Aamir Khan Net Worth 2026: The $220M Profit-Share King

Last updated: November 7, 2026  ·  By Nathan Cole

Aamir Khan’s net worth in 2026 is estimated at $220 million (about ₹1,862 crore). That is Alux’s valuation from October 2026, the freshest dated figure published anywhere, and it sits in the middle of a published range that runs from $210 million to $235 million (₹1,750–1,950 crore). Celebrity Net Worth prints $200 million, updated in June 2026. Deccan Chronicle’s September 2026 rich-list coverage put him at ₹1,800 crore. A February 2026 estimate went as high as $235 million. The spread is not sloppiness. It is what happens when a fortune is built the way Khan’s is: no salary slips, no public filings, and a pay structure where the biggest cheques arrive years after the work, as a share of a film’s profit.

Three money stories explain the number. First, the deal. Khan stopped taking a plain fee years ago and started taking a cut of the profit instead — a reported 50 to 75 percent on his own productions — which turned three record-breaking films into paydays no fixed salary could match. Second, the company. Aamir Khan Productions, founded in 1999, owns the rights to a library that starts with Lagaan and ends, for now, with Sitaare Zameen Par. Third, the comeback. After two expensive flops in four years, his 2025 film Sitaare Zameen Par grossed around ₹268 crore worldwide by Pinkvilla’s tracking and put him back on the right side of the box-office ledger in the same year he married entrepreneur Gauri Spratt.

This page works through each pillar with the numbers tied to the outlets that published them, and it says plainly where those outlets disagree. The 61-year-old actor has made fewer films than any of his peers and endorsed fewer brands than any of them, and he is still one of the five richest actors in Bollywood. That contradiction is the whole story.

The Answer: 0 Million, With a 0–235 Million Spread

Aamir Khan is worth an estimated $220 million in 2026. In rupees, that is about ₹1,862 crore. The number comes from Alux, which published it in October 2026 after running its valuation model over public reporting on film earnings, production-company value and other income. Alux is blunt about what its number is: an approximation, built from public reporting, that moves as new information arrives.

The honest version of the answer carries a range. Published estimates for Khan in 2026 run from $210 million to $235 million, or ₹1,750 crore to ₹1,950 crore. The bottom of the range is Deccan Chronicle’s September 2026 rich-list figure of ₹1,800 crore, covered the same week by The Times of India and Moneycontrol. The top is a $235 million estimate published in February 2026. Between them sit Alux at $220 million, TechnoSports at $220–230 million, and NetWorthGyaan at ₹1,879 crore — about $219.2 million — updated November 6, 2026. Two outlets landing within a million dollars of each other in the same fortnight is the best corroboration the $220 million anchor is going to get.

Two outliers sit outside the range and stay outside it. One site prints $240 million; another prints $250 million, or ₹2,000 crore. Neither shows its working, and neither is corroborated by any dated 2026 reporting. This article does not use them. The $200 million figure from Celebrity Net Worth deserves a sentence of its own, because it is the number most readers will have seen first: it was updated on June 26, 2026, and it is the most conservative of the serious estimates. It is also four months older than the Alux valuation. A fortune built on profit shares moves when the profits land, and the Alux number is the one that counts the 2025 comeback.

One more number belongs in the opening, because readers ask about it in the same breath. Khan’s estimated annual income is around $15 million a year, per Alux — film fees, profit shares and production-company income combined. Trade outlets in India put his monthly income at ₹10 crore or more. He is not the highest earner among the Khans. He is the one who earns the most per film he actually makes, because he makes so few of them.

Why the Estimates Disagree: 0M vs 0M vs 5M

Three things make Aamir Khan hard to value, and they explain every dollar of the $35 million spread between the lowest and highest serious estimates.

