Mumbai on a Saturday evening has its own particular pull. The city doesn’t slow down, exactly, but it shifts gear. People dress a little more carefully. The air carries something anticipatory, maybe, or just the collective awareness that somewhere across town, something is about to happen. This past weekend, that something was the trailer launch for Pati Patni Aur Woh Do, held at a jungle-themed setup near Mumbai’s National Park, which is either brilliantly on-brand or completely unhinged, and honestly, both options feel right for this film.
Ayushmann Khurrana walked in like a man with no loose ends. And to be fair, he hasn’t had many lately.
The last few years have been quietly remarkable for him. Dream Girl 2 crossed a hundred crore. Then came Thamma, the horror-comedy that dropped him into the Maddock Horror Comedy Universe and reminded everyone why audiences follow this man from genre to genre without needing much convincing. Ayushmann Khurrana doesn’t just pick films. He picks moments. And right now, heading into summer 2026, the moment he’s picked is this one: a comedy about a man named Prajapati Pandey, three women, and the kind of domestic chaos that somehow stays wholesome. On paper, it sounds like a tightrope. In practice, Ayushmann seems completely at ease.
But before the trailer even officially dropped, the internet had already done what the internet does. The teaser had circulated. People had done the arithmetic on the title. “Woh Do.” Two women. And before anyone had seen a full scene, the verdict was in: infidelity, normalisation, the wrong message. It moved fast, as these things do.
Ayushmann Khurrana addressed it without making it a big deal, which was probably the right call. He talked about Prajapati with genuine warmth, describing him as a man whose intentions are clean even when his circumstances look, from the outside, absolutely damning. The comedy lives in that gap. He’s not a bad guy navigating a secret life. He’s a fundamentally decent person who keeps landing in situations that look terrible and aren’t. That’s a specific kind of character, and it takes a specific kind of actor to make you root for him unconditionally. Ayushmann has been doing that for years.
Then he said something that cut through all of it. He took his kids to watch the edit. Sat with them, watched himself on screen, and used their reaction as his benchmark. If they were comfortable, if they could sit through it without confusion or discomfort, then it was a family film. Full stop. There’s something completely disarming about that. Not a focus group. Not a PR statement. His children. That’s the quality check.
The trailer, once it arrived, made the case on its own. Prajapati is a forest officer. His life is not simple for long. Three women, overlapping misunderstandings, compounding chaos. There’s a moment where he apparently subdues a cheetah, which tells you everything you need to know about the register this film is operating in. It’s big. It’s broad. It’s not trying to be subtle, and it doesn’t need to be.
What makes it interesting is who’s around him. Sara Ali Khan, who has been steadily building something film by film, brings a lightness to the screen that this kind of comedy needs. Rakul Preet Singh is back working with Ayushmann after Doctor G, and that comfort shows. Then there’s Wamiqa Gabbi, whose intensity audiences have been tracking since Jubilee, which creates a dynamic that genuinely feels unpredictable. Three very different energies. One very confused Prajapati. The combination has potential, and it’s not just the PR machine talking when people say that.
The supporting cast isn’t decoration either. Vijay Raaz in a film is its own kind of assurance. You don’t need to know the plot. You just need to know he’s in it. Tigmanshu Dhulia, Ayesha Raza, and Durgesh Kumar are rounding things out, and suddenly the ensemble has real weight behind the leads.
And then there is “Roop Di Rani,” which is its own separate conversation. The song is already everywhere. Saved to playlists, earmarked for sangeet nights, hummed in corners of offices by people who haven’t bought a ticket yet. That kind of organic spread doesn’t come from marketing alone. It comes from the song, actually connecting with something, and right now, it’s connecting. The wedding season will be here eventually. The song will be ready.
Pati Patni Aur Woh Do opens May 15, 2026. It’s a spiritual sequel to the 2019 film, which did well enough that nobody forgot it existed, and this version arrives carrying the same comic DNA while landing in a slightly different cultural climate. More watchful, more ready to take offence at the premise before the premise gets a chance to explain itself.
Ayushmann Khurrana seems unbothered by all of it. He sat with his kids. They liked what they saw.
For him, that was always going to be enough.
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Sana has been covering film, fame, and everything in between for over a decade. From red carpets to rehab rumors, she brings nuance, wit, and an insider’s edge to every story. When she’s not reporting, she’s probably watching Koffee With Karan reruns or doom-scrolling celebrity IG feeds.
