From Stranger Things finale to Ikkis, 2026 opens with a packed OTT-and-theatre slate

The first entertainment weekend of 2026 arrives with a busy release calendar across streaming platforms and cinemas, as audiences step into the New Year with a wide choice of fresh content. OTT platforms are driving momentum with high-profile finales, new international series and post-theatrical film premieres, while theatres are seeing key Hindi and Hollywood releases alongside a strong slate from regional cinema. Between December 29, 2025 and January 4, 2026, the week reflects an evolving release strategy of the industry, where digital and big-screen debuts now unfold in parallel rather than in competition.

OTT releases this week

Streaming platforms, led by Netflix, are firmly at the centre of attention this week. The most anticipated digital event is the India release of the series finale of Stranger Things Season 5, which became available on January 1, 2026. The final episode, titled The Rightside Up, concludes the long-running science-fiction saga with the fate of Hawkins and the Upside Down hanging in the balance, bringing to a close one of Netflix’s most influential global franchises.

Netflix also strengthened its film slate with the streaming premiere of Ekō on December 31, 2025. Directed by Dinjith Ayyathan, the Malayalam mystery thriller is set in the fog-covered hills of Kaattukunnu and follows an elderly woman and her caretaker as secrets surrounding a missing husband slowly surface. After a well-received theatrical run, Ekō arrives on the platform in multiple Indian languages, expanding its reach beyond regional audiences.

On January 2, Netflix releases Haq, a courtroom drama inspired by the landmark Shah Bano case. Starring Yami Gautam Dhar and Emraan Hashmi, the film traces a woman’s prolonged legal battle for maintenance and justice, positioning itself as one of the platform’s more socially grounded Hindi originals of the season. The same day, Netflix adds a slate of international titles, including Swedish-Finnish crime thriller Land of Sin and Japanese suspense drama Your Turn to Kill, both released for Indian audiences with subtitles.

The platform’s January 1 line-up also includes workplace romantic comedy Love from 9 to 5, English limited series Run Away and Time Flies, Korean reality show My Korean Boyfriend, and Dr Seuss’s Red Fish, Blue Fish Season 2, underlining Netflix’s multi-genre push to kick off the year.

Beyond Netflix, other platforms are also rolling out notable releases. Telugu romantic action film Mowgli began streaming on ETV Win on January 1, just weeks after its theatrical release, continuing the trend of shortened cinema-to-OTT windows. Amazon Prime Video released Spanish teen drama Follow My Voice on January 2, while Tamil sports drama series Love Beyond Wicket premiered on JioHotstar on January 1, exploring themes of redemption and second chances through the lens of grassroots cricket.

In theatres this week

On the theatrical front, the week is led by Ikkis, which released on January 1. Directed by Sriram Raghavan, the biographical war drama recounts the life of Second Lieutenant Arun Khetarpal and the Battle of Basantar during the 1971 Indo-Pak war. The film holds particular significance as the posthumous final release of veteran actor Dharmendra, who appears alongside Agastya Nanda and Jaideep Ahlawat.

Hollywood contributes two major releases this week. Psychological thriller The Housemaid, starring Sydney Sweeney and Amanda Seyfried, arrived in cinemas on January 2, while The SpongeBob Movie: Search for SquarePants brings the popular animated franchise back to the big screen for family audiences during the holiday period.

Regional cinemas remain active through the week, particularly across Telugu, Kannada, Tamil, Marathi and Gujarati markets, with multiple releases catering to local audiences even as OTT platforms command a larger share of viewer attention.

The first weekend of 2026 reflects a viewing culture that is no longer divided by screens. Audiences are moving fluidly between streaming platforms and cinema halls, choosing finales, films and franchises based on mood rather than medium. With high-profile OTT launches unfolding alongside theatrical releases with strong event value, the New Year begins not with a battle for dominance, but with an abundance of choice—signalling a year where coexistence, rather than competition, will define how stories reach their audiences.