First, the pay structure. Most stars take a fee and walk away. Khan takes a fee and a share of the profit, which means his income from a film is not fixed when the film releases. It arrives in tranches — theatrical share, then satellite, then streaming — over months and years. An estimator working in February 2026 sees a different pile of money than one working in October 2026, after the Sitaare Zameen Par money has started landing. That timing gap alone explains the difference between the $235 million February estimate and the $220 million October one.

Second, the production company. Aamir Khan Productions is private. It files no public accounts, and nobody outside the company knows what it is worth. Estimators have to guess at the value of a film library that includes Lagaan, Taare Zameen Par, Dangal and Sitaare Zameen Par, plus the company’s share of every film it produced. Guesses at a private company’s value are where the $200 million and $220 million figures part ways: Celebrity Net Worth counts less of it, Alux counts more of it. Neither outlet is wrong. They are counting different things.

Third, the rupee. Khan’s wealth is mostly held in rupees, and every dollar figure is a conversion. At ₹84 to the dollar, ₹1,862 crore is $221 million. At ₹88, it is $211 million. The exchange rate moved several rupees across 2026, so two outlets using the same crore figure on different dates can print dollar figures $10 million apart without disagreeing about anything real.

The takeaway is simple. If a page prints a single number for Aamir Khan’s net worth and never mentions the others, it is hiding the argument. The argument is the interesting part: a fortune that depends on when you count it, how much of a private company you count, and which way the rupee moved that month. This page counts it at $220 million, inside a $210–235 million range, and shows the working.

The Profit-Share Deal: How Aamir Khan Gets Paid

The single most important fact about Aamir Khan’s money is not a number. It is a contract structure. At some point in the 2000s, Khan stopped selling his time for a fee and started selling his name for a share of the result. The reported shape of the deal, repeated across Indian trade outlets, is a base fee of around ₹50 crore per film plus a share of the profits — reported at 50 to 75 percent on films he produces himself, and 15 to 20 percent on films where he is hired as an actor. Some outlets put the fee higher, at ₹50–75 crore or even ₹85 crore on average. The exact split is private and varies by film. The principle does not vary: when the film wins, Khan wins bigger than anyone else on it.

That principle explains the gap between Khan and his peers. Salman Khan makes three or four films a year and takes a fee for each. Akshay Kumar has made five films in a single year. Khan makes one film every two or three years, and has gone four years between releases. A fee-only actor with that output would be a mid-tier earner. A profit-share actor with that output is a different animal: one Dangal pays like ten ordinary films, because the share is a percentage of a number in the thousands of crores.

The deal also explains the flops. A profit share is a bet, and bets lose. When Thugs of Hindostan collapsed in 2018, Khan did not walk away with a fat fee and a shrug. He walked away with a fraction of what a fee-only star would have banked, and then he publicly took responsibility for the film. When Laal Singh Chaddha underperformed in 2022, the same thing happened: the share that makes the good years extraordinary makes the bad years thin. The structure is honest in both directions, and it is the reason Khan picks his films the way he does — slowly, obsessively, one at a time. He is not being picky for the sake of it. He is underwriting his own paycheque.

The arc of the fee tells the same story in miniature. His lead debut, Qayamat Se Qayamat Tak in 1988, paid a reported ₹11,000 — the same figure Salman Khan reportedly received for his own early work. Thirty-eight years later, the fee is ₹50 crore and the share on top of it.

Dangal: The ₹1,900 Crore Film That Rewrote His Fortune

Dangal, released on December 23, 2016, is the film that made Aamir Khan’s fortune what it is. The numbers still look unreal nine years later. In India it collected ₹387.39 crore nett, per Bollywood Hungama’s lifetime table — the highest India nett of any Hindi film at the time. Worldwide it grossed about ₹1,899 crore, per Koimoi’s lifetime table, driven by an extraordinary run in China, where the film collected more than ₹1,300 crore. It was made on a reported budget of about ₹90 crore, including prints and advertising. Koimoi’s profit calculation put the film’s return at more than 300 percent on the budget.

