The CBS series “CIA” was the top anticipated new show and “Paradise” was the most anticipated returning show on the Whip Media chart for February.
“CIA,” which debuts on CBS Feb. 23, follows a CIA case officer who is a bit of a loose cannon with no regard for the rules and an FBI special agent who is strictly by-the-book as they team up and find a way to work together to protect the United States from domestic terrorism threats.
“Paradise,” season two of which debuts on Hulu Feb. 23, follows a Secret Service agent who comes under suspicion for killing the President of the United States in what is left of the country entombed in a Colorado mountain bunker following a doomsday event.
TV Time, a Whip Media company, is a free TV and movie viewership tracking app with more than 25 million global users, according to the company. TV Time’s “Anticipation Report” is based on data from those users.
Most Anticipated New Shows for February:
“CIA” (2025) (CBS) — Feb. 23
“Scrubs” (2026) (ABC) — Feb. 25
“The ’Burbs” (Peacock) — Feb. 8
“56 Days” (Prime Video) — Feb. 18
“Vanished” (2026) (MGM+) — Feb. 1
Most Anticipated Returning Shows for February:
“Paradise” (2025) (Hulu) — Feb. 23
“Cross” (Prime Video) — Feb. 11
“The Night Agent” (Netflix) — Feb. 19
“Monarch: Legacy of Monsters” (Apple TV) — Feb. 27
HBO Max’s “The Pitt” remained atop the Whip Media chart of streaming originals among U.S. consumers for the week ended Feb. 1.
“The Pitt” stars Noah Wyle as Dr. Michael “Robby” Robinavitch, the chief attendant in Pittsburgh Trauma Medical Hospital’s emergency room. The series follows Robby’s team during a 15-hour shift in the ER, with each episode depicting one hour. Season two premiered Jan. 8 and runs through April 16.
Remaining No. 2 on the chart was the Prime Video series “Fallout.” The series, based on the role-playing video game franchise, is a post-apocalyptic drama set in Southern California about the aftermath of nuclear war. Season two debuted Dec. 16, 2025, and wraps up Feb. 3.
Landing at No. 3 on the chart was “Bridgerton,” season four of which debuted Jan. 29 on Netflix. The series, based on the books, is an alternate history regency romance.
Up a spot to No. 4 on the chart was “The Traitors,” season four of which started streaming on Peacock Jan. 8. The reality competition series features “faithful” reality TV veteran contestants who must root out the “traitors” among them to win the $250,000 grand prize.
Landing at No. 5 on the chart was “Shrinking,” season three of which premiered Jan. 28 on Apple TV. The series follows a grieving therapist (Jason Segel) who starts to break the rules and tell his clients exactly what he thinks. The series also stars Harrison Ford.
TV Time, a Whip Media company, is a free TV and movie viewership tracking app with more than 25 million global users. The streaming originals chart rankings are determined by streaming original TV series with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app.
CES has long been a signal for where technology and media are headed. CES 2026, however, marked a clear turning point for the media and entertainment industry.
Welby Chen
This year was not about bold promises or speculative roadmaps. It was about delivery. For many media executives, the most meaningful conversations did not take place on the show floor, but in meetings, panels, and side discussions in and around the Aria, where the focus shifted decisively from vision to execution.
Across conversations with studios, FAST platforms, distributors, and technology partners, one message was consistent. The industry is no longer rewarding ambition alone. It is demanding proof.
Below are my five key takeaways from CES 2026.
1. The “Trust Me” Era Is Over. Practical AI Is Now the Standard.
For the past several years, simply saying “we are using AI” was often enough to generate interest. That moment has passed. At CES 2026, executives were asking sharper, more practical questions:
What workflows are actually automated today?
Where has AI reduced cost, risk, or manual effort?
How are results measured in financial or operational terms?
AI fatigue is real. Investors, customers and partners are no longer impressed by aspirational language or long-term promises. They want evidence of value that already exists.
