Story
Aasmaan Singh (Lakshya), an unknown face from Delhi, storms into Bollywood with a surprise action hit. Flush with overnight fame, he expects the industry to embrace him instantly. But stardom in Bollywood—just like in life—is never straightforward.
Review
Not razor-sharp but refreshingly self-aware, The Ba**ds of Bollywood* (short for Bastards of Bollywood) isn’t a biting takedown so much as a cheeky, meta tribute to the industry itself. At its core, it’s a risky romance between an outsider and a star kid, culminating in a wild, over-the-top finale that lives up to its audacious title. It might just be one of the bravest experiments Hindi entertainment has attempted in years.
This seven-episode saga charts Aasmaan’s journey post his smashing debut. Success doesn’t smooth his path; instead, he finds himself trapped in the shady undercurrents of showbiz—navigating exploitative contracts, appeasing arrogant producers, surviving celebrity meltdowns, dodging gossip-hungry paparazzi, and fending off rivals born with silver spoons. His troubles deepen when he grows close to his co-star Karishma Talvar (Sahher Bambba), daughter of superstar Ajay Talvar (Bobby Deol). Ajay, however, dreams of a grander launch for Karishma—ideally opposite a Ranveer Singh, not a rank outsider. When Aasmaan refuses to compromise with the industry’s unwritten codes, chaos follows.
Aryan Khan’s directorial debut kicks off loud and wobbly, but soon steadies in softer, grounded moments—when it isn’t flaunting celebrity cameos or firing blunt insider jokes. Almost every episode brings a big name: Aamir Khan, Rajamouli, Salman Khan, Ranbir Kapoor, Rajkummar Rao, and even Shah Rukh Khan himself. Amid the star parade, two cameos truly sparkle—Emraan Hashmi as a hilariously awkward intimacy coordinator, and Ranveer Singh faking an injury to escape a Karan Johar film. Ranveer’s banter with KJo (playing a satirical, Kangana-inspired version of himself as “the movie mafia”) is easily the show’s comic high point.
Unlike Luck By Chance or Om Shanti Om, this isn’t layered commentary but an exaggerated, self-referential lampoon. Still, Aryan doesn’t hesitate to poke fun at himself or his circle. A Sameer Wankhede lookalike storms a party calling stars “druggists” without evidence. A cop remarks, “Going to jail only boosts your stardom.” A critic gets roasted, and there’s even a parody of the infamous Ananya Panday–Siddhant Chaturvedi “nepo vs outsider” clash. Bollywood nerds will have a field day spotting Easter eggs.
But the writing isn’t flawless. The dialogue, apart from a few zingers, often falls flat. Some edgy humour—jabs at body shaming or #MeToo—lands poorly. Co-written by Aryan Khan, Bilal Siddiqi, and Manav Chauhan, the show is bold in imagination but wobbly in rhythm. Several stretches feel sluggish and cry for sharper editing.
What rescues it are the performances. Lakshya and Raghav Juyal (as Aasmaan’s loyal buddy Parvaiz) share terrific chemistry, building on their Kill (2023) camaraderie. Raghav’s effortless humour shines, while Lakshya gets to prove his chops beyond action—and he impresses. Sahher Bambba, overlooked in her earlier debut (Pal Pal Dil Ke Paas, 2019), adds sensitivity to Karishma’s conflicted persona. Bobby Deol, riding the high of Animal, oozes menace as the intimidating Ajay Talvar.
The supporting cast—Anya Singh (as the dependable manager), Manoj Pahwa (as a fading singer clinging to relevance), Mona Singh, Gautami Kapoor, and Manish Chaudhari—adds depth even when the script veers into stereotypes.
Final Word
When life hands you chaos, turn it into satire. The Ba**ds of Bollywood* may not have the polish of seasoned cinema, but Aryan Khan deserves applause for sheer ambition and honesty. It’s uneven, yes—but also bold, fresh, and brimming with promise. There are countless stars, but only one Aasmaan. There are endless star kids, but only one Aryan gutsy enough to script jokes at his own expense.
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