For Khan, Dangal was a hit on a film he co-produced through Aamir Khan Productions, with Disney India, under exactly the profit-share structure described above. Trade outlets have repeatedly reported that his total take from Dangal was around ₹300 crore — fee plus profit share combined. That figure is reported, not confirmed by Khan or the studio, and this article labels it as such. But it is the figure the trade has settled on, and it fits the arithmetic: on a film that grossed nearly ₹1,900 crore against a ₹90 crore budget, a producer-actor holding a majority profit share would take home a sum in that region.

One film, one cheque, roughly ₹300 crore. That is about $40 million at the exchange rates of the time — nearly a fifth of his entire current net worth, from a single release. It is also the reason the $220 million anchor holds up under scrutiny: the fortune is not a pile of small fees. It is a small number of very large cheques, and Dangal is the largest of them.

Dangal did something else that matters for the fortune. It made Khan the first Indian actor whose film crossed ₹2,000 crore in some tallies, and it proved that a Hindi film could earn more in China than in India. The China money arrived as a second wave, months after the Indian release. Forbes India, writing in January 2017 while the film was still running, already called it the highest-grossing Hindi film ever and noted that three of the top five Bollywood grossers of all time featured Khan in the lead. Dangal was the third of his films to set an all-time record, after 3 Idiots and PK. No other actor has three.

The Big Three, Film by Film: 3 Idiots, PK, Dangal

Khan’s fortune rests on three films that each broke the all-time box-office record when they released. The table below lines them up with the figures trade trackers actually publish: India lifetime nett from Bollywood Hungama, worldwide gross from Koimoi’s lifetime tables and trade reporting.

The progression is the story. 3 Idiots, released on Christmas Day 2009, was the first Hindi film to cross ₹200 crore in India, and it did it in 110 days — a slow, word-of-mouth climb that no opening-weekend-driven film has repeated. PK, five years later, was the first past ₹300 crore, reaching the mark in 17 days. Dangal did ₹300 crore in 13 days and kept going to nearly ₹1,900 crore worldwide. Each film roughly doubled the previous one’s worldwide gross. Each one reset what a Hindi film could earn.

What the table hides is just as important. 3 Idiots was not an Aamir Khan Productions film — it was produced by Vidhu Vinod Chopra — so Khan’s take from it was a fee plus a share as actor, not a producer’s share. PK was produced by Rajkumar Hirani and Vidhu Vinod Chopra, again with Khan as actor. Dangal was the one he co-produced, and it is the one that paid the most. The lesson is plain: Khan earns the most from the films he owns a piece of, which is why he has spent the last decade producing nearly everything he acts in. Two earlier milestones belong in the record too. Ghajini, in 2008, was the first Hindi film to enter the ₹100-crore club. And Lagaan, in 2001, was nominated for the Academy Award for Best Foreign Language Film, the third Indian film ever to be nominated.

The Profit-Share Math, Worked Out

Readers ask the same question about every Khan film: if he takes a share instead of a salary, how much does he actually take home? The honest answer is that nobody outside the deal knows the exact number for any single film. The useful answer is a worked example, clearly labeled as illustrative, that shows how the reported 50–75 percent band turns a blockbuster gross into a personal fortune.

The table below uses each film’s published worldwide gross and reported budget, subtracts the budget to get a simplified profit pool, and applies the reported profit-share band. Real film accounting is messier than this — exhibitors take roughly half the theatrical gross, distributors take their cut, prints and advertising cost money, and satellite and streaming rights add revenue the gross does not show. The table is a model, not an audit.

*Illustrative only. Simplified profit = worldwide gross minus reported budget, before exhibitor and distributor shares, taxes, and other costs. Real takes are far lower than these raw figures — the trade-reported take from Dangal, around ₹300 crore, is the reality check. Khan was also not the producer on 3 Idiots or PK, so his share on those two films would have been an actor’s share, not a producer’s. The table shows why the deal structure matters, not what Khan banked.

