The Indian media landscape is a complex one, and the intersection of various audience types can often be confusing, even for those who have spent many decades in the business. We are often asked questions in this direction, such as: What percentage of pay audiences on streaming also visit movie theatre? What is the overlap between TV and digital? Do audiences watch sports only on TV or OTT, or do they often switch between the two modes of consumption? Is there an overlap of audiences on OTT between the various South Indian languages?

Over the years, Ormax Media has been publishing industry reports and data to address such questions. We recently started a new series called Venn It Happens, in which we will periodically publish Venn diagram illustrations on how various audience types in the Indian media market intersect. You can access the previous two edition of the series here and here.

The third edition of Venn It Happens looks at the intersection of the audiences of the film Dhurandhar in theatres and on OTT. The highest-grossing Hindi theatrical film of all time was released theatrically on December 5, 2025, and on Netflix on January 30, 2026.

Data from this infographic has been sourced from Ormax Media's box office report for 2025, Ormax StreamView reports, and additional research conducted to measure the intersection of audience.

A+B is the 35.2 million theatrical audience for the film in India, after excluding repeat viewership, i.e., footfalls accruing from second and subsequent viewings in theatre. A+C is the 21.5 mllion streaming audience for the film in India, who watched the film for at least 30 minutes on Netflix.

Some inferences that can be drawn from the chart above:

1. For theatrical films that are high on likeability, the appetite for repeat consumption on streaming, after having watched the film already in theatres just a few weeks ago, is very high. 65% of Dhurandhar's audience on Netflix had already watched the film in a theatre. This explains why there is very high correlation between theatrical and streaming performance of several big-ticket Indian films, especially the ones that manage to get audience approval. Films like Laapata Ladies and Haq are rare exceptions - high-likeability films that didn't perform too well theatrically, but went on to do very well on streaming.

2. There is a prevailing myth in some sections of the entertainment industry that a film that has done well in theatres is not a lucrative streaming product, because it has already "exhausted" its audience base in theatres. High duplicate viewership, as seen for Dhurandhar, instantly quells this myth.

3. The cumulative unique audience size of the film, across both distribution types, is less than 43 million. It's still only a small fraction of India's population (less than 3%), highlighting the niche nature of the theatrical + SVOD combination. Linear television is likely to add a sizeable unique audience, because of the difference in the profile of television audiences compared to theatrical and SVOD audiences. The film premieres on Star Gold on March 19, 2026, and we will track and report the film's audience across the three domains in a subsequent update.

If you have queries on the methodology, or want to subscribe to the underlying reports, please email us at [email protected], and we will connect with you soon.