SERIES REVIEW: The Ba***ds of Bollywood

By Suyash Pachauri

Owner: Publications

[GLOBAL BOLLYWOOD] & [DIRECTOR'S DAILY CLAPBOARD]

Introduction

When The Bads of Bollywood (streaming from 18 September 2025 on Netflix) was announced, it came with all the usual baggage a debut from a star kid might carry: high expectations, scrutiny, scepticism especially because Aryan Khan, son of Shah Rukh Khan, is launching this under Red Chillies Entertainment, a banner with pedigree. 

The premise promised something juicy: a satirical, self-aware series about an outsider striving to make it big in the glitzy but treacherous world of Bollywood. It aimed at mixing humour, drama, cameos, insider references, and industry critique. The question was: could Aryan balance all that scrutiny, spectacle, satire in a way that feels fresh rather than derivative? The answer, more often than not, lands in the positive. The Bads of Bollywood is not without its flaws, but it is far more compelling than many of its critics feared.

Screenplay & Script Sense

What works:

• Strong meta‑humour and insider references. From the very beginning, the show doesn’t shy away from poking at Bollywood tropes nepotism, image management, PR scandals, the disparity between public image and private chaos. The audience is given jokes and nods that feel like they’ve been whispered behind the scenes for years. 

• Dialogue frequently strikes. Some lines are sharp, biting, and funny; at its best, the writing captures the absurdity of showbiz reality while still giving characters real agency. For many viewers, those moments are what make the show memorable. 

• Character setup: the outsider’s arc (Aasmaan or equivalent) is familiar, but the show gives ample space to his relationships with family, friends, rivals so there’s emotional grounding amidst the glitz and satire. 

What could have been tighter:

• Familiar tropes. Many reviewers point out that the core narrative structure ambitious outsider, betrayal, backstage politics, moral compromise is one we’ve seen often. The novelty is in the decoration (cameos, satire, inside jokes) rather than in the bones. Some plot twists are predictable. 

• Balancing tone: the show swings between satirical, melodramatic, comedic, and sometimes even dark. That can be a strength but also leads to moments where it isn’t clear whether we are supposed to laugh, recoil, or reflect. The comedic songs or scenes sometimes undercut drama, and vice versa.

• Pacing and structure: with seven episodes of 50 mins each, there are bits that feel stretched. Some subplots feel under‑explored, others maybe over‑extended. The momentum dips in middle episodes. Viewers have noted that early episodes are stronger, later ones try to bring everything together, sometimes at the cost of subtlety. 

Direction

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

Strengths:

• Vision: There’s a clear idea of what the show wants to critique and entertain. The contrast between Bollywood’s shiny surface and its shadows is well drawn in many scenes. He isn’t shy about exposing contradictions whether in image fabrication, PR spin, the dark underbelly, or even scandalous whispers. 

• Self‑aware tone: Aryan, as writer/director, seems comfortable acknowledging controversy. For instance, jokes about nepotism, positioning of cameos, referencing the controversy around his name, etc. These leanings make the satire feel like it comes from someone who understands both the admiration and critique that come with the surname. 

• Handling a large ensemble: The cast is large, with many side plots, cameos, and colourful characters. That would be messy in less capable hands; but for many parts, he keeps things coherent, ensuring that emotional arcs friendships, rivalries, family feel believable.

Weaknesses

• Occasional unevenness: Some scenes attempt high stakes but don’t build sufficient tension. Some comedic beats fall flat because setup or character motivation isn’t as strong. It is likely a reflection of trying to do a lot in one season: satire , drama , action , romance , industry commentary.

• Overuse of cameo/checklist appearances: Some cameos feel less organically tied to plot or character development and more like “look who’s here.” That’s not necessarily bad cameos are part of the fun but when too many are thrown in, they risk breaking immersion or making the narrative feel padded.

Acting

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

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

• Supporting cast (veterans) do solid work: they ground the story. The more experienced actors help lend credibility to scenes when the show is being satirical or melodramatic.

• Cameos: These are mixed. Some are delightful, surprising, and fun; others feel more decorative than necessary. Their strength often depends on how well they are worked into the narrative rather than merely as stardust.

Cinematography

• The visuals are polished. The show captures Bollywood’s glamour effectively: red carpets, parties, extravagance, lighting, set design, costumes. These 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, tighter frames etc., which help underscore the double lives, hidden conflicts, and tensions. When done well, this visual contrast supports the themes.

• Occasional visual cliché: In scenes of drama or heightened emotion, settings or camera work sometimes fall back on trope sweeping shots, obvious mise‑en‑scene contrasts. Not always a bad thing in Bollywood style, but occasionally the show leans a bit too much on visual spectacle rather than letting emotional weight carry the scene.

