Why 2026 already feels like an “event year”
Some years are packed. Others feel designed to be talked about. 2026 looks like the second kind: core franchises returning (Pixar, Star Wars, Marvel), appointment TV that still knows how to dominate weekly conversation, and at least one “big screen only” filmmaker project built for maximum impact.
What makes this lineup interesting isn’t just the titles — it’s what they reveal about audiences right now: we want worlds that feel shared, stories that spark group chats, and releases that turn into cultural moments.
The 10 most anticipated movies & series of 2026
1) A Knight of the Seven Kingdoms (series) — Westeros, but closer to the ground

Instead of dragons and continent-wide chess moves, this prequel leans into something rarer in big fantasy: a more human-scale adventure. That shift is exactly why it’s exciting — same mythology, different texture, and a chance to rediscover the world through new eyes.
2) ONE PIECE: Into the Grand Line (Season 2) — the real “level up” test

Season 1 did the impossible: it made a legendary property feel alive without losing its soul. Season 2 has a tougher job: expand the world, raise the stakes, and prove it can grow bigger without becoming colder or noisier. Fans aren’t just waiting for “more” — they’re waiting for the show to keep its heart while going truly epic.
3) The Super Mario Galaxy Movie (movie) — animation aiming for pure blockbuster energy

The first film proved Mario can be more than nostalgia — it can be a global box-office machine. This sequel has obvious upside: bigger worlds, bigger spectacle, bigger surprises. The creative challenge is equally clear: turning video game wonder (gravity, planets, “levels”) into a movie that feels like cinema, not a montage.
4) The Boys (Season 5 — final season) — the ending that has to “pay off” everything

Few shows have pushed the envelope this hard while still having something to say. The final season carries real weight: it needs to be outrageous and meaningful. The central question has been looming for years: how do you defeat a symbol when that symbol becomes the system?
5) Euphoria (Season 3) — a generational show returns

When a series stays away too long, it risks returning to a different culture. But Euphoria has something durable: a visual identity and emotional intensity that still feels singular. People aren’t just expecting a continuation — they’re expecting evolution: characters changed by time, consequences, and the scars they can’t outrun.
6) The Mandalorian & Grogu (movie) — Star Wars back in theaters, built as an entry point

A streaming flagship going theatrical is a statement. The bet is clear: make it accessible for newcomers while rewarding fans who’ve lived with these characters for years. And the duo at the center makes it easy to sell: action, warmth, and that rare “family-friendly but not childish” appeal.
7) Toy Story 5 (movie) — the boldest comeback is also the most interesting

Returning after what many saw as a perfect ending is risky. But Pixar’s best sequels don’t just continue a story — they comment on the present. The “toys vs tech” angle feels modern in a very personal way: what happens when attention is the new battleground, even in childhood?
8) House of the Dragon (Season 3) — escalation toward a point of no return

This is where the story stops teasing and starts detonating. More strategy, more betrayals, more headline-making moments that instantly become online debate. Season 3 arrives at the perfect time: when the narrative pressure is too high to release slowly.
9) Moana (live-action) — Disney revisits a modern classic (and the stakes are high)

Live-action remakes always divide audiences. This one draws attention because the original isn’t just popular — it’s full of spirit, music, and a sense of adventure. Getting the visuals right won’t be enough; the film has to protect the magic. If it does, it could become the remake people cite as the “how it should be done” example.
10) The Odyssey (movie, Christopher Nolan) — the IMAX event by definition

With Nolan, anticipation isn’t only about plot; it’s about experience. This project has “big-screen cinema” written all over it: mythic storytelling + filmmaking engineered for scale. Even without knowing every detail, audiences already know what they want: to leave the theater feeling like they saw something no one else could have made.
The year-end magnet
Avengers: Doomsday (movie) — the global pop-culture appointment

Love the MCU or not, this kind of release becomes collective. It pulls in multiple generations of characters — and multiple generations of viewers. The real challenge will be avoiding “catalogue mode.” If it lands a strong emotional core and a truly memorable villain, it can become the film everyone talks about beyond the fanbase.
The real question: what will we still be talking about in 2030?
Event years usually produce one surprise: a project we expected to be “big” that becomes defining.
Your bet: the theatrical giants (Marvel / Star Wars), the emotional powerhouse (Pixar), or the conversation-dominating series?