This has created a clear divide between theoretical AI and practical AI. Theoretical AI focuses on what might be possible in the future. Practical AI focuses on what is deployed, trusted and measured today.
Media executives are increasingly skeptical of broad “agentic AI” claims that are not tied to specific workflows. The most credible discussions centered on narrow, well-defined use cases with clear accountability, human oversight, and transparent decision logic.
In media, AI often touches sensitive areas such as rights data, revenue reporting and licensing decisions. In those environments, explainability matters as much as capability. Black-box systems introduce risk, not confidence.
The takeaway is simple. AI adoption in media is no longer about ambition. It is about accountability and measurable impact.
2. FAST Is Shifting From Expansion to Optimization
FAST remains an important distribution model, but CES 2026 made it clear that the market is maturing.
Conversations with platform operators and companies that build and monetize FAST channels suggest the industry may have reached, or is nearing, peak channel proliferation. The focus is increasingly on the 20% of channels that drive 80% of revenue.
FAST platforms are becoming more selective. Publishers are finding it harder to secure carriage unless a channel brings recognizable branding, an existing audience, or clear marketing support.
In short, FAST platforms are trimming the fat.
This shift signals a move away from land-grab strategies toward optimization, where performance, brand equity, and monetization efficiency matter more than raw channel count. For publishers, the bar is rising, and data-driven decision-making is essential.
3. Consolidation Is Accelerating Across the Media Ecosystem
While industry headlines often focus on mega-deals involving major studios and Big Tech, CES 2026 highlighted that consolidation is happening at every level of the media ecosystem.
Mid-sized and independent media companies are combining to gain scale, improve leverage, and survive in a more competitive environment. Portfolio strategies are replacing single-brand strategies, and operational efficiency is becoming a requirement rather than a differentiator.
As companies merge, complexity increases. Content libraries expand. Rights portfolios overlap. Legacy systems collide. Manual processes do not scale in this environment.
For many organizations, consolidation is less about strategy and more about operational readiness. Those without modern, flexible platforms will feel the strain first.
4. Future-Proofing Now Means Measurable Progress
One of the most common questions raised at CES this year was, “What are you doing to future-proof your business?”
The most credible answers were also the most practical.
Future-proofing today means building systems that adapt as distribution models evolve, data architectures that can absorb acquisitions, and AI that evolves alongside business rules. It also means investing in teams that continuously learn, rather than assuming transformation is a one-time event.
The industry is moving away from static transformation projects and toward continuous optimization. Media companies that treat AI, FAST or automation as check-the-box initiatives risk falling behind just as quickly as those that delay adoption altogether.
5. Scale Alone Is No Longer a Growth Strategy
A recurring undercurrent at CES 2026 was the recognition that the traditional media playbook is reaching its limits, especially for the largest global players.
Simply adding more channels, more content or more distribution partners is no longer a reliable growth lever. In many cases, major platforms are now competing with each other for the same audiences, the same creators, and the same advertising dollars.
The next phase of growth will require moving beyond what worked in the last decade.
That means taking a more disciplined, intentional approach to emerging growth vectors such as the creator economy, short-form video, podcasts, live sports and gaming. These are not side experiments or marketing add-ons. They are becoming core pillars of audience engagement, discovery and monetization.
It also means preparing for new content experiences and form factors, including immersive and spatial formats that extend storytelling beyond traditional screens. As new devices and interfaces enter the market, the opportunity will favor companies that can adapt content and business models without fragmenting their operations.
For global media companies, the challenge is not just access to scale. It is finding differentiated growth without crowding into the same plays as everyone else. CES 2026 made it clear that the next winners will be those willing to expand the playbook, not just optimize the existing one.
Final Thought
CES 2026 did not feel like the beginning of an AI revolution. It felt like the moment the industry matured. The hype cycle has cooled. Expectations have sharpened. The mandate is clear. Deliver, measure and explain. From AI to FAST to consolidation, the message from Las Vegas was unmistakable. Show us what works. Do not just tell us what might.