Music & Background Score

• Score and background music serve the show’s tone well in many places enhancing drama, comedy, satire. The transitions between mood shifts are helped by the score.

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

• In some sequences, the music tries to do heavy lifting in tension or emotional payoff, but perhaps 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's 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 colour palette and unapologetically bright sets lean into spectacle.” This high-gloss approach isn’t just 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 a strength more often than a weakness. It’s not flawless, but considering this is a debut, the ambition is clear. 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 illusion vs reality, image vs truth rather than just decorating scenes.

Editing

• Generally sharp. Many cuts, transitions, montages are well executed, especially in party, media, and public‑image scenes. These help maintain pace, especially in a show with many characters and plot threads.

• But the editing does show strains: pacing is uneven season‑wise; some episodes feel bloated; some scenes linger. The editing sometimes struggles to maintain momentum as more subplots converge.

• The episodic arc: the buildup to climax is mostly effective, though resolution of some arcs seems rushed in the final episodes.

Episode‑Wise Breakdown

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

[Episode 1]

What Shines

Sets tone strongly; introduces outsider lead; early meta humour works; establishes stakes and atmosphere well. Viewers get excited.

What Weaks

Because of introductions, character overload risk. Some viewers may feel lost among names and relationships; pace is slower in parts as setup dominates.

[Episode 2]

What Shines

Deepens character relationships; more industry satire; cameos begin to pepper scenes well; more tension between ambitions and moral compromises.

What Weaks

Occasional detours: romance thread or subplot may feel less justified. Some jokes feel forced or heavy-handed.

[Episode 3]

What Shines

Plot starts getting more layered; conflict between insider vs outsider becomes clearer; humour and drama begin to intermingle more seamlessly.

What Weaks

Mid‑season lull: some episodes feel like “connective tissue” rather than forward motion. Viewers wanting high stakes may find patches slow.

[Episode 4]

What Shines

Stronger momentum; more dramatic tension; stakes higher, character arcs (friendship, betrayal) begin to crack open; visuals and direction more confident.

What Weaks

More subplots compete for attention; some character motivations not as fleshed out. Some scenes feel indulgent.

[Episode 5]

What Shines

Climactic build‑up starts; surprises emerge; the cameo moments become more meaningful; emotional moments deepen.

What Weaks

Risk of overpromising: as plot threads multiply, coherence becomes harder to sustain. Some comedic beats may undercut drama or vice versa.

[Episode 6]

What Shines

Setup for climax reveals and twists begin; moral dilemmas sharpen, certain relationships are pushed to breaking point.

What Weaks

Predictability begins to show; some viewers anticipate outcomes some arcs roll out slower than desired.

[Episode 7] (Finale)

What Shines

Big payoff in many arcs major twists, surprises, emotional payoffs. Satisfying resolution in many respects. The show tries to tie up loose ends. It gives what many wanted: spectacle, closure, and reflection.

What Weaks

Some resolutions feel rushed, others a little too neat. Not every subplot gets full justice. Tone near the end fluctuates balancing satire vs sincerity becomes more tricky. Some viewers might wish certain arcs had more breathing room rather than being bundled.

Final Verdict

Overall, The Bads of Bollywood is a promising, mostly entertaining debut from Aryan Khan. It doesn’t reinvent Bollywood satire many of its themes are familiar but its style, self‑awareness, balance of fun critique, and strong performances lift it above a lot of “industry exposé” shows that lean too heavily one way.

If you’re a fan of Bollywood, especially interested in its backstage politics and glamor vs reality.

On the Plus Side

• Bold, meta, self‑aware humour that doesn’t shy from controversy or insider critique.

• Strong lead performance(s), especially from Lakshya Lalwani, and the chemistry with other actors (Raghav Juyal etc.).

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

• A debut from a star kid that seems to lean into expectations rather than hide from them doesn’t feel defensive.

• Cameos & easter eggs are fun, and many jokes land. Audience engagement and social media reaction has been largely positive. 

On the Minus Side

• Predictable story beats and reuse of well‑worn tropes: outsider, betrayal, nepotism etc., without always surprising in how things turn.

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

• Overuse or under‑use of cameos: when they’re just star power without narrative weight, they risk being distractions.

• Music and song pieces are okay but not memorable; might not stand out in long run.

• Tone swings: sometimes what begins as satire gets serious, melodramatic, or sentimental in ways that slightly dilute the edge.

One‑Liners

• Aryan Khan: He may have grown up in the glitter of Bollywood, but with this debut, he doesn’t just inherit the lights he’s learned 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 backed someone who’s ready to mock the throne while trying to build his own.

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

• Netflix: Looks like Netflix bet right this time giving a new voice space, letting satire breathe, and delivering entertainment that feels more than just glossy.