The Ba***ds of Bollywood Review: Aryan Khan’s Netflix Debut Is Bold but Not Fearless

Image Source- Filmibeat

When the news first broke that Aryan Khan, son of Shah Rukh Khan, was stepping into direction with The Ba***ds of Bollywood, expectations were sky-high. After all, when you carry one of the biggest surnames in Indian cinema, people don’t just watch your debut, they scrutinize it. Released on Netflix, the series marks Aryan’s directorial debut and his effort to prove he’s more than just SRK’s son.

So, does it work? Well, yes and no. On the surface, The Ba***ds of Bollywood is glossy, daring, and unafraid to poke at the darker corners of the Hindi film industry. But beneath the shine, you can also see the cracks, moments where the writing hesitates, where the storytelling doesn’t cut as deep as it promises.

As a viewer, I found myself impressed by Aryan’s ambition but wishing he had taken a few more risks. This isn’t a disaster by any means, far from it, yet it doesn’t quite hit a home run. It’s more of a statement: Aryan Khan is here, he has a voice, and now he needs to sharpen it.

The Story Behind the Glitz

The Ba***ds of Bollywood takes us straight into the messy underbelly of the Hindi film industry, and it does so through a handful of sharply written characters. It isn’t just about the glitz and glamour we usually see it digs into the cracks beneath the surface, the insecurity, the fragile egos, and the price of ambition. From the very first episode, you get the sense that Aryan Khan wants to hold up a mirror to Bollywood, not as a dream factory, but as a battlefield where survival comes at a cost.

At the center is Arjun (Lakshya Lalwani), a wide-eyed newcomer with dreams bigger than his reality. He’s talented, but talent alone doesn’t buy credibility in an industry ruled by nepotism and gatekeepers. His path collides with Zoya (Triptii Dimri), a rising actress struggling to shake off typecasting, and Raghav (Jim Sarbh), a manipulative producer who thrives on exploiting vulnerabilities. Aryan weaves in Parvez (Raghav Juyal), Arjun’s loyal but insecure friend, whose presence brings humor and heartbreak in equal measure. On the other side, Neeta (Mona Singh), a powerful industry insider, becomes a moral compass of sorts; her sharp observations highlight both the cruelty and the compromise that define Bollywood.

The show balances Arjun’s desperation with Zoya’s quiet rebellion, and both are constantly up against a system that feels rigged from the start. Adding to the tension is Kabir (Sohum Shah), a fading superstar who sees Arjun as both a threat and a reminder of his own decline. Their confrontations, sometimes subtle, sometimes explosive, underline the generational clash at the heart of the series.

Tonally, The Ba***ds of Bollywood swings between sharp satire and gritty realism. There are moments of biting humor when the absurdity of the industry is laid bare, the fake parties, the PR stunts, the casual sexism, but there are also darker undercurrents. Characters betray each other, personal lives crumble, and the dream of “making it” starts to look more like a curse than a blessing. The themes of ambition, betrayal, and survival feel painfully real.

Who Shines and Who Falters

If The Ba**ds of Bollywood* works at all, it’s because of the cast. Aryan Khan clearly knew that for his debut to land, he needed actors who could ground the heightened world with authenticity.

Lakshya Lalwani as Arjun gets the meatiest arc. He slips easily into the skin of a small-town dreamer battling insecurity and ambition, and while he occasionally leans into melodrama, his rawness feels intentional, almost like Aryan wanted his unpolished energy to mirror Arjun’s own struggles.

Triptii Dimri as Zoya, on the other hand, steals the show whenever she’s onscreen. She brings a mix of vulnerability and quiet rage to the role, making Zoya more than just the “pretty face” the industry labels her as. Her scenes, especially when she pushes back against typecasting, feel the most alive.

Jim Sarbh as Raghav is deliciously unsettling. He thrives in these morally grey roles, and here too, he plays the manipulative producer with a chilling calm. His ability to turn charm into menace in a single scene is a reminder of why he’s one of the most reliable performers today. Sohum Shah as Kabir, the fading superstar, is another standout. He balances arrogance with moments of self-doubt, and his confrontations with Arjun give the show some of its sharpest tension.

Raghav Juyal, stepping away from his usual comic image, surprises with a darker turn. He isn’t given as much screen time, but he makes the most of it, adding an unpredictable edge to the story. Mona Singh, meanwhile, brings gravitas to her role, grounding the chaos with a sense of authority and emotional weight, a reminder that she’s one of the most dependable actors around.

The supporting cast is a mixed bag, while journalists, directors, and PR managers add texture, a few feel underdeveloped, more like stereotypes than real people. You get the sense Aryan had big ideas for them, but didn’t flesh them out enough.

Aryan Khan’s Directorial Debut: Bold Ideas, Uneven Execution

Aryan Khan steps into the director’s chair with ambition, and it shows. From the very first frame, it’s clear he wanted to hold a mirror up to Bollywood, not the glittery dream factory we’re used to seeing, but the messy, cutthroat world behind the camera. The writing leans into sharp satire at times, poking fun at PR stunts, fake parties, and the casual sexism that pervades the industry. At other moments, it digs into gritty realism, exploring ambition, betrayal, and the fragility of ego.

The strengths are obvious: the setup of flawed, layered characters, witty dialogue in key scenes, and a willingness to confront uncomfortable truths about fame and privilege. Aryan doesn’t shy away from showing the cost of chasing dreams in a system that rarely forgives mistakes. That said, the debut isn’t flawless. Some side plots feel underdeveloped, pacing occasionally drags, and a few tonal shifts between satire and drama feel jarring. Despite these hiccups, it’s clear Aryan has a vision and isn’t afraid to take risks, which is commendable for a first-time director.

Final Thoughts – A Promising Debut with Room to Grow

Overall, The Ba***ds of Bollywood is an intriguing watch. It succeeds when it leans into its core strengths, compelling characters, sharp performances, and a bold attempt to reveal Bollywood’s underbelly. At the same time, its uneven execution and underwritten subplots hold it back from being truly exceptional.

For those curious about the behind-the-scenes chaos of the Hindi film industry, or fans of morally complex characters, it’s worth a watch. Aryan Khan’s debut shows promise, and with a bit more refinement in pacing and subplot depth, his next project could be a serious game-changer. As it stands, the series is a mix of entertaining highs and uneven stretches, a fascinating debut, if not perfect.

By the way, if you’re into grounded film thoughts, underrated thriller picks, or just plain honest recommendations, I’m over on Instagram:@bingewatch_perspective.  That’s where I post quick recaps, hot takes, and those offbeat gems you might’ve missed.

If you enjoyed exploring the chaos of Bollywood in The Ba***ds of Bollywood, you might also like my take on another cinematic legend, Mohanlal. After his recent Dadasaheb Phalke Award, I picked 5 must-watch films that showcase why Lalettan is a living legend. Check out the full list here.

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