The Bads of Bollywood: A Promising Debut from Aryan Khan

Introduction to a New Era

When The Bads of Bollywood (streaming from 18 September 2025 on Netflix) was announced, it arrived with the usual expectations that accompany a debut from a star kid. High hopes, scrutiny, and skepticism were prevalent, particularly because Aryan Khan, the son of Shah Rukh Khan, is launching this project under Red Chillies Entertainment, a banner known for its pedigree.

The premise promised something intriguing: a satirical, self-aware series about an outsider striving to succeed in the glitzy yet treacherous world of Bollywood. It aimed to blend humor, drama, cameos, insider references, and industry critique. The critical question was whether Aryan could balance all that scrutiny and spectacle in a way that feels fresh rather than derivative. The answer, more often than not, leans towards the positive. The Bads of Bollywood is not without its flaws, but it is far more compelling than many critics anticipated.

Screenplay & Script Sense

What Works

• Strong Meta-Humor and Insider References: From the outset, the show does not shy away from poking fun at Bollywood tropes such as nepotism, image management, and PR scandals. The audience is treated to jokes and nods that feel like they have been whispered behind the scenes for years.

• Impactful Dialogue: The dialogue frequently strikes a chord. Some lines are sharp, biting, and humorous; at its best, the writing captures the absurdity of showbiz reality while still granting characters real agency. For many viewers, these moments are what make the show memorable.

  
  

• Character Setup: The outsider's arc (Aasmaan or equivalent) is familiar, yet the show provides ample space for his relationships with family, friends, and rivals. This emotional grounding exists amidst the glitz and satire.

  
  

What Could Have Been Tighter

• Familiar Tropes: Many reviewers have pointed out that the core narrative structure—ambitious outsider, betrayal, backstage politics, and moral compromise—is one we have seen often. The novelty lies more in the decoration (cameos, satire, inside jokes) than in the foundational elements. Some plot twists are predictable.

  
  

• Balancing Tone: The show oscillates between satirical, melodramatic, comedic, and occasionally dark tones. While this can be a strength, it also leads to moments where it is unclear whether we are meant to laugh, recoil, or reflect. The comedic songs or scenes sometimes undercut the drama, and vice versa.

  
  

• Pacing and Structure: With seven episodes of 50 minutes each, certain segments feel stretched. Some subplots are under-explored, while others may be over-extended. The momentum dips in the middle episodes. Viewers have noted that the early episodes are stronger, while the later ones attempt to bring everything together, sometimes at the cost of subtlety.

  
  

Direction

For a directorial debut, Aryan Khan demonstrates both ambition and a degree of control.

Strengths

• Vision: There is a clear idea of what the show aims to critique and entertain. The contrast between Bollywood's shiny surface and its shadows is effectively drawn in many scenes. He does not shy away from exposing contradictions, whether in image fabrication, PR spin, or scandalous whispers.

  
  

• Self-Aware Tone: As writer/director, Aryan appears comfortable acknowledging controversy. For instance, jokes about nepotism and the positioning of cameos reference the controversy surrounding his name. These elements lend the satire an authenticity that resonates with audiences.

  
  

• Handling a Large Ensemble: The cast is extensive, featuring numerous side plots, cameos, and colorful characters. This could be chaotic in less capable hands; however, Aryan manages to keep things coherent, ensuring that emotional arcs—friendships, rivalries, and family dynamics—feel believable.

  
  

Weaknesses

• Occasional Unevenness: Some scenes attempt to create high stakes but fail to build sufficient tension. Certain comedic beats fall flat due to weak setup or character motivation. This may reflect the challenge of trying to accomplish so much in one season: satire, drama, action, romance, and industry commentary.

  
  

• Overuse of Cameo Appearances: Some cameos feel less organically tied to the plot or character development and more like “look who’s here.” While cameos can be enjoyable, an excessive number risks breaking immersion or making the narrative feel padded.

  
  

Acting

• Lakshya Lalwani (as Aasmaan or lead outsider) delivers a standout performance. Many critics have praised his ability to convey vulnerability, ambition, and confusion in equal measure. He carries much of the viewer investment.