The Dangal row is the one to stare at. Even after exhibitors, distributors, taxes and costs take their share, a producer-actor holding a majority profit position on a ₹1,899 crore film walks away with a sum in the hundreds of crores. The trade’s reported figure of around ₹300 crore fits inside that frame. It is also, by itself, more than most Bollywood stars earn in a decade. There is a second lesson in the table. The 3 Idiots row shows a film that grossed ₹395 crore worldwide on a ₹55 crore budget — a superb return — and still paid Khan less than Dangal did, because he did not own a piece of it. Ownership, not stardom, is what separates his fortune from the next actor’s.

The Lean Years: Thugs of Hindostan and Laal Singh Chaddha

A fortune built on profit shares has a downside, and Khan’s last decade shows it plainly. Two films in four years cost him more than money. They cost him the aura of invincibility that Dangal had built.

Thugs of Hindostan arrived in November 2018 as the most expensive Hindi film ever made at the time, on a reported budget of about ₹300 crore. It collected ₹151.19 crore nett in India, per Bollywood Hungama’s lifetime table — roughly half its budget, before a rupee of profit. A profit-share actor on a film that loses money earns a fee and little else, and Khan owned the failure in public. He apologised to audiences and said the film had let people down. Few stars do that when the film cost ₹300 crore.

Laal Singh Chaddha followed in August 2022, after four years of preparation and a pandemic-delayed release. The official remake of Forrest Gump was Khan’s most personal project in a decade, and it underperformed badly at the box office, drawing weak openings and fading fast. The film’s failure ran deeper than the box office. It arrived in the middle of a boycott campaign on social media, and it became a case study in how quickly a reputation built over thirty years can wobble. Khan took a break from acting after it, and for two years the question in the trade was whether he would come back at all.

The lean years matter for the net worth figure in a concrete way. A fee-only star earns through a flop. Khan’s structure meant the two flops paid him a fraction of what the hits had, and the gap between the $235 million February estimate and the $220 million October one partly reflects estimators marking down the value of a star who had not had a hit in nine years. The 2025 comeback reversed that. The flops are not a footnote to the fortune. They are the reason the fortune is $220 million and not $300 million.

Aamir Khan Productions: The Company Behind the Fortune

Aamir Khan Productions was founded in 1999, and it is the least visible and most valuable thing Khan owns. Its first film was Lagaan, released in 2001 — a three-hour period epic about cricket and colonial tax that no studio wanted to fund, that Khan produced himself, and that went on to an Academy Award nomination for Best Foreign Language Film. That set the template: the company exists to make the films nobody else will make, and Khan’s own money is the first money in.

The library since then reads like a list of the most consequential Hindi films of the century. Taare Zameen Par (2007), Khan’s directorial debut, about a dyslexic child. Jaane Tu… Ya Jaane Na (2008), which launched Imran Khan. Peepli Live (2010), a satire on farmer suicides. Delhi Belly (2011), a profane comedy that no star of Khan’s stature had attempted. Talaash (2012). Dangal (2016). Secret Superstar (2017), a small film about a teenage singer that grossed over ₹900 crore worldwide, most of it in China. And Sitaare Zameen Par (2025), the comeback.

No public valuation of the company exists, and this article will not invent one. What can be said is that it owns the rights to that library, it takes a producer’s share of every film it makes, and it is the vehicle through which Khan’s profit-share deals are structured. On the evidence of the library alone, it is reasonable to call the company his most valuable asset, ahead of the property portfolio. The reasoning is straightforward: a house in Bandra is worth what someone will pay for it. A company that owns Dangal is worth a share of every rupee Dangal will ever earn again — theatrical re-releases, streaming licences, satellite rights, remakes. That income does not stop. It is the part of the $220 million that keeps paying.

