Aryan Khan’s directorial debut ‘Ba***ds of Bollywood’ is not the glossy star-worshipping saga one might expect from Shah Rukh Khan’s son. Instead, it embraces the chaos, colour and contradictions of the industry, while daring to expose its underbelly.
At the centre of this glittering mess is Aasman Singh, played by Lakshya Lalwani, who made waves earlier this year with his breakout role in ‘Kill’. As Aasman, he is the wide-eyed newcomer trying to navigate an industry that thrives on illusions. The parties are extravagant, the attention intoxicating and the opportunities endless. Yet the deeper we follow him, the more apparent the cracks become. Here, loyalty is fickle, laughter rarely genuine, and every friendship is transactional. In Aryan’s telling, Bollywood is itself a stage where even real lives unfold like scripted performances.
What keeps the episodes engaging is the way they weave in real-life references, some playful, others biting. From Karan Johar appointing Emraan Hashmi as Bollywood’s most unlikely intimacy coach to the never-ending nepotism chatter, the series sprinkles in witty digs that fans will instantly catch. One of the boldest digs comes in a sequence clearly alluding to Sameer Wankhede, the officer who once arrested Aryan Khan during a drug raid in 2021. In the show, his fictional counterpart is shown leading a war on narcotics that appears suspiciously selective, targeting only the film industry while ignoring the larger public. It is Aryan’s cheekiest and perhaps most personal jab, delivered with just the right amount of venom.
The series also lays the foundation for a romance between Aasman and the daughter of a powerful superstar. Bobby Deol slips into the role of Ajay Talwar, the domineering father and reigning icon, with a performance that is commanding yet layered. His presence hints at the politics of legacy and the suffocating pressure that comes with belonging to a film dynasty, themes Aryan seems eager to interrogate.
Stylistically, ‘Ba***ds of Bollywood’ is unapologetically over the top. The episodes pulse with energy, drenched in neon palettes, elaborate montages and dialogue that swings between campy and cutting. But after the midpoint, the series falls back on familiar Bollywood tropes, with the love story becoming predictable and the conflicts unfolding in routine fashion. A burst of charm enters the series with the arrival of Bollywood’s Badshah, Shah Rukh Khan. His trademark wit and screen presence light up every frame, and though his role is brief, he leaves a lasting impression.
Aryan attempts to elevate the narrative with a twist at the climax, but it comes across as contrived, overly convenient, and ultimately leaves too many loose ends unresolved.
For those who dislike the glitz and chaos of Hindi cinema, this might feel like too much noise. But for viewers fascinated by Bollywood’s contradictions, these opening chapters are a compelling entry point. They suggest that Aryan Khan is not merely dabbling with direction but consciously reclaiming the narrative around his name, embedding his personal scars into a story that is as entertaining as it is provocative.