Ba***ds of Bollywood: When Bollywood meets nostalgia and satire…

Review by Akshita G.

Ba***ds of Bollywood Official Release Poster

Starring: Lakshya Lalwani, Sahher Bambba, Bobby Deol, Raghav Juyal, Anya Singh, Manish Chaudhari, Mona Singh, Manoj Pahwa, Gautami Kapoor, Rajat Bedi

Director: Aryan Khan

Created by: Aryan Khan

Producer: Gauri Khan - Red Chillies Entertainment

Written by: Aryan Khan, Bilal Siddiqi, Manav Chauhan

Show Runner: Aryan Khan

Director of Photography: Jay Oza

Music: Shashwat Sachdev (Score and Lyrics); Shashwat Sachdev, Anirudh Ravichander, Ujwal Gupta (Songs)

Editor: Nitin Baid

Visual Effects Studio: Red Chillies VFX, yFX (YRF)

Bads of Bollywood Review

They say that as a filmmaker, you should tell the stories you know best, and that is exactly what Aryan Khan has done with Ba***ds of Bollywood. This isn’t just Bollywood, it’s Bollywood². The most Bollywood that Bollywood could possibly get.

What’s the difference between ‘The Hindi Film Industry’ and “Bollywood”?….. - It’s the perception.

While both are supposed to be used interchangeably, the term ‘Bollywood’ has some additional connotations for us ‘normies’. To us, it is: glitz, glamor, songs, dancing, superstars, cameos, backstabbing, success parties, film families, paps, nepotism, the ‘movie mafia’, outsiders vs. insiders, and so much more.

And ALL OF THIS is in this show.

From its announcement to its teaser, Aryan Khan’s Ba***ds of Bollywood has kept us hooked through the wait. When the trailer finally dropped, it instantly reminded me of another Red Chillies production - Om Shanti Om. That film struck Hindi cinema so hard, it shut the door on Columbia Pictures before they could even step inside. This too was told by a die-hard cinephile and true ‘Bollywood insider,’ Farah Khan. Getting a take on the industry from within is always tricky; it usually veers toward the defensive. But here, Aryan, much like Farah, dives headfirst into the wackiness -unapologetically roasting the very industry he is a product of, and at times, even doing so with a hint of anger. That honesty is what makes the show largely work.

Ba***ds of Bollywood has a lot of moments that feel reminiscent of Om Shanti Om, and yet, it is brand new and original in its own sharp way.

Lakshya Lalwani, Mona Singh, Manoj Pawha, and Vijayant Kohli in a Still from Ba***ds of Bollywood

The show follows Aasmaan Singh, a debutant actor who has just delivered a hit with his first film ‘Revolver’, and the journey he begins as he leaps across the boundary (just enough) to be deemed ‘a part of the industry.’ The show traces this path, drenched in the quintessential elements of Bollywood that color every step he takes.

Think of all the possible ‘hero ki entry’ shots — ‘hero ki entry’ slomo shot, ‘hero ki entry’ back shot, ‘hero ki entry’ ‘everyone stops and drools’ shot, ‘hero ki entry’ ‘chashma utaarte hue’, ‘hero ki entry’ toe-to-head pan/tilt shot, ‘hero ki entry’ with his own theme song. We get it all.

There is also NON-STOP dialogue-baazi. Every single character (and not just the lead) gets at least one chance to do proper dialogue-baazi, which at times did get a bit much, but because the overall ride is so much fun, they fly by very quickly.

There is enough spoken about the number of cameos in the show, so I will spare those details. But, all I'd say is - the 'Special Thanks' section of the first episode alone covers half the Bollywood. That credits section of the show one ups Om Shanti Om.

Shah Rukh Khan in a Still from Ba***ds of Bollywood

Throughout the show, you can spot references to SRK’s 90s and early 2000s filmography - Kuch Kuch Hota Hai, K3G (fitting, since this is technically Aryan’s debut), even Om Shanti Om. More than anything, what shines through is Aryan’s own nostalgia - his memories, his love for that era, finding their way onto the screen.

This show, while offering a take on Bollywood, also plays like Aryan’s ode to Shah Rukh Khan. SRK is given two grand entries, each worthy of the megastar he is – this is SRK as seen through Aryan’s eyes. The father-son bond is explored with reverence, both as a son and (evidently) as a lifelong audience member. Throughout, Aryan threads SRK’s personality and journey into Aasmaan – sometimes reflecting him, other times speaking directly to Shah Rukh (through Aasmaan). Nowhere is this clearer than in the award show scene, when Aasmaan dedicates his award with the words: ‘My father, my hero.’ In that moment, it isn’t just a line in the script – it’s Aryan, the son, speaking to Shah Rukh, the father, with love that spills beyond the screen.

Lakshya Lalwani in a Still from Ba***ds of Bollywood

Lakshya is the ‘hero’ of this show and gets that treatment. He is fantastic in an action avatar, as was evident in Kill (2024). He possesses the ability to channel goofiness and excels in dramatic scenes; however, there are few such moments, and those that do occur flash by due to the screenplay's fast pace.

Mona Singh, Manoj Pahwa, Anya Singh, Sahher Bambba, and Arshad Warsi all deliver solid performances, free of flaws even under a magnifying glass. While their characters aren’t deeply explored and may not always be likable, each actor makes the most of the material they’re given.

Bobby Deol in a Still from Ba***ds of Bollywood

Bobby Deol as Ajay Talwar deserves a full essay. At 56, he looks better than ever and delivers some of his finest performances. What’s remarkable is how he has embraced his age – choosing not to de-age with technology, but instead playing age-appropriate roles, like the father of a twenty-something. That choice alone is refreshing to see from a star of his generation. On screen, he is menacing, tender, and kind, sometimes all within a single scene. That is the mark of experience. Watching him is an absolute delight.

Raghav Juyal and Lakshya Lalwani in a Still from Ba***ds of Bollywood

In a show with half the industry and strong performances by seasoned actors, the biggest standout was Raghav Juyal. He is an absolute delight. The Energizer Bunny of every scene. With his effortless dialogue delivery and natural flair for physical comedy, he brings life to every moment he touches. Many of the show’s best and most viral moments revolve around him. The unapologetic bromance is primarily carried by the love exuding from his eyes and body language, while his comic exchanges with Anya are equally a treat.

The technical aspects of filmmaking are slightly rough around the edges. The screenplay is very fast-paced (which mostly works in the favor of the show). Aryan wants to cover so much ‘Bollywood’ here that you could almost sense a restlessness in the writing. This comes at the cost of character exploration. Aasmaan’s character is hard to pin down – ‘rude and obnoxious’ within the industry, yet a loving, lovable bundle of joy in his personal life. What drives this duality? Where does his confidence to be rude come from? The show never gives us that context. And yet, it works – because the ride is so entertaining that these unanswered questions slide beneath the surface of the screenplay.

This show is a riot and absolute chaotic fun for a Bollywood nut with all the masaala Bollywood moments and references that will make you laugh out loud - total 'theater ki seatei phatt gayi' vibes. Ba***ds of Bollywood is a satire on the Hindi Film Industry that speaks more to our preconceived notions than the true blue reality of it, and therein lies the sharpness of the writing.

Now streaming on Netflix.