The Ba***ds of Bollywood Review: Aryan Khan Dares To Mock Bollywood Like Never Before

Aryan Khan’s first series The Ba**ds of Bollywood released on Netflix, immediately generating buzz nationwide. The series was bound to grab eyeballs because Aryan is Shah Rukh Khan’s son, but what sets it apart is the courage of its storytelling.

Bollywood has never been comfortable with its own mirror. Sometimes it celebrates itself as a fantasy factory, and sometimes it is the stuff of gossip, scandals, and ridicule. Aryan appears to have come of age watching all these contradictions unfold before his eyes, and in his debut work, he greets them with open arms. His show goes deep into the scandals, egos, and politicking of Bollywood, but portrays it as messy, disordered, yet impossible to look away from.

Plot of The Ba***ds of Bollywood

The seven-episode story focuses on Aasmaan Singh, portrayed by Lakshya, a Delhi youth whose overnight stardom is achieved when his action movie Revolver strikes the box office right. His overnight success puts him on the radar of Freddy Sodawallah (Manish Chaudhari), a cunning studio head who binds him to a three-movie contract.

Aasmaan’s professional life becomes intriguing as Karan Johar, in a special role as himself, proposes to him a project of his dream life with Karishma Talwar (Sahher Bambba), the daughter of current box office superstar Ajay Talwar (Bobby Deol). From this point on, the outsider Aasmaan is seen navigating Bollywood’s murky and treacherous environment, where allegiances shift overnight, friendships turn transactional, and love stories may not be real for greater publicity.

With them is Aasmaan’s best friend Parvaiz (Raghav Juyal), a watchful uncle, Manoj Pahwa, and manager Anya Singh, who works double duty as his crisis manager. They all bring warmth and humour to an otherwise indecisive story that relentlessly fluctuates between glamour and mercenary ambition.

A world of cameos full of stars

One of the most highly discussed aspects of The Ba**ds of Bollywood* is its spectacular roster of cameos. Aryan Khan appears to have managed the casting coup of the century by unifying some of Bollywood’s highest-profile stars.

From Shah Rukh Khan himself to Salman Khan, Aamir Khan, Ranbir Kapoor, Ranveer Singh, and Emraan Hashmi, the show is a treat for fans who enjoy seeing their favorite stars. Shah Rukh’s cameo at the Filmfirst Awards sequence, which is simply hilarious, remains especially memorable because it goes down like Aryan’s homage to Farah Khan’s cult hit Om Shanti Om.

Though a few cameos bring big laughs and meta moments, others seem wasted. Salman and SS Rajamouli, for example, are given little to no dialogue at all, which is a wasted moment. Nevertheless, the mere thrill of seeing so many stars coexist in one universe makes the series spectacular enough.

The comedy that characterizes the show

What truly sets Aryan Khan’s debut apart is its unabashed self-deprecation sense of humor. The show never glamorizes Bollywood, nor does it castigatingly judge it with seriousness. Rather, it decides to mock the chaos.

Karan Johar, on occasion castigated as the “Bollywood mafia” by detractors, playfully owns the moniker. In a classic elevator scene, he proclaims, “Don’t mess with the mafia,” a canny and irreverent reference to Kangana Ranaut’s go-to insult. Aryan even satirizes his own history by having a segment harking back to his notorious drug case. A character melodramatically cries out “Mujhe drugs do,” only for the scene to cut to a snappy PSA: Say no to drugs.

From nepotism gags and award show politicking to winks at plastic surgeries, PR spin doctoring, and even Orry’s ubiquity, the show never fails to find means to transform real-world gossip into humorous punchlines. It is this blending of satire and self-deprecation that keeps viewers glued.

Performances that stand out

While the cameos are flashy, it is really the core cast who keep The Ba**ds of Bollywood* intact.

Lakshya delivers a winning performance as Aasmaan, capturing the outsider’s turmoil of juggling ambition and values. His hero’s journey, replete with action and emotional peaks, is reminiscent of a classic Bollywood tale.

Raghav Juyal is the package surprise. His effortless comic timing, action skills, and bond of brotherhood with Lakshya are the emotional underpinning of the series.

Manish Chaudhari gives a strong performance as Freddy Sodawallah, infusing menace and authority into the role of the manipulative producer.

Bobby Deol, as Ajay Talwar, exudes charisma, but at times slips into undertones of his Animal persona, so that parts of his performance are uneven.

Rajat Bedi is a standout in a flash. As Jaraj Saxena, a former star actor now forgotten by the industry, he provides humor and tears in equal measure. His journey is heartbreaking, providing an incisive commentary on the transient nature of stardom in Bollywood.

Supporting performers such as Manoj Pahwa, Mona Singh, and Anya Singh also shine in their roles, demonstrating Aryan’s ability to mix big names with excellent character roles.

Where the show falls short

Though it has numerous positives, The Ba**ds of Bollywood* does have its weaknesses. The love affair between Aasmaan and Karishma is half-baked and does not hold up. Their chemistry is no match for the greater friendships and rivalries that dominate the show.

The underworld subplot, headed by Arshad Warsi as Gafoor Bhai, is uncalled for and brings the tempo down. The highly publicized plot twist towards the climax is anticipated, taking away from the show its desired shock value.

Technically also, there are instances where the series falls short. A car chase scene between Aasmaan and Ajay has subpar VFX, which comes across as disappointing for a series of this caliber. The music album, save for the catchy Badli Si Hawa Hai, fails to make an impact as well.

Technical finesse and Easter eggs

On the positive side, the show does very well in its production design and technical sheen. The look is sleek, the cut is crisp, and the narrative is laced with smart Easter eggs that the fans will have fun discovering and deciphering. Aryan also smartly weaves his fashion label through discreet product placements, a wise decision that fuses branding and narrative.

The glossy styling hooks both the glitzy facade of Bollywood and the bleaker underbelly beneath. This contradiction is precisely what makes the show binge-worthey.

Verdict: The Ba***ds of Bollywood review

Aryan Khan’s directorial debut is imperfect, but it is dauntless, fun, and refreshingly unconventional. The show is best when it celebrates Bollywood’s contradictions—its tawdriness, its scandals, and its absurdities—and presents them with a dash of humor.

Yes, the prose may have been tighter, the cameos more effective, and the bouncy romantic subplot more compelling. Still, the aplomb with which Aryan holds together such a huge cast of characters and the willingness to make fun of himself make this first effort worthy of praise.

If you are looking for a hard-hitting expose, this is not that. But if you desire an indulgent, celebrity-studded, masala entertainer that blends satire, gossip, and drama in equal proportion, The Ba**ds of Bollywood is well worth your while.