Disney Appoints Josh D’Amaro CEO, Dana Walden President

On February 3, 2026, the Walt Disney Company, a titan of global entertainment, made a decision that sent ripples throughout Hollywood and the wider media world: Josh D’Amaro, previously Chairman of Disney Experiences, was named the new CEO. The decision capped off more than a year of careful deliberation by Disney’s board, which included high-profile figures like GM chief Mary Barra and former Facebook executive Carolyn Everson. The process was marked by intense speculation and, as reported by Puck, a palpable sense of anticipation—and, for some, disappointment—across Hollywood, especially as Dana Walden, the widely respected co-chair of Disney Entertainment, was passed over for the top job.

Yet, in a move that underscores Disney’s evolving priorities, Walden was not left out in the cold. Instead, she was promoted to a newly created and influential position: President and Chief Creative Officer (CCCO), reporting directly to D’Amaro. According to Fortune, Disney called this a “historic first for the enterprise,” highlighting the company’s intent to keep Walden’s formidable creative leadership within its ranks. Walden herself described the new role as a “dream job,” expressing her excitement on Instagram on the very day of the announcement.

For those outside the company, the leadership shuffle is more than just corporate maneuvering. It signals a potentially transformative era for Disney’s vast entertainment empire, and nowhere might this be more keenly felt than at Marvel Comics. As Bleeding Cool noted, the big question is: what will these appointments mean for Marvel Comics as it heads further into 2026?

Josh D’Amaro’s ascent to CEO is notable for several reasons. With nearly three decades at Disney, he’s best known for his stewardship of Disney’s theme parks and cruise lines, overseeing some of the company’s largest and most visible businesses. Under his watch, Marvel’s intellectual property has been woven into the fabric of Disney’s physical experiences—think Avengers Campus and the Guardians of the Galaxy attractions. According to Bleeding Cool, D’Amaro has already shown a knack for integrating Marvel IP into immersive environments, treating comics not just as stories on a page but as blueprints for entire worlds, ripe for expansion into theme parks and beyond.

But D’Amaro’s vision extends well beyond brick-and-mortar attractions. In September 2025, he played a pivotal role in announcing an expanded partnership with Webtoon Entertainment, aiming to develop a new, all-in-one digital comics platform. The initiative, building on Marvel Unlimited, would unify material from across Disney’s portfolio—including Marvel, Star Wars, Pixar, and even 20th Century Studios—alongside Webtoon’s original stories. D’Amaro publicly championed the project, stating that it would bring Disney’s “unparalleled collection of comics” to a wider audience and deepen fan engagement, leveraging Webtoon’s expertise in digital-first storytelling.

This digital strategy is more than a technical upgrade; it hints at a future where Marvel Comics becomes ever more integrated into Disney’s broader digital and streaming ambitions. As Bleeding Cool speculated, under D’Amaro’s leadership, Marvel’s storytelling could be increasingly shaped by streaming metrics and franchise synergy, with comics serving as testing grounds or pipelines for new characters, worlds, and narratives that might one day leap onto screens or into theme parks.

Dana Walden’s trajectory, meanwhile, has been a study in creative leadership. She arrived at Disney through the 2019 acquisition of 21st Century Fox, where she had already made a name for herself overseeing television—including, notably, negotiations for a live-action X-Men series back in 2015. While that particular project didn’t materialize as planned, Walden gained a reputation for shepherding both Marvel and DC-related shows, and for her deft handling of large, complex franchises. At Disney, she has overseen Marvel-related TV and streaming content such as Moon Girl and Devil Dinosaur and Spidey and His Amazing Friends, and she played a key role in bringing high-profile content like Taylor Swift’s Eras Tour documentary to Disney+.

Her new role as President and CCCO puts her in charge of storytelling and creative expression across every audience touchpoint—streaming, movies, and more. As Fortune observed, this makes her “one of Hollywood’s most powerful content executives.” Bob Iger, Disney’s outgoing CEO who mentored both D’Amaro and Walden, hailed her as “an excellent leader who commands tremendous respect from the creative community.”

Despite Walden’s impressive credentials, her elevation was not without controversy or disappointment. As Puck reported, many in Hollywood had hoped to see her become Disney’s first female CEO, especially after a similar scenario played out at Walmart. Instead, her new role is seen by some as both a consolation and a recognition of her unique strengths—her relationships with creative talent and her ability to guide Disney through politically and culturally charged moments, like the recent Jimmy Kimmel suspension.

So, what does all this mean for Marvel Comics? The consensus among industry watchers is that the new leadership will likely accelerate Marvel’s integration into Disney’s digital and streaming strategies. With D’Amaro’s operational focus and digital ambitions, and Walden’s creative oversight, Marvel could see its comics become even more of an intellectual property farm—seeding stories for Disney+ shows and other cross-media adaptations. Bleeding Cool speculated that Walden might apply streaming metrics to comics development, using data-driven insights to shape which stories get told and how they evolve. This could lead to more family-friendly content, but also to bolder, prestige projects akin to Shōgun or The Bear.

Of course, there are concerns. Walden has faced criticism in the past for “diluting” franchises through overly commercial TV adaptations. Some fans and creators worry that Marvel’s print comics could lose their distinctiveness if subjected to the same data-driven pressures that dominate streaming television. Yet, with the Webtoon partnership and the promise of a unified digital platform, there’s also optimism that Marvel can reach new audiences and experiment with innovative storytelling formats—including AR and VR tie-ins, which have started to gain traction in the indie comics world.

Ultimately, Disney’s leadership transition marks both continuity and change. The company has chosen to balance operational expertise with creative vision, betting that D’Amaro and Walden’s complementary skills will keep Disney—and Marvel—at the forefront of global entertainment. As the dust settles and the new bosses settle into their roles, all eyes will be on how they navigate the delicate dance between tradition and innovation, and how Marvel Comics will help write the next chapter in Disney’s story.