NBCU, Fox, Amazon, Disney, WBD, Netflix, YouTube

Warner Bros. Discovery launched its annual upfront event at the Madison Square Garden Theater with a tribute to the late Ted Turner, who had passed away the previous week. Turner was instrumental in the existence of WBD’s upfront, as a cable pioneer who founded CNN, TNT, TBS, Cartoon Network, and more. His Turner Broadcasting became the backbone of Warner Bros.’ ad-supported media portfolio, significantly expanding with the merger with Discovery Communications.

As Anderson Cooper honored Turner, the audience of ad buyers, media analysts, and reporters couldn’t ignore the larger issue at hand. WBD’s U.S. advertising presidents, Ryan Gould and Bobby Voltaggio, humorously referred to it as the “Ellison in the room.” This gathering was not just a farewell to Ted Turner but could also signal WBD’s final bow, with the company potentially being acquired by Paramount Skydance before the next upfront season.

The uncertainty surrounding the TV industry was palpable, especially regarding the impending Warner Bros. Discovery/Paramount merger. However, for now, the conglomerates are refocusing on their core strength: TV programming.

Recently, upfronts seemed less about TV and more about conglomerates promoting a comprehensive strategy. Previously overlooked divisions like sports, theatrical movies, and other brand synergies received more attention than the actual TV lineups. This year, movies appeared sporadically, notably at WBD, which celebrated its 2025 successes, while sports maintained a strong presence. Yet, television content was once again at the forefront.

“I felt like people are feeling a little bullish again on TV, and the different ways that people are consuming shows,” commented Warner Bros. TV Group chairman/CEO Channing Dungey. “It felt like good, old-fashioned broadcast was back front and center. I was very happy to see that.”

NBC also returned to a focus on programming by conducting a mini-pilot season for the first time in several years. Lisa Katz, NBC/Peacock scripted content head, noted, “There was a very concerted effort on our part to invest and focus on scripted, and that’s why we did the pilot season. We were really happy with the outcome.”

Dungey shared her enthusiasm for NBC’s efforts in creating eight pilots, expressing optimism about future investments in pilots. She also mentioned, “We made a pilot this year for CBS that unfortunately didn’t go, but it does feel like people are still investing and making things, which is exciting. Even in streaming, we’re making pilots, including two right now for HBO Max.”

Prominent TV stars were present at all upfront presentations, reminiscent of the network upfronts’ golden era. However, these are different times, and no new scheduling moves or timeslots were announced during the event. Nonetheless, networks revealed several strategic surprises regarding the rollout of their new and returning series.

Here are more key takeaways from the 2026 upfronts:

Midseason Is The New Fall: In the past, it was unheard of for a network like ABC to delay its top show, “High Potential,” until after the fall schedule, or for CBS to postpone its major shows, “Matlock” and “Ghosts,” until January, or for NBC to wait until midseason to premiere a highly anticipated series like “The Rockford Files” reboot.

However, these are changing times. The dominance of NFL, college football, and other live sports in primetime means waiting until January for the true TV season to start seems strategic. In September, ABC has only five hours and NBC seven hours of scripted originals in their 22-hour weekly lineups. Fox offers scripted content only on two out of seven nights. Across all networks, just six new shows debut in the fall, with most premiering post-football season.

“Not only is the fall less vibrant, but it also is starting later,” Dungey observed. “I think it’s because everyone just now wants to get out of the way of sports. That’s what it feels like to me.”

Ari Goldman, ABC’s senior vice president of content strategy and scheduling, explained that “High Potential” was moved to January to ensure an uninterrupted run. “We’re thinking about the behavior of our linear audience, but also the streaming viewers, who really have shown the importance of week-over-week steadiness in planning and rolling out these shows,” he said.

CBS had previously justified holding “Matlock” and “Ghosts” until midseason, citing the strength of its schedule and limited space due to its numerous franchises like “NCIS,” “FBI,” and “Country.”

For NBC, “Rockford Files” had no available slot due to its multiple sports nights. New series “Line of Fire” was better suited to follow “The Voice” on Mondays at 10 p.m., while “Traitors” needed to air in the fall to avoid clashing with Peacock’s celebrity edition, leaving just two open hours. NBC executives see “Rockford” as an 8 p.m. show that might take the Thursday slot once the civilian version of “The Traitors” wraps up.

This shift perhaps acknowledges that audiences have become accustomed to longer waits for their favorite shows, unlike when a summer break was the longest hiatus.

These extended breaks coincide with reduced episodic counts for some network series, although still more than streaming shows. Dungey noted, “I feel like the new normal has become somewhere between 15 and 18 episodes,” with exceptions like Dick Wolf’s series, which usually have around 21 episodes.

Comedy Conundrum: Only three new comedies made it onto network schedules next season: “Eternally Yours” at CBS, and “Sunset P.I.” and “Newlyweds” at NBC. Fox, now with just one live-action comedy, is reassessing its financial model for comedy, while ABC, pleased with the “Scrubs” revival, has limited space for half-hour slots.

“I think you have to be patient with them,” Katz said. “We’ve always known that comedies usually take time, but when you have the talent behind them, both in front and behind the camera, and you can get something like a ‘St. Denis or a ‘Happy’s Place’ or a ‘Fall and Rise of Reggie Dinkins,’ there’s nothing better.”

Comedy is thriving on streaming platforms as well. Season 2 of “Running Point” has been a hit for Netflix, and HBO Max’s “The Rooster” has achieved strong ratings. Apple TV’s “Shrinking” is a success, and “Ted Lasso” is set to return. HBO Max is also generating buzz with “Stuart Fails to Save the Universe,” a new sci-fi addition to “The Big Bang Theory” universe.

