What happened
According to Deadline (via UNN), the finale of the series Stranger Things grossed more than $25 million at the box office during New Year’s showings, and by some estimates — possibly up to $30 million.
“The finale of 'Stranger Things' grossed more than $25 million, and possibly even $30 million, in cash from cinemas for New Year’s Eve and New Year’s Day showings. Of that amount, $15 million was earned by the No. 1 theater chain, AMC Theatres, from an attendance of 753,000 people.”
— Deadline (translated by UNN)
Key figures
Main metrics to note:
• $15M — revenues reportedly earned by AMC from 753,000 attendances during the showings.
• More than 620 cinemas participated in the screenings.
• The series’ creators, the Duffer Brothers, reported selling 1.1 million tickets two days before the screening.
Why it matters
The numbers matter less on their own than as an indicator of a trend: major streaming projects are generating an additional revenue stream through special theatrical screenings. This is an example of how the industry circumvents contractual constraints (notably issues of fees and residuals) — through mechanisms such as ticket vouchers — and restores direct monetization of audiences.
For comparison, in the same season a blockbuster from 20th Century Studios earned about $23.7M over the same period, which places the success of “Stranger Things” in the context of competition for the holiday audience.
Social proof and rationalization
Mass ticket sales and high attendance are not just commercial success, but confirmation that the event enjoys broad social support: audiences are willing to pay for a collective cinema experience, even when the content originates from streaming. Trade media note that such releases create new business models for collaboration between platforms and theater chains.
“The finale of 'Stranger Things' was shown in more than 620 cinemas, and the series’ creators, the Duffer Brothers, announced two days before the finale that 1.1 million tickets had been sold.”
— Deadline (translated by UNN)
Conclusion
This case is important not only as record takings for the holiday period. It demonstrates that hybrid models are emerging in the cultural economy: streamers provide the content, cinemas provide the large-scale live experience, and the market invents ways to split revenues despite legal obstacles. For Ukraine, this is an opportunity: developing domestic projects and proper cooperation with international platforms can turn cultural production into a source of both revenue and international influence.
Now the question for the industry and cultural policymakers: can we use this experience to support our own creative projects and bring them to the global market?