  
  

• Raghav Juyal is also frequently highlighted for his comedic timing and emotional lighter moments. His chemistry with the lead provides many of the show’s best scenes.

  
  

• The supporting cast (veterans) performs solidly, grounding the story. The more experienced actors lend credibility to scenes, especially when the show leans into satire or melodrama.

  
  

• Cameos: The quality of cameos is mixed. Some are delightful, surprising, and fun; others feel more decorative than necessary. Their effectiveness often depends on how well they are integrated into the narrative rather than merely serving as star power.

  
  

Cinematography

• The visuals are polished, effectively capturing Bollywood’s glamour: red carpets, parties, extravagance, lighting, set design, and costumes. These elements shine and reflect a production value that elevates much of the show.

  
  

• Contrast Between Gloss and Grit: The backstage or darker moments are filmed with more shadow and tighter frames, underscoring the double lives, hidden conflicts, and tensions. When executed well, this visual contrast supports the themes.

  
  

• Occasional Visual Cliché: In scenes of drama or heightened emotion, settings or camera work sometimes revert to tropes such as sweeping shots or obvious mise-en-scène contrasts. While not always detrimental in Bollywood style, the show occasionally leans too heavily on visual spectacle rather than allowing emotional weight to carry the scene.

  
  

Music & Background Score

• The score and background music serve the show’s tone well, enhancing drama, comedy, and satire. The transitions between mood shifts are effectively supported by the score.

  
  

• However, the songs (if present) are not likely to become chartbusters or linger in popular memory. Many viewers and critics have noted that while they fit the scenes, they do not particularly stand out.

  
  

• In certain sequences, the music attempts to carry heavy emotional weight but could have been more varied or nuanced. Some high-drama scenes feel slightly under-scored.

  
  

Stylised Spectacle & Gloss

The Bads of Bollywood embraces the larger-than-life glamour that defines mainstream Hindi cinema, and its VFX plays a key role in amplifying that aesthetic. Whether it is dazzling publicity events, red carpet moments, or intricately staged photo ops, the visual effects lend a heightened, almost surreal polish to these sequences. Enhanced with bold lighting, sleek production design, and subtle CGI touch-ups, every frame gleams with a cinematic sheen that feels both deliberate and immersive.

The glossy camerawork, rich color palette, and unapologetically bright sets lean into spectacle. This high-gloss approach is not merely for show; it underscores the satirical tone of the series by deliberately leaning into the artificiality of the industry it critiques. The VFX in The Bads of Bollywood is more often a strength than a weakness. It is not flawless, but considering this is a debut, the ambition is evident. The team behind Red Chillies has invested in visual polish, spectacle, and creating environments that feel larger than life—exactly what one expects in a satire of Bollywood itself. The VFX helps augment themes of illusion versus reality and image versus truth rather than merely decorating scenes.

Editing

• The editing is generally sharp. Many cuts, transitions, and montages are well executed, especially in party, media, and public-image scenes. These elements help maintain pace, particularly in a show with numerous characters and plot threads.

  
  

• However, the editing does reveal strains: pacing is uneven across the season; some episodes feel bloated; and certain scenes linger. The editing sometimes struggles to maintain momentum as more subplots converge.

  
  

• The Episodic Arc: The buildup to the climax is mostly effective, although the resolution of some arcs appears rushed in the final episodes.

  
  

Episode-Wise Breakdown

Since The Bads of Bollywood runs for seven episodes, each approximately 50 minutes long, here is a rough mapping of how the episodes land, highlighting their high points and areas where they lag.

[Episode 1]

What Shines

The tone is established strongly; the outsider lead is introduced; early meta humor works well; stakes and atmosphere are effectively established, generating excitement among viewers.

What Weakens

Due to character introductions, there is a risk of overload. Some viewers may feel lost among names and relationships, and the pace is slower in parts as setup dominates.