Blue Skies Are Here: Despite streaming audiences’ preference for darker themes, the success of shows like “High Potential” indicates a demand for more optimistic content on broadcast networks. ABC aims to expand “R.J. Decker,” and has “The Rookie: North” in the works. Fox plans to release “Baywatch,” CBS has “Elsbeth,” and NBC is enthusiastic about “The Rockford Files.”

“I think the last few years, people have been doing a bit more lighter, brighter shows,” Katz said. “When you look at ‘Rockford,’ one of the things we liked about it was he’s a little bit of an underdog and very fallible and human. I think people want television that’s relatable and optimistic, things the world feels like it’s lacking.”

Executive Hellos and (Potential) Goodbyes: The upfronts marked the debut of several entertainment executives in new leadership positions. Among them was Disney CEO Josh D’Amaro, who took the stage at Disney’s presentation following a welcome from “Devil Wears Prada 2” star Anne Hathaway. This was a notable moment, as CEOs are not typically involved in upfront presentations.

Although D’Amaro appeared slightly nervous, being more accustomed to the D23 crowd of fervent parks enthusiasts, his presence likely reassured potential ad buyers of his dedication to the TV division.

Elsewhere, Peter Friedlander made his first appearance at the upfronts as the new head of scripted TV for Amazon MGM Studios/Prime Video, showcasing exciting upcoming projects like the “Fourth Wing” TV series.

Noticeably absent from the week was Warner Bros. Discovery CEO David Zaslav, who has previously been a prominent figure at WBD presentations. His absence is attributed to his anticipated departure from the company if the acquisition by Paramount Skydance proceeds.

Hollywood’s “Will We, Won’t We?” Relationship with AI: AI has been a hot topic in Hollywood, yet the upfronts showed a mixed stance on the issue. Some media companies barely addressed AI, such as NBCU’s Mark Marshall, who made only a brief mention, and Disney’s Rita Ferro, who discussed “automated systems” without fully endorsing the technology.

Conversely, Fox dedicated over five minutes to AI during its hour-long presentation to advertisers, making it a key focus. Netflix took a balanced approach, incorporating AI into its advertising strategy while keeping the discussion concise.

AI is here to stay, and Hollywood is still exploring how to integrate it into filmmaking. When this will be resolved remains uncertain.   

The Tech and TV Divide: While programs are still part of upfront pitches, they are increasingly accompanied by tech-focused discussions. Fox even had its chief technology officer speak at its presentation.

In the past, advertisers were more interested in shows, eager to link their ads with popular programs like “E.R.” or “Survivor.” Now, viewers for dramas, comedies, and reality shows are harder to attract, as people can watch their favorites at any time. This means viewership is smaller, and networks must demonstrate that ads reach the most likely consumers, not just the largest audience.

On interactive streaming services, it’s not just about pairing an ad with a specific show. Advertisers increasingly use programmatic technology and algorithms to match commercials with audiences based on geographic location or consumer preferences. As a result, technology often holds more importance than the content on the screen.

This Year’s Superlatives: Jane Krakowski earned the title of Upfront MVP, performing a song-and-dance number as her “30 Rock” character, Jenna Maroney, at the NBCU upfront before dashing across town to join Jane Lynch for another performance at the Fox upfront. Krakowski hosts “Celebrity Name That Tune” for Fox, leading to questions about whether either network was aware of her dual commitments.

Other notable attendees included Tina Fey and Shaquille O’Neal.

While there wasn’t a definitive “song of the upfronts” this year, country music made a significant impact, particularly at Amazon, where Kacey Musgraves and Shaboozey performed, and Netflix, which recreated “The Hunting Wives” honky-tonk bar Coyote Joe’s for an onstage line dance.

Cute dogs made appearances at WBD for Animal Planet’s “Puppy Bowl” and at Netflix, which recently acquired streaming rights to the Westminster Kennel Club Dog Show.

The easiest crowd-pleaser this year? Announcing that your show is filming in Los Angeles. Even though the event wasn’t in L.A., many Hollywood attendees cheered upon hearing that “Baywatch” filmed in Venice Beach and “Sunset P.I.” was shooting in the city. “It feels nice whenever you can do production here,” Dungey noted.

Here are all of Variety’s upfront presentation recaps:

Inside NBCUniversal’s Upfront: Vin Diesel Surprise, Tina Fey Sets Up NBC’s 100th Birthday Bash and More at ‘Most Glamorous Midmorning of the Year’

Inside Fox’s Upfront: ‘Baywatch,’ Lachlan Murdoch, Lots of Tom Brady, and the World Cup Brings James Corden Back to Late Night

Amazon Upfront Brings Out Michael B. Jordan, Chris Pratt, Oprah Winfrey in Star-Studded Ad Sales Pitch

Disney’s 2026 Upfront Goes All in on Savannah Bananas, Billie Jean King and ‘American Horror Story’

Inside Warner Bros. Discovery’s Upfront: Execs Address ‘Ellison in the Room’ Before First Looks at ‘Minecraft Movie 2,’ ‘Harry Potter’

Netflix Upfronts: J-Lo and Brett Goldstein ‘Get Closer,’ Pete Davidson Goes Off-Prompter, Will Forte Hits an Off-Key ‘Golden’

YouTube Unveils Exclusive Shows From Alex Cooper, Trevor Noah, Kareem Rahma and More at Upfront