The company also explains the pace. Aamir Khan Productions makes one film at a time, and Khan acts in most of them. There is no slate, no assembly line, no five-film deal. The slowness is the business model: one film, done properly, with the company’s money behind it and the founder’s name on it. When it works, as it did with Dangal, the payoff is enormous. When it does not, as it did with Laal Singh Chaddha, the loss is his too.

Sitaare Zameen Par: The 2025 Comeback

On June 20, 2025, Aamir Khan returned to cinemas with Sitaare Zameen Par, a sports drama about a basketball coach and a team of players with intellectual disabilities, and the spiritual successor to Taare Zameen Par. It was his first theatrical release in nearly three years, and the trade watched it the way it watches a comeback fight: would the audience still come?

They came. The film grossed around ₹268 crore worldwide, per Pinkvilla’s box-office tracking, making it Khan’s biggest hit since Dangal and the fifth-highest-grossing film of his career. Other trackers put the final worldwide figure closer to ₹220 crore, so the honest number is a range — ₹220–268 crore — with Pinkvilla at the top of it. Either way, the film did what the two flops had not: it made money, it drew families back to Khan’s films, and it did it without a franchise, a sequel, or a co-star bigger than the story.

The comeback matters for the fortune in two ways. First, the money itself: a film that grosses ₹268 crore worldwide on a modest budget, produced by Khan’s own company, puts a fresh profit share into the 2026 estimates — part of why the October 2026 Alux figure is higher than the June 2026 Celebrity Net Worth one. Second, the signal: a 60-year-old actor who had not had a hit in nine years proved he could still open a film on his name alone. The comeback is the newest money in the $220 million, and it is the reason the number is rising again instead of falling.

What He Charges Now: Fee, Endorsements, and Annual Income

Khan’s current asking price, as reported by Indian trade outlets, is a base fee of ₹50 crore per film plus a share of the profits. Some outlets put the fee at ₹50–75 crore with a 15–20 percent profit share on films he does not produce; others report an average remuneration of around ₹85 crore per film once the share is counted. The spread between those reports is the same phenomenon as the net worth spread: the fee is fixed, the share is not, and the total depends on how the film performs.

Endorsements are the smallest part of the income, and deliberately so. Khan endorses few brands — Tata Sky, Samsung, Coca-Cola, Snapdeal and Vivo are the names that recur in trade coverage — and he charges a reported ₹10–12 crore per endorsement deal. That is a large fee for a single deal and a small total next to his film income, because he signs so few of them. The contrast with his peers is sharp: Shah Rukh Khan and Salman Khan each endorse dozens of brands. Khan endorses a handful, and he has turned down far more than he has accepted. The selectivity is part of the brand. It is also, in pure money terms, a choice to leave tens of crores on the table every year.

Put the pieces together and the annual income comes out at around $15 million a year, per Alux — roughly ₹125 crore. That is a lumpy number, not a salary: in a year with a film release, the profit share can multiply it; in a year without one, it can shrink to endorsements and production income. Trade outlets put his monthly income at ₹10 crore or more, which fits the same pattern. The $220 million fortune is not the product of a steady wage. It is the product of a few very large years, separated by quiet ones.

There is one more income stream worth naming: television. Khan hosted Satyamev Jayate, the Sunday-morning social-issues show, for three seasons between 2012 and 2014. It paid well, and it made him the rare film star who is trusted on subjects that have nothing to do with films. That trust is part of why brands pay ₹10–12 crore for his name, and part of why audiences came back for Sitaare Zameen Par.

Houses, Cars, and the Panchgani Retreat

The property portfolio is the most visible part of the fortune, and the easiest to price. Khan’s main home is a sea-facing house in Pali Hill, Bandra, Mumbai — a 5,000-square-foot property spread over two levels, reported at about ₹60 crore. He bought an earlier Bandra apartment, at Freeda Apartments, in 2009 for a reported ₹18 crore, and he owns additional apartments in the same neighbourhood, in the Marina and Bella Vista buildings. The Bandra cluster is the core of the portfolio: one of Mumbai’s most expensive postcodes, bought over fifteen years, and worth far more now than he paid for it.