Welby Chen is CEO of Whip Media, a SaaS company powering the media and entertainment industry.
The HBO series “A Knight of the Seven Kingdoms” was the top anticipated new show and “The Pitt” was the most anticipated returning show on the Whip Media chart for January.
Both will stream on HBO Max.
“A Knight of the Seven Kingdoms,” which debuts Jan. 18, is set in the world of Westeros created by George R.R. Martin (“Game of Thrones”). In the series taking place a century before the events of “Game of Thrones,” two unlikely heroes wander Westeros — a young, naïve but courageous knight, Ser Duncan the Tall, and his diminutive squire, Egg. Set in an age when the Targaryen line still holds the Iron Throne, and the memory of the last dragon has not yet passed from living memory, the series is about the great destinies, powerful foes, and dangerous exploits that all await these improbable and incomparable friends.
“The Pitt,” season two of which debuts on Jan. 8, is a medical drama starring Noah Wyle. It follows the daily lives of healthcare professionals in a Pittsburgh hospital as they juggle personal crises, workplace politics, and the emotional toll of treating critically ill patients.
TV Time, a Whip Media company, is a free TV and movie viewership tracking app with more than 25 million global users, according to the company. TV Time’s “Anticipation Report” is based on data from those users.
“Stranger Things” again took the top spot on the Whip Media chart of streaming originals among U.S. consumers for the week ended Dec. 7.
The fifth and final season of the Netflix supernatural series started streaming Nov. 26. Featuring an ensemble cast led by Winona Ryder, David Harbour and Millie Bobby Brown, among others, the series, set in the 1980s, centers on the residents of the fictional small town of Hawkins, Ind., after a nearby human experimentation facility opens a gateway between Earth and a hostile alternate dimension known as the Upside Down. Picking up in the fall of 1987, “Stranger Things” season five finds Hawkins scarred by the opening of rifts caused by the military takeover of the town, which unites the show’s heroes.
Remaining at No. 2 on the chart was “Pluribus,” the new drama from writer and director Vince Gilligan, the creator of “Breaking Bad” and co-creator of “Better Call Saul.” The series, which started streaming on Apple TV Nov. 7, stars “Better Call Saul” alum Rhea Seehorn as a woman fighting to retain her individuality when an alien virus turns the rest of humanity into a hive mind.
Remaining at No. 3 on the chart was the Taylor Sheridan oil industry series “Landman,” season two of which started streaming on Paramount+ Nov. 16. The series stars Billy Bob Thornton, Ali Larter, Demi Moore, Sam Elliott, Jacob Lofland, Michelle Randolph, Paulina Chávez, Kayla Wallace, Mark Collie, James Jordan and Colm Feore. Season two finds Tommy Norris (Thornton) facing mounting pressure from employer M-Tex Oil, Cami Miller (Moore) and the shadow of his kin.
Rising a spot to No. 4 on the chart was “Mayor of Kingstown,” season four of which started streaming on Paramount+ Oct. 26. The drama series, starring Oscar nominee Jeremy Renner and Emmy and Golden Globe winner Edie Falco, is co-created by Taylor Sheridan and Hugh Dillon.
Landing at No. 5 on the chart was the reality TV series “The Secret Lives of Mormon Wives,” season three of which debuted Nov. 13. The series follows a group of Utah-based TikTok influencers, known as “MomTok,” as they navigate the complexities of their personal and professional lives.
TV Time, a Whip Media company, is a free TV and movie viewership tracking app with more than 25 million global users. The streaming originals chart rankings are determined by streaming original TV series with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app.
“Stranger Things” took the top spot on the Whip Media chart of streaming originals among U.S. consumers for the week ended Nov. 30.
