MUMBAI – In the thick of the streaming competition, few could have predicted the runaway success of a bold Hindi dramedy on Netflix this week. Just 72 hours since its release on 18 September, The Bastards of Bollywood—Aryan Khan’s first full-length project as director—rocket-launched to the top spot worldwide, leaving behind fan-favourite K-dramas and big-budget American series.
More than 25 million streams in the debut weekend (according to Netflix sources, shared quietly over Mumbai’s famous chai) have turned this show into a cultural force, shaking Bollywood’s polished image and shaking up old reputations.
Aryan Khan, 27, son of film legend Shah Rukh Khan, is no ordinary ‘star kid’ using family influence. After a 2021 drug scandal that kept him in headlines for weeks, Aryan channels his experiences into a seven-part satire packed with swagger, bold comedy, and wild Bollywood rhythms.
Produced by his mother, Gauri Kha, for Red Chillies Entertainment, the series tells the story of Aasmaan Singh (played by Lakshya with real grit), an outsider who stumbles into fame after winning an action hero role in the film-within-the-show called Revolver.
Instantly, he finds himself in a world of ruthless producers (Manish Chaudhari is perfectly nasty as Freddy Sodawallah), washed-up actors (Bobby Deol’s Ajay Talwar is a scene-stealer, hinting at another shot at stardom), and prickly star kids (Sahher Bambba’s Karishma swings between charm and cold ambition). Aasmaan’s loyal manager Sanya (Anya Singh) and jokester friend Parvaiz (Raghav Juy, bringing full energy, add to the wild, messy world.
What’s turning heads is how the series takes a close look at Bollywood’s biggest problems. Nepotism? Absolutely. Karishma’s character tackles the subject head-on, making sharp points that feel like inside jokes aimed right at audience expectations. Aryan even weaves in a nod to his 2021 scandal as a dream sequence, blending satire with real-life struggles.
Bastards of Bollywood Title Controversy
Fans see the gritty world of media, crime connections, ego clashes, and even public blacklisting, all spiced up with strong language and quick wit, giving even shows like Succession some competition for sharp dialogue.
The season finale drops a twist—turns out the asterisk in “Ba***ds” spells out “Bastards”—revealing a meta layer with a film inside the show and all but calling for a second season. Netflix hasn’t confirmed it yet, but the reaction suggests it’s only a matter of time.
Part of the excitement comes from surprise cameos. Rather than subtle nods, these are show-stopping moments. Shah Rukh Khan makes an appearance, giving fans memorable quotes that explode into memes overnight. Salman Khan and Aamir Khan share a tongue-in-cheek scene about local food favourites, and S.S. Rajamouli jokes about his own blockbuster films.
Emraan Hashmi offers up a self-parody that goes viral, and Arshad Warsi, playing the dangerous ‘Ghafoor,’ gives Episode 4 an edge that won’t be soon forgotten. One social media post summed up the mood: “If you’re a nepo baby, use it, don’t run from it”—echoing the spirit of this very show.
Most reviewers are genuinely impressed or, at the very least, entertained. Bollywood Hungama gave it 3.5 out of 5, calling it “outrageous and very well made, packed with memorable scenes, big laughs, and star power in every corner.” Abhimanyu Mathur of Hindustan Times rated it three out of five, appreciating its “fearless self-reflection” but also noting the story stays light throughout.
Sana Farzeen of India Today gave it 3.5, praising its honesty and sense of fun. On Rotten Tomatoes, critics rated it at 82 percent while audiences pushed it past 90, with plenty of fans admitting to binge-watching all episodes and dropping other shows for it. The consensus? It’s over the top, chaotic, and a whole lot of fun.
Online, #TheBadsOfBollywood was trending within hours, climbing to 1.2 million mentions on X in just two days. Fans analyze each reference, from Karan Johar’s self-mockery to a sensitive take on the Sushant Singh Rajput tragedy in the “cancelled star” subplot of Episode 5. One viral post highlighted the show’s wild, affectionate tone: “It’s not about mocking Bollywood but celebrating its madness.”
Star-Studded Mumbai Launch
The catchy soundtrack, led by Diljit Dosanjh and composed by Anirudh Ravichander, is climbing charts and TikTok edits of the hit “Tenu Ki Pata” are everywhere. The show is even pulling in new viewers from the U.S. and Europe, with international fans joining discussions and memes online.
For Aryan Khan, this success is a clear turning point. At the star-studded Mumbai launch, Bobby Deol’s spontaneous dance broke the usual red carpet stiffness and video clips of Aryan cracking a rare smile quickly went viral, changing perceptions of the director overnight.
Deol told Bollywood Hungama, “He’s more than just SRK’s son, and it’s obvious now.” Aryan’s writing (with Bilal Siddiqi and Manav Chauhan) carries both sharp one-liners and real emotion, matching SRK’s witty side with a tougher edge. Jay Oza’s camerawork brings Mumbai’s colours to life, and Shashwat Sachdev’s music ties the drama together.
Timing matters, too. In the post-pandemic world, as Bollywood works to reconnect with audiences after a string of box office letdowns, this series lets people enjoy a bit of inside drama. Fresh faces like Lakshya get the spotlight, while seasoned actors like Manoj Pahwa show their staying power. The show’s blend of Hindi, Punjabi, Tamil, and even Kannada makes it one of Netflix’s most inclusive Indian series since Heeramandi.
Of course, there are a few potholes. The adult language feels a bit much in softer scenes, and dubbing slips up in a few moments. Some call the plot predictable underneath all the comedy and chaos, fair for a debut, but compared to safe, glossy sequels, The Bastards of Bollywood comes off as daring and refreshingly unfiltered—a messy but loving nod to Bollywood’s troublemakers and survivors.
Watching the series during a Mumbai rainstorm, one line stood out: “Bollywood doesn’t break you; it remakes you.” Aryan Khan has felt that himself, and now so has everyone who pressed play. If this is what happens when nepotism meets courage, then bring on another helping. If Season 2 comes, audiences are ready for it.