Outside Mumbai, the holdings are smaller and more personal. A house in Beverly Hills, reported at about ₹75 crore. A two-acre property in Panchgani, the hill station, bought in 2013 for a reported ₹7 crore — Business Standard reported at the time that he paid ₹42 lakh in stamp duty on the purchase. And a commercial space of 37,854 square feet on S.V. Road in Santacruz West, reported at about ₹35 crore. One trade roundup puts his Mumbai houses alone at ₹120 crore. The portfolio is not a billionaire’s empire. It is a working actor’s collection of homes and one commercial bet, and it is worth a meaningful slice of the $220 million without being the largest slice.

The cars follow the same pattern: expensive, few, and chosen rather than collected. The garage holds nine luxury cars with a reported combined value of around ₹15 crore. The names that recur in coverage are a Rolls-Royce Ghost, reported at ₹6.83 crore; a Bentley Continental Flying Spur with the number plate 0007, reported at ₹3.4 crore; and a custom-built, bulletproof Mercedes-Benz S600, reported at ₹11.6 crore. The rest of the garage is Mercedes-Benz, BMW and Range Rover models in the ₹2 crore range. Nine cars, ₹15 crore, no supercar collection, no fleet. Khan spends his money on films, not on metal.

Family in 2026: Gauri Spratt, Three Children, Two Marriages

On July 5, 2026, Aamir Khan married entrepreneur Gauri Spratt. Koimoi reported the wedding the same day, and the coverage that followed filled in the numbers: Spratt, a Bengaluru-based entrepreneur, has an estimated net worth of ₹24–40 crore, per Bollywood Shaadis, putting the couple’s combined wealth at ₹1,886–1,902 crore. Khan contributes about 98 percent of that total. The wedding was the third marriage of a man whose private life has been public property for forty years, and it was also the quietest: no televised ceremony, no magazine deal, just a Sunday wedding and a round of reporting the next morning.

Khan has three children. His son Junaid, from his first marriage, made his own acting debut in Maharaj in 2024. His daughter Ira, also from his first marriage, works in theatre. His youngest son, Azad, is from his second marriage. The first marriage, to Reena Dutta, ran from 1986 to 2002. The second, to Kiran Rao — his collaborator on Lagaan, who went on to direct Dhobi Ghat and Laapataa Ladies — ran from 2005 to 2021, ending in a divorce announced in July 2021 that both described as amicable. Rao remains a professional collaborator; the two continue to work together through the production company.

The family details matter for the fortune in one narrow way: divorce settlements. Neither divorce produced a public settlement figure, and this article will not guess at one. What is public is that Khan’s wealth survived two divorces and kept growing, which says something about its size and about how it is held — largely in the company and the property, not in cash that gets divided.

Aamir Khan vs Shah Rukh Khan vs Salman Khan: The Three Khans, 2026

Every Bollywood wealth ranking comes down to the same three names, and in 2026 the gap between them is wider than it has ever been. The table below uses the figures this site’s own profiles anchor on, plus the Hurun Global Rich List 2026 for Shah Rukh Khan.

The table flatters Shah Rukh Khan and punishes Aamir Khan, and both effects are real. Shah Rukh Khan became India’s first Bollywood billionaire in the Hurun Global Rich List 2026, with a fortune of about ₹12,490 crore built on a production company, a cricket team, and a brand portfolio that runs into the dozens. He is worth roughly seven times what Aamir Khan is worth. Salman Khan, at about $350 million after his own Hurun debut at ₹3,000 crore, is worth about 60 percent more than Khan.

But the table also shows why the comparison misleads. Shah Rukh Khan and Salman Khan are volume businesses: dozens of endorsements, multiple films a year, television, cricket, clothing lines. Aamir Khan is a single-product business: one film at a time, made by his own company, on a profit share. Per film, he earns more than either of them. Per year, he earns less, because he makes fewer films. His $220 million is the fortune of a man who works one year in three and still lands in the top five. And on filmography alone, Khan holds his own against both of them: he is the only one of the three with an Academy Award nomination for a film he produced, and the only one whose biggest film grossed nearly ₹1,900 crore.