The fifth and final season of the Netflix supernatural series started streaming Nov. 26. Featuring an ensemble cast led by Winona Ryder, David Harbour and Millie Bobby Brown, among others, the series, set in the 1980s, centers on the residents of the fictional small town of Hawkins, Ind., after a nearby human experimentation facility opens a gateway between Earth and a hostile alternate dimension known as the Upside Down. Picking up in the fall of 1987, “Stranger Things” season five finds Hawkins scarred by the opening of rifts caused by the military takeover of the town, which unites the show’s heroes.
Falling from the top spot to No. 2 on the chart was “Pluribus,” the new drama from writer and director Vince Gilligan, the creator of “Breaking Bad” and co-creator of “Better Call Saul.” The series, which started streaming on Apple TV Nov. 7, stars “Better Call Saul” alum Rhea Seehorn as a woman fighting to retain her individuality when an alien virus turns the rest of humanity into a hive mind.
Spots three-six all went to Taylor Sheridan-created series on Paramount+.
Falling a spot to No. 3 on the chart was the Taylor Sheridan oil industry series “Landman,” season two of which started streaming on Paramount+ Nov. 16. The series stars Billy Bob Thornton, Ali Larter, Demi Moore, Sam Elliott, Jacob Lofland, Michelle Randolph, Paulina Chávez, Kayla Wallace, Mark Collie, James Jordan and Colm Feore. Season two finds Tommy Norris (Thornton) facing mounting pressure from employer M-Tex Oil, Cami Miller (Moore) and the shadow of his kin.
Falling a spot to No. 4 on the chart was “Tulsa King.” The Paramount+ mob series, starring Sylvester Stallone and created by Taylor Sheridan, is in the midst of its third season.
Remaining at No. 5 on the chart was “Mayor of Kingstown,” season four of which started streaming on Paramount+ Oct. 26. The drama series, starring Oscar nominee Jeremy Renner and Emmy and Golden Globe winner Edie Falco, is co-created by Taylor Sheridan and Hugh Dillon.
TV Time, a Whip Media company, is a free TV and movie viewership tracking app with more than 25 million global users. The streaming originals chart rankings are determined by streaming original TV series with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app.
“Pluribus” again took the top spot on the Whip Media chart of streaming originals among U.S. consumers for the week ended Nov. 23.
The new drama from writer and director Vince Gilligan, the creator of “Breaking Bad” and co-creator of “Better Call Saul,” started streaming on Apple TV Nov. 7. It stars “Better Call Saul” alum Rhea Seehorn as a woman fighting to retain her individuality when an alien virus turns the rest of humanity into a hive mind.
Landing at No. 2 on the chart was “Landman,” season two of which started streaming on Paramount+ Nov. 16. The series stars Billy Bob Thornton, Ali Larter, Demi Moore, Sam Elliott, Jacob Lofland, Michelle Randolph, Paulina Chávez, Kayla Wallace, Mark Collie, James Jordan and Colm Feore. Season two finds Tommy Norris (Thornton) facing mounting pressure from employer M-Tex Oil, Cami Miller (Moore) and the shadow of his kin.
Falling a spot to No. 3 on the chart was “Tulsa King.” The Paramount+ mob series, starring Sylvester Stallone and created by Taylor Sheridan, is in the midst of its third season.
Falling a spot to No. 4 on the chart was “The Morning Show.” The show, now in its fourth season, stars Reese Witherspoon, Jennifer Aniston and Billy Crudup, and examines the characters and culture behind a network broadcast morning news program.
Falling a spot to No. 5 on the chart was “Mayor of Kingstown,” season four of which started streaming on Paramount+ Oct. 26. The drama series, starring Oscar nominee Jeremy Renner and Emmy and Golden Globe winner Edie Falco, is co-created by Oscar nominee Taylor Sheridan and Hugh Dillon.
TV Time, a Whip Media company, is a free TV and movie viewership tracking app with more than 25 million global users. The streaming originals chart rankings are determined by streaming original TV series with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app.
