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With ₹ 84.25 crore in pockets, Badhaai Ho keeps soaring high at BO

Ayushmann Khurrana and Sanya Malhotra’s latest film Badhaai Ho, helmed by Amit Ravindernath Sharma, has struck gold at the box-office. Made on a shoestring budget of ₹ 22 crore, including P&A, the family drama raked in ₹ 84.25 crore by the end of its second weekend.

Badhaai Ho rocked up ₹ 3.40 crore on its second Friday, followed by ₹ 6.60 crore on Saturday, and a whopping ₹ Rs 8.15 crore on Sunday, taking its weekend total to ₹ 18.15 crore, which is commendable for a film made on tight investments. After posting a total of ₹ 84.25 crore by the end of its second weekend, the movie is now gearing up fast to enter the coveted club of ₹ 100 crore.


The film is expected to pull in ₹ 100 crore even before entering the third weekend. After clocking ₹ 100 crore, Badhaai Ho will become actor Ayushmann Khurrana’s first film in the much sought-after club. It is his fourth consecutive success after Bareilly Ki Barfi (2017), Shubh Mangal Saavdhan (2017) and Andhadhun (2018).

Badhaai Ho had released alongside the Parineeti Chopra and Arjun Kapoor starrer Namaste England on 18th October. While the former has hit the jackpot at the ticket window, the latter could not scare up any moolah at the cash counter and has been ousted from all theatres across India.

Besides Ayushmann Khurrana and Sanya Malhotra, Badhaai Ho also stars Neena Gupta, Surekha Sikri and Gajraj Rao in prominent roles.

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5 mythological picks now streaming in the UK — and why they’re worth watching

Highlights:

  • Indian mythological titles are landing on global OTT services with better quality and reach.
  • Netflix leads the push with Kurukshetra and Mahavatar Narsimha.
  • UK viewers can access some titles now, though licensing varies.
  • Regional stories and folklore films are expanding the genre.
  • 2025 marks the start of long-form mythological world-building on OTT.

There’s a quiet shift happening on streaming platforms this year. Indian mythological stories, once treated as children’s animation or festival reruns, have started landing on global services with serious ambition. These titles are travelling further than they ever have, including into the UK’s busy OTT space.

It’s about scale, quality, and the strange comfort of old stories in a digital world that changes too fast. And in a UK market dealing with subscription fatigue, anything fresh, strong, and rooted in clear storytelling gets noticed.

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