Aamir Khan in 2026: What’s Next

Aamir Khan is 61 in 2026, newly married, and coming off his first hit in nine years. The year has been, by his standards, crowded: a wedding in July, a box-office comeback still paying out, and a net worth estimate that has stopped falling and started climbing again. The question now is the one the trade has asked about him for thirty years — what does he do next, and how long will he take?

History says the answer is one film, slowly. Khan has never announced a slate, and he has never rushed a follow-up to a hit. The films after 3 Idiots, PK and Dangal each took years, and each one was a different kind of film from the one before it. If the pattern holds, the next film will arrive when it is ready, it will carry the Aamir Khan Productions name, and Khan will take a share of its profit instead of a fee.

The fortune itself will move with the next film. A hit on the scale of Dangal would push the estimates toward $250 million and beyond. Another flop would pull them back toward $200 million. That volatility is the price of the profit-share model, and it is also its point: Khan’s wealth is a bet on his own judgement, renewed with every film. At 61, with a new marriage, a production company, a hit behind him and a fortune estimated at $220 million, the bet is still open.

Sources & Reporting

Alux (October 2026: $220 million valuation; ~$15 million annual income; estimation methodology). Celebrity Net Worth ($200 million; page updated June 26, 2026). Deccan Chronicle (September 26, 2026: ₹1,800 crore rich-list figure; covered by The Times of India and Moneycontrol). NetWorthGyaan (₹1,879 crore / ~$219.2 million; page updated November 6, 2026). TechnoSports (2026: $220–230 million; ~₹85 crore average remuneration; ₹10–12 crore per endorsement; property and car detail). EatHealthy365 (February 2026: $235 million; 50–75% profit-share band). Koimoi (July 5, 2026: marriage to Gauri Spratt, ₹1,862 crore, combined wealth ₹1,886–1,902 crore; box-office tables for Dangal, PK and 3 Idiots worldwide grosses; Dangal profit calculation). Bollywood Hungama (India lifetime nett: Dangal ₹387.39 crore, PK ₹340.80 crore, Dhoom 3 ₹284.27 crore, 3 Idiots ₹202.95 crore, Thugs of Hindostan ₹151.19 crore). Forbes India (January 2017: Dangal highest-grossing Hindi film; Ghajini first ₹100-crore film; 3 Idiots first past ₹200 crore; PK first past ₹300 crore). EatAndGeek (December 2025: reported ~₹300 crore take from Dangal; fee range ₹50–100 crore). MoneyMint (Bandra house ~₹60 crore; Beverly Hills ~₹75 crore; Panchgani ₹7 crore; Furlenco investment). The Emerging India (July 2026: ₹11,000 debut fee for Qayamat Se Qayamat Tak). NetWorthGuru (fee ₹50–75 crore plus 15–20% profit share; endorsement table). Firstpost via Inbella (July 5, 2026: ₹1,862 crore; 61 years old; 50-plus films). Pinkvilla (Sitaare Zameen Par box-office tracking, ~₹268 crore worldwide). Hurun Global Rich List 2026 (Shah Rukh Khan ~$1.5 billion / ₹12,490 crore; Salman Khan Hurun debut ₹3,000 crore). Guide Net Worth internal: Shah Rukh Khan net worth, Salman Khan net worth (~$350 million), Hrithik Roshan net worth (~$300 million), Akshay Kumar net worth (~$315 million), Ranbir Kapoor net worth. Reporting window: November 7, 2026. All net worth figures are estimates built from reported earnings and public estimates, not audited financial statements. Where outlets disagreed, this article prints the range and the reason for it. If new reporting emerges, this article will be updated and the change noted here.

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