane, to introduce Olivia Rodrigo, who closed the event with some of her hits, dancing with Jane onstage.

What do you think is the most significant trend this Upfront season?
The biggest shift we’re seeing is the industry’s push toward a truly holistic, 360-degree understanding of audiences and media performance. Advertisers want a unified view that shows how every channel contributes to outcomes — and they want the ability to plan, measure, and optimize with far greater precision. Disney has been investing for years in the data, technology, and automation that make this possible. Those investments are transforming how TV is bought and sold across live, linear, and streaming, giving our clients smarter, faster, and more measurable ways to connect with fans.

At the same time, we’re seeing a renewed focus on content. Brands want to be closer to the talent, IP, and cultural moments that shape conversation — and they’re approaching those opportunities with a campaign mindset rather than a one-off activation. That’s driving meaningful growth in integrated storytelling, custom content, and streaming sponsorships across our portfolio.

Taken together, the Upfront is evolving from a marketplace centered on inventory to one centered on outcomes, integration, and experiences that deepen consumer engagement and drive real business impact. And that’s exactly where Disney is leading.

Where are you finding the most value — premium content, sports, or digital extensions?
We’re seeing meaningful value across all three — premium live content, sports, and digital extensions — because each plays a distinct role in how audiences engage today. Premium live moments and sports deliver unmatched scale, cultural relevance, and immediacy. They’re the moments people show up for together, in real time, and they continue to be some of the most powerful environments for brands.

Digital extensions then build on that foundation, deepening engagement, expanding reach, and enabling more personalized storytelling across platforms like social, where fans and brands connect in the moment. Increasingly, the real opportunity is in how these environments work together through a cohesive audience strategy. It’s not just about where impressions are delivered — it’s about how we identify, reach, and engage audiences across every touchpoint while keeping the message consistent and the context relevant.

Ultimately, the greatest value doesn’t come from any single channel. It comes from how premium live events, streaming, sports, and digital platforms converge into one unified ecosystem – creating more impact, more connection, and more measurable outcomes for advertisers.

What will define a “successful” Upfront season in 2026?
A successful Upfront season is defined by how effectively we connect our brand partners to the most impactful storytelling and the opportunities that drive measurable results. It starts with building a live-event playbook that engages fans across can’t-miss programming — from live sports to entertainment tentpoles and specials. Success means turning those shared cultural moments into trusted, strategic commitments with clients, while giving audiences even more of the content and experiences they love. Advertisers consistently tell us they want to maximize the moment: leaning into live, intentionally joining the cultural conversation, and using data and technology to prove their investments delivered. That combination of cultural relevance and measurable performance is what defines real value.

And as we look ahead to 2027, we’re poised to deliver one of the most premium slates of live events in the industry — the College Football Playoff Championship, the Grammys, the Super Bowl, and the Oscars. Together, they unlock unparalleled opportunities for brands to reach audiences at scale across both linear and streaming. That’s the kind of momentum that sets the stage for a truly successful Upfront.

What will define a “successful” Upfront season in 2026?
A successful Upfront is a fair exchange of advanced budget commitments for meaningful value. On behalf of our clients, we will maximize flexibility and performance, securing premium inventory with the ability to optimize over time, using modern technology and measurement. Grounded in a holistic, data-driven approach and tailored to each campaign, we’ll partner across TV entities, streamers, and the broader ecosystem to deliver better outcomes.

What role do Upfronts still play in a world of biddable, real-time media buying?
Upfronts are still relevant because it allows us to align brands with the right content and lock in brand-safe, high-impact environments that build positive association. Even as the model becomes more biddable and real-time, we should modernize the Upfront by applying bidding, automation, and AI to improve decisioning and performance while protecting the core role of brand building and upper-funnel awareness. And while the Upfront is often framed as advance buying of TV-like inventory, for us it is also a dedicated moment in time to ideate and forge deeper strategic partnerships with media owners and other ecosystem partners.

What do you think will be the biggest sticking points in negotiations this year?
Price will remain central given that Upfront commitments must come with clear value. Flexibility will be just as important not just as broad cancellation rights, but as the ability to shift investment in real time across partners, and even within a single media company’s portfolio.

Measurement will be another pressure point, both audience currency and performance attribution. It is necessary that we have consistent transparency and independent verification across platforms and data sources.

What’s the smartest move an advertiser can make this Upfront season?
Determining what areas are most critical for each client’s goals. Prioritize the highest-value audiences and content, then build depth beyond “spots and dots” with the right surrounding partnerships. After securing the highest priority areas, round out the plan with complementary reach and clear rules for what stays locked vs. what ways to be agile in-flight.

Over three days, the industry’s biggest players went through the familiar rituals — celebrity appearances, slate reveals, knowing jokes about a business eating itself — while the underlying message was unmistakable: the old model is giving way to something messier, more data-dependent, and more honest about what advertising is actually trying to do.

What buyers want in 2026 is not inventory. It is outcomes, integration, and strategic partnerships that survive a single quarter’s ratings fluctuation. The Upfront isn’t dying — it’s just changing. Networks and advertisers are moving away from bulk inventory deals toward something closer to real partnerships, built on shared goals and measurable results.