“Tulsa King” took the top spot on the Whip Media chart of streaming originals among U.S. consumers for the week ended Nov. 9.
The series rose from No. 3 on the chart the previous week. The Paramount+ mob series, starring Sylvester Stallone and created by Taylor Sheridan, is in the midst of its third season.
Rising three spots to No. 2 on the chart was “The Morning Show.” The show, now in its fourth season, stars Reese Witherspoon, Jennifer Aniston and Billy Crudup, and examines the characters and culture behind a network broadcast morning news program.
Landing at No. 3 on the chart was “Pluribus,” the new drama from writer and director Vince Gilligan, the creator of “Breaking Bad” and co-creator of “Better Call Saul.” The series, which started streaming on Apple TV Nov. 7, stars “Better Call Saul” alum Rhea Seehorn as a woman fighting to retain her individuality when an alien virus turns the rest of humanity into a hive mind.
Rising three spots to No. 5 on the chart was “Mayor of Kingstown,” season four of which started streaming on Paramount+ Oct. 26. The drama series, starring Oscar nominee Jeremy Renner and Emmy and Golden Globe winner Edie Falco, is co-created by Oscar nominee Taylor Sheridan and Hugh Dillon.
TV Time, a Whip Media company, is a free TV and movie viewership tracking app with more than 25 million global users. The streaming originals chart rankings are determined by streaming original TV series with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app.
“Only Murders in the Building” rose to the top spot on the Whip Media chart of streaming originals among U.S. consumers for the week ended Oct. 19.
Season five of the murder mystery series, starring Steve Martin, Martin Short and Selena Gomez, began streaming on Hulu Sept. 9. Meryl Streep, Diane Wiest and Renee Zellweger are among the season’s co-stars.
Rising a spot to No. 2 on the chart was “Gen V,” season two of which debuted on Prime Video Sept. 17. The satirical superhero series is a spinoff of “The Boys.”
Rising two spots to No. 3 on the chart was “Tulsa King.” Season three of the Paramount+ mob series, starring Sylvester Stallone and created by Taylor Sheridan, debuted Sept. 21.
Rising two spots to No. 4 on the chart was “The Morning Show,” season four of which debuted Sept. 17. The show, starring Reese Witherspoon, Jennifer Aniston and Billy Crudup, examines the characters and culture behind a network broadcast morning news program.
Falling from the top spot to No. 5 on the chart was “Peacemaker.” Season two of the superhero series, based on the DC Comics characters and starring John Cena, debuted on HBO Max Aug. 21.
TV Time, a Whip Media company, is a free TV and movie viewership tracking app with more than 25 million global users. The streaming originals chart rankings are determined by streaming original TV series with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app.
“Peacemaker” remained in the top spot for a third consecutive week on the Whip Media chart of streaming originals among U.S. consumers for the week ended Oct. 12.
Season two of the superhero series, based on the DC Comics characters and starring John Cena, debuted on HBO Max Aug. 21.
Remaining at No. 2 on the chart was “Only Murders in the Building.” Season five of the murder mystery series, starring Steve Martin, Martin Short and Selena Gomez, began streaming on Hulu Sept. 9.
Remaining at No. 3 on the chart was “Gen V,” season two of which debuted on Prime Video Sept. 17. The satirical superhero series is a spinoff of “The Boys.”
Rising three spots to No. 4 on the chart was the latest season of “Monster,” about notorious serial killer Ed Gein, which debuted Oct. 3.
Falling a spot to No. 5 on the chart was “Tulsa King.” Season three of the Paramount+ mob series, starring Sylvester Stallone and created by Taylor Sheridan, debuted Sept. 21.
TV Time, a Whip Media company, is a free TV and movie viewership tracking app with more than 25 million global users. The streaming originals chart rankings are determined by streaming original TV series with the greatest share of views in the given week, among a balanced panel of U.S. users of the TV Time app.