The Bads of Bollywood marks the directorial debut of Aryan Khan, son of Shah Rukh Khan, under the banner of Red Chillies Entertainment. Released on Netflix on September 18, 2025, the seven‑episode series positions itself as a satirical, often chaotic, flamboyant look inside the Hindi film industry. It pairs the glamour and glitz with the grit and the underbelly of power, nepotism, ambition, betrayal and identity. With Aryan also co‑writing alongside Bilal Siddiqi and Manav Chauhan, the show comes with high expectations and carries a strong meta‑texture, acknowledging real controversies that have been in the public eye. The large ensemble cast, family dynamics, cameos galore and plot twists set up a world where outsiders try to break in, insiders want to maintain their throne, and everything in between is a battlefield.
The Bads of Bollywood: Plot
At the heart of The Bads of Bollywood is Aasmaan Singh (Lakshya), a talented outsider from Delhi who has just landed his first major hit, an action film called Revolver. Success comes quickly, and with it comes pressure. To cement his rise, Aasmaan signs a multi‑film deal with the studio head Freddy Sodahwallah (Manish Chaudhari). Meanwhile, he also gets an opportunity to work in a film by Karan Johar (playing himself), opposite Karishma Talwar (Sahher Bambba), the daughter of superstar Ajay Talwar (Bobby Deol). The Talwar dynasty represents everything that the industry’s insiders carry, legacy, connections, privilege.
Aasmaan is supported by his best friend Parvaiz (Raghav Juyal), his manager Sanya (Anya Singh), his family uncle Avtar (Manoj Pahwa), mother Neeta Singh (Mona Singh), father Rajat Singh (Vijayant Kohli) who all serve as sounding boards and anchors even as the world around Aasmaan turns more treacherous. The show does not slow down as jealousy, scheming, hidden relationships and betrayals emerge. In particular Ajay Talwar’s reaction to his daughter’s pairing with Aasmaan sets off a chain of power games. By the end there is a significant twist that redefines many relationships, forcing Aasmaan to reckon with what fame costs, what legacy means, and how much of himself he must surrender to survive.
The Bads of Bollywood: Performances
Lakshya as Aasmaan Singh delivers a charismatic and layered performance. He captures both the swagger of a rising star and the insecurity of someone still finding his place in an industry that doesn’t forgive missteps. His portrayal is both magnetic and vulnerable, striking the right balance between overconfidence and self-doubt. His screen presence holds up against the larger-than-life personalities surrounding him.
Bobby Deol, as Ajay Talwar, brings a quiet intensity to the role of a veteran actor and powerful patriarch. His performance is controlled, imposing without resorting to theatrics. The underlying disdain he carries for outsiders, especially Aasmaan, is portrayed with subtle menace. He represents the old guard in a world that’s rapidly changing, and Deol plays it with conviction.
Sahher Bambba shines as Karishma Talwar, a young actress caught between legacy and individuality. Her chemistry with Lakshya feels organic, and her arc offers a rare look into the emotional cost of being born into privilege. Bambba portrays Karishma with warmth, restraint, and sharp instincts, particularly in moments of confrontation.
The ensemble cast adds depth. Raghav Juyal as the loyal friend Parvaiz is endearing and funny without turning into a caricature. Manish Chaudhari delivers another dependable act as a powerful producer with a morally fluid compass. Anya Singh, Mona Singh, and Manoj Pahwa each bring strong support, often grounding the story’s more heightened moments in emotional realism.
The cameos, from Shah Rukh Khan, Aamir Khan, Ranveer Singh, Karan Johar, Salman Khan, SS Rajamouli, Rajkummar Rao, Emraan Hashmi, Sara Ali Khan, and even rapper Badshah, are clever and diverse. These appearances range from hilarious to poignant, but are never gratuitous. Instead, they’re woven in with intention, adding richness to the satire rather than distracting from it.
A special mention to Shah Rukh Khan’s cameo that stands out for its elegance and emotional punch. It’s not just a gimmick, it functions as a turning point, almost like a silent blessing passed from the King of Bollywood to a rising outsider, mirroring both the show’s central theme and the director’s own journey. His presence lingers even after the scene ends, a reminder of the charm and grace that defines enduring stardom.
The Bads of Bollywood: Analysis
Aryan Khan’s directorial debut is self-aware and stylish. He embraces the contradictions of the industry from its glamour and toxicity to charm and cruelty, and presents them with a mix of irony and sincerity. His control over tone is especially impressive. The satire lands without becoming parody, and the emotion hits without feeling melodramatic.
The writing is ambitious. Aryan, alongside Bilal Siddiqi and Manav Chauhan, builds a world that is both fictional and eerily familiar. There are pointed references to real industry structures: blind items, star kids, gossip, casting couch culture, power brokers, and celebrity PR games. The show walks a fine line between entertainment and exposé and often succeeds in staying balanced.
Visually, the show is slick. The sets, costumes, and lighting capture both the glossy exterior of stardom and the grittier backstage corners. The use of real events as backdrops like film festivals, press conferences, awards nights adds authenticity. Sound design and music are effectively used to heighten key moments without overpowering them.
That said, some subplots meander. A few character motivations, particularly in the mid-episodes, lack depth or shift too abruptly. The romantic arc between Aasmaan and Karishma could have been more fully developed. Also, the show occasionally leans too heavily into exposition, especially in explaining industry politics.
But its strengths outweigh the flaws. It takes courage to bite the hand that feeds you, and Aryan does it with surprising maturity. There are scenes that feel like deeply personal jabs at power structures, and others that celebrate the art and chaos of cinema-making itself. Aryan emerges not just as a star kid testing the waters but as a storyteller with a distinct voice and a willingness to push boundaries.
The Bads of Bollywood: Verdict
The Bads of Bollywood is equal parts sharp, ambitious, messy, and gripping. It’s a world that’s both exaggerated and painfully true, filled with big egos, fragile hearts, and endless performances on and off camera. It asks uncomfortable questions about legacy, fairness, survival and does so without preaching.
This isn’t just a tale of Bollywood’s underbelly; it’s also a coming-of-age saga for its protagonist and, arguably, its director. With bold casting, a confident narrative, and a solid emotional core, The Bads of Bollywood delivers on both style and substance. It stands tall among recent industry-centric dramas and hints at a promising new storyteller in Aryan Khan.
The Bads of Bollywood: Rating
Rating: 4 / 5
