Nepotism has clung to Bollywood like a label since 2020. And the industry’s biggest modern-day superstar Shah Rukh Khan’s son, Aryan Khan, takes on nepotism in the most unabashed manner in his directorial debut The Ba***ds of Bollywood, currently streaming on Netflix.
He doesn’t dodge the discourse around nepotism. He owns it, laughs at it, and then proceeds to stage a seven-episode celebration of the Hindi film industry’s eccentricities.
In the first episode itself, a gag on “nepo kids” lands squarely, as if Aryan says: Yes, I know what you’re thinking, and now let’s move on.
The title itself is a red herring. What do the stars in The Ba***ds of Bollywood hide? Is it masking an expletive? If so, why settle on such a title? Aryan saves the answer for the finale, a jaw-dropping twist that makes the binge worth the wait. By Episode 7, when the drama starts to wear thin, the jokes stretched, and the narrative seems to be veering towards a predictable conclusion, Aryan plays his trump card.
What sets The Ba***ds of Bollywood apart is its self-awareness and Aryan’s refusal to act holier-than-thou. Think Farah Khan’s Om Shanti Om meets Zoya Akhtar’s Luck By Chance. Bollywood gossip is the foundation of this show and Aryan dips into that well with gusto. From fan hysteria at Gaiety Galaxy theatre to plastic surgeries gone wrong, from fake PR friendships to bruised egos at award shows, from underworld shadows to contractual arm-twisting — there’s enough masala to binge on.
The story revolves around Aasman Singh (Lakshya), an emerging star in Bollywood who gets the opportunity of a lifetime as he lands a movie deal with Karan Johar. Set to star opposite him is Karishma Talvar (Sahherr Bamba), daughter of reigning superstar Ajay Talvar (Bobby Deol). However, Aasman lands in a soup as he already has a three-film deal with Sodawallah Productions. And Ajay is not keen either for his daughter to debut alongside Aasman. Throw in some underworld armtwisting, and Aasman’s survival in the industry is on the line.
Lakshya, as Aasman Singh, gets to showcase his potential with a buffet of emotions — action, romance, melodrama, and more. He delivers, and how. He has a charming screen presence and his baritone voice is a cherry on top. Sahherr Bamba, as the starlet nepo kid, complements Lakshya. Sadly, her role is limited to a damsel in distress. The bromance between Aasman and his childhood buddy Parvaiz ( Raghav Juyal) keeps you engaged.
However, it is Bobby Deol who commands the screen. Be it his whistle-worthy entry in episode one, or the glass-smashing action in the climax, Lord Bobby is here to rule. And the references to Gupt are not only meta but integral to the plot as well.
Manoj Pahwa, Mona Singh, Manish Chaudhari add heft, while Rajat Bedi quietly steals hearts as Jaraj Saxena, the almost-forgotten actor longing for relevance. His redemption arc is among the show’s most exciting sub-plots.
But flaws there are, and plenty. The romance track is undercooked and the pacing is uneven. By the fifth episode, you might even be tempted to press the fast forward button. There are worn out tropes and caricatureish characters — like the owner of Sodawallah Productions. Add to that an overdose of brand placements. The soundtrack, too, is underwhelming.
And yet, the humour redeems the series. You will laugh your hearts out. Cameos keep the energy high: Shah Rukh appears briefly (because of course), Salman, Aamir and Ranbir drop in for fun, and Emraan Hashmi gets a hilarious meta fan-moment. Arshad Warsi revisits his Munna Bhai swagger as gangster Gafoor, while Ranveer Singh and Karan Johar walk away with the show’s funniest scene.
For Aryan, this is a promising start. Handling an ensemble this sprawling and keeping the tone cheeky is not easy but he manages it well. Aryan Khan may be a nepo baby, but with this debut, he proves he isn’t just carrying the surname — he’s worthy of it.
