With Prabhas–starrer Raja Saab facing criticism for its storytelling and performances—reflected in its cumulative India net earnings of ₹124.65 crore across languages since its opening last week—OTT platforms are stepping up their content push to pull audiences back to streaming. A mix of star-driven Indian originals, prestige English-language series, large-scale war dramas and light theatrical comedies are landing within the same release window, underscoring the growing convergence between OTT ambition and traditional box-office programming. For viewers, this translates into wider choice; for platforms and studios, it signals a carefully calibrated content pipeline designed to hold attention across formats.

OTT releases this week

Netflix’s most prominent Indian release this week is Taskaree: The Smuggler’s Web, streaming from January 14. Headlined by Emraan Hashmi, the crime thriller is set within the high-pressure ecosystem of Mumbai International Airport, where a specialised customs unit attempts to dismantle a global smuggling operation. Framed as a procedural but scaled across international locations, the series leans into institutional constraints, surveillance and moral fatigue—territory that continues to perform well for the platform’s Indian slate.

SonyLIV widens its regional crime portfolio on January 16 with Kalamkaval, a Malayalam police procedural led by Mammootty. Inspired by real-life investigations, the film adopts a restrained, psychological approach rather than overt spectacle, reflecting the sustained demand for grounded thrillers from southern industries finding national audiences through OTT.

Amazon Prime Video brings 120 Bahadur into its subscription library on January 16, following its earlier theatrical and rental window. Starring Farhan Akhtar as Major Shaitan Singh, the film revisits the Battle of Rezang La during the 1962 Sino-Indian conflict. Positioned as a war drama focused on leadership and sacrifice, the title adds to Prime Video’s growing catalogue of patriotic and military narratives that continue to see strong post-theatrical engagement.

English-language content remains central to Netflix’s weekly strategy. On January 12, the platform released One Last Adventure: The Making of Stranger Things 5, a behind-the-scenes documentary tracing the final season of Stranger Things. Equal parts production chronicle and emotional retrospective, the documentary functions both as fan service and as brand reinforcement for one of Netflix’s most valuable global franchises.

That momentum continues January 15 with Seven Dials, a period mystery adapted from Agatha Christie’s 1929 novel. Set in 1920s England, the limited series blends classic whodunit tropes with espionage elements, positioning itself within Netflix’s broader push into high-quality literary adaptations. A day later, on January 16, Netflix premieres The Rip, a crime thriller starring Ben Affleck and Matt Damon. Set in Miami, the film tracks a narcotics unit whose discovery of unaccounted cash triggers paranoia and internal collapse, favouring psychological tension over conventional action set pieces.

Apple TV+ also expands its English-language offering with Hijack Season 2, streaming from January 14. Idris Elba returns as negotiator Sam Nelson, this time navigating a hostage crisis within Berlin’s underground transport system. By shifting the setting from an aircraft to a city-wide transit network, the series raises both logistical and political stakes while retaining its real-time thriller format.

JioHotstar complements the week’s slate with returning English-language franchises. Tell Me Lies Season 3, released on January 13, deepens its exploration of toxic relationships and long-term emotional fallout, while Downton Abbey: The Grand Finale, streaming from January 12, brings closure to the Crawley family saga, underlining the platform’s continued investment in legacy international IP with a loyal viewer base.

In theatres this week 

In cinemas, Hindi releases skew towards lighter, accessible fare. Happy Patel: Khatarnak Jasoos, releasing theatrically on January 16, stars Vir Das as an accidental spy caught in a web of mistaken identity. Backed by Aamir Khan, the film blends broad comedy with espionage tropes and features Imran Khan and Mona Singh in key roles.

Sharing the same release date is Rahu Ketu, a fantasy-inflected comedy starring Varun Sharma and Pulkit Samrat. By weaving astrology and mythology into a contemporary setting, the film aims to tap festive-season footfalls with humour-driven storytelling.

Taken together, the week’s releases reflect a content economy increasingly driven by simultaneity rather than segmentation. As platforms push premium originals and theatres rely on star-led comedies and event films, the boundaries between home viewing and theatrical outings continue to blur. For viewers, the result is a dense but diversified slate; for the industry, it is a clear signal that January is no longer a slow month—but a competitive one.