[Episode 2]

What Shines

Character relationships deepen; industry satire becomes more pronounced; cameos begin to pepper scenes effectively; tension between ambitions and moral compromises heightens.

What Weakens

Occasional detours occur; romance threads or subplots may feel less justified. Some jokes come across as forced or heavy-handed.

[Episode 3]

What Shines

The plot becomes more layered; the conflict between insider versus outsider becomes clearer; humor and drama begin to intermingle more seamlessly.

What Weakens

A mid-season lull occurs; some episodes feel like mere “connective tissue” rather than advancing the plot. Viewers seeking high stakes may find certain patches slow.

[Episode 4]

What Shines

Stronger momentum is established; dramatic tension increases; stakes are higher, and character arcs (friendship, betrayal) begin to unfold; visuals and direction exhibit greater confidence.

What Weakens

More subplots compete for attention; some character motivations lack depth. Certain scenes feel indulgent.

[Episode 5]

What Shines

Climactic buildup initiates; surprises emerge; cameo moments gain significance; emotional moments deepen.

What Weakens

There is a risk of overpromising; as plot threads multiply, coherence becomes more challenging to sustain. Some comedic beats may undercut drama or vice versa.

[Episode 6]

What Shines

Setup for climax reveals and twists begins; moral dilemmas sharpen, and certain relationships are pushed to their breaking points.

What Weakens

Predictability begins to surface; some viewers anticipate outcomes, while certain arcs unfold more slowly than desired.

[Episode 7] (Finale)

What Shines

Major twists, surprises, and emotional payoffs culminate in a satisfying resolution for many arcs. The show attempts to tie up loose ends, delivering what many desired: spectacle, closure, and reflection.

What Weakens

Some resolutions feel rushed, while others appear overly neat. Not every subplot receives full justice. The tone fluctuates near the end, making it more challenging to balance satire and sincerity. Some viewers may wish for certain arcs to have more breathing room rather than being bundled together.

Final Verdict

Overall, The Bads of Bollywood is a promising, mostly entertaining debut from Aryan Khan. It does not reinvent Bollywood satire; many of its themes are familiar. However, its style, self-awareness, balance of fun and critique, and strong performances elevate it above many “industry exposé” shows that lean too heavily in one direction.

If you are a fan of Bollywood, especially interested in its backstage politics and the contrast between glamour and reality, this series is worth your time.

On the Plus Side

• Bold, meta, self-aware humor that does not shy away from controversy or insider critique.

• Strong lead performances, particularly from Lakshya Lalwani, and notable chemistry with other actors (Raghav Juyal, etc.).

• High production values: glamour, cinematography, set design, and contrasts between public display and private reality.

• A debut from a star kid that seems to embrace expectations rather than hide from them; it does not feel defensive.

• Cameos and Easter eggs are enjoyable, and many jokes resonate well. Audience engagement and social media reactions have been largely positive.

  
  

On the Minus Side

• Predictable story beats and the reuse of well-worn tropes: outsider, betrayal, nepotism, etc., without consistently surprising in execution.

• Uneven pacing: slower middle episodes and some scenes that could have been tighter.

• Overuse or underuse of cameos: when they serve merely as star power without narrative weight, they risk becoming distractions.

• Music and song pieces are adequate but not memorable; they may not stand out in the long run.

• Tone swings: sometimes what begins as satire becomes serious, melodramatic, or sentimental, slightly diluting the edge.

  
  

One-Liners

• Aryan Khan: He may have grown up in the glitter of Bollywood, but with this debut, he does not merely inherit the lights; he learns to cast them and occasionally shade them.

• Debut: Not the smoothest script in town, but one hell of a banner debut with swagger, spectacle, and sincere ambition.

• Red Chillies: The label still knows how to back star power, but here, it supported someone ready to mock the throne while attempting to build his own.

• Shah Rukh Khan: Dad taught him about screen presence; now Aryan is educating us in backstage drama.

• Netflix: It appears that Netflix made the right bet this time, providing a new voice space, allowing satire to breathe, and delivering entertainment that feels more than just glossy.