Aryan Khan has lived his life in the spotlight, yet he has chosen a path behind the camera for his first professional venture.
“The Ba***ds of Bollywood,” is his debut directorial project for Netflix, featuring an upbeat and unapologetically entertaining narrative that candidly explores themes of nepotism, ambition, and betrayal within the Hindi film industry of India.
Produced by Bollywood luminaries Shah Rukh Khan and Gauri Khan under Red Chillies Entertainment, the series follows Aasmaan Singh (Lakshya), an aspiring actor pursuing fame alongside his best friend Parvaiz (Raghav Juyal) and manager Sanya (Anya Singh). His familial support comes from his uncle Avtar (Manoj Pahwa), mother Neeta Singh (Mona Singh), and father Rajat Singh (Vijayant Kohli). Tensions rise when Aasmaan secures a role alongside Karishma (Sahher Bambba), the daughter of established star Ajay Talvar (Bobby Deol), with industry complexities introduced through producer Freddy Sodawallah (Manish Chaudhari) and former star Jaraj Saxena (Rajat Bedi) in this self-aware portrayal of Bollywood.
The series has already gained traction, appearing in Netflix’s global top 10 for non-English content and reaching the No. 1 position in South Asia.
“From an early age, I have preferred storytelling,” Khan remarked to Variety. “I always felt a vast array of stories within me, and I believe I can convey them in unique and captivating ways. There is more control when you’re behind the camera, and it’s simply more enjoyable. When you engage in something you’re passionate about, it transcends the realm of being just a job, making it something you eagerly anticipate each day.”
Khan’s early exposure to filmmaking was greatly influenced by his father. “My father delves deeply into filmmaking aspects, from VFX to lighting and camera work. When I was younger, he would demonstrate how effects are achieved, like making a plane appear as if it were flying without actually flying. To a child, it felt magical,” he reminisces. By the age of 10 or 11, Khan was working with VFX on iMovie and editing videos using Final Cut Pro.
Alongside his longtime collaborators, writers Bilal Siddiqi (known for Netflix’s “Bard of Blood”) and Manav Chauhan, Khan took this creative journey. “Manav, Bilal, and I have been creating films together since our early teens,” Khan shares. The team experimented with various storytelling forms, producing numerous short films, including an ambitious 21-minute superhero series pilot. “We crafted at least 15 to 20 short films for various projects, including endeavors for aspiring film students and actors,” he recalls.
Throughout the COVID-19 lockdown, they maintained their creative momentum. “We created a work during lockdown which was filmed at home, involving my sister [“The Archies” star Suhana Khan] and my dad, with me serving as the DOP. This was when we began to explore our ideas more thoroughly, thinking about potential storylines and narratives, ultimately aiming to execute them on a broader scale,” Khan explains.
Chauhan, who has contributed to films such as “Raees” (featuring Shah Rukh Khan) and “Tenet,” adds: “We produced short films together, utilizing whatever tools we had, including cameras and phones, while acting and directing the projects ourselves. Aryan excelled as a dialogue writer, while my strengths lay more in entertaining visuals. He gradually transitioned into directing as well.”
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What distinguishes “The Ba***ds of Bollywood” is its unwillingness to conform to a specific genre. “It’s not a conventional comedy; it’s not a sitcom,” Siddiqi observes. “The show balances various elements, making it hard even for us to categorize. This flexibility allows us to express narrative in ways that defined genres such as spy or action films cannot accommodate. We had a lot of fun exploring this creative freedom while adhering to an overarching dramatic arc.”
Khan elaborates on utilizing genre fluidity in storytelling: “Our script allows us to blend action moments, emotional beats such as a death scene, and romantic comedy elements, enabling us to explore diverse genres. This is feasible given the series’ length.”
He continues: “The initial three episodes are lighter in tone, gradually building towards poignant moments. We develop characters early on, leading to a climax that is ultimately fulfilling due to the defined stakes associated with each character. By combining elements from different genres, we can explore varied storytelling avenues. As we are creating a series about the film industry, the storytelling possibilities are extensive.”
The decision for Khan to direct all seven episodes was pivotal. Siddiqi noted the significance: “Taking on the direction of all seven episodes was a substantial move to ensure our intended tone was authentically portrayed. It required great commitment from him and the larger team.”
Chauhan highlights specific successes born from Khan’s unified vision: “The setups and payoffs are intricately crafted; for example, the initial cameo by Emraan Hashmi [playing himself] in the first episode aligns perfectly with the payoff in the third, reflecting a nuanced understanding of tone that only Aryan possesses.”
The series features numerous industry luminaries making cameo appearances, such as Hashmi, Shah Rukh Khan, Aamir Khan, Salman Khan, Karan Johar, and S.S. Rajamouli, offering a critical look at industry dynamics. Yet, Aryan Khan emphasizes the careful balance they maintained. Asked about addressing themes of nepotism, ambition, and betrayal, he considers: “The intriguing aspect of the show lies in portraying various truths and falsities within Bollywood. The blend creates a sense of mystery and allure that captivates viewers, compelling an array of reactions and interpretations based on the grandiosity and enigma of the industry.”
He adds: “We certainly pushed for screen authenticity, knowing there would be elements inspired by real-life occurrences, and some exaggerations. This is far from a documentary experience.”
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On creative boundaries, Khan observes that the team self-imposed their guidelines. “We aimed to be humorous without crossing into disrespect. Maintaining a respectful line was vital, especially while creating something about the industry. Accepting jokes aimed at oneself is fundamental to effective comedy. The industry responded well, and we consciously steered clear of being disrespectful, focusing instead on self-deprecation.”
Khan also speaks to the tonal boundaries they established internally: “We wanted to avoid purely slapstick humor. While slapstick moments exist, the story portrays a range of emotions. The narrative fundamentally revolves around family dynamics, aiming to evoke emotions from the entire cast. Thus, maintaining tight parameters while also exploring was crucial.”
Siddiqi highlights that their creative choices stemmed from instinct and in-depth discussions, rather than external constraints. “We dedicated significant time to writing, with some ideas naturally fitting while others didn’t. When a notion felt right from the start, we embraced it. We aimed to subvert traditional narratives, particularly in themes associated with Bollywood rom-coms.”
Khan acknowledges certain resistance during the latter stages of production: “We encountered feedback on scenes being too this or that, but I held my ground. If the show isn’t appealing to you, it may still resonate better with others, whether it’s an 18-year-old or someone from a different demographic who appreciates those types of humor.”
Khan believes the show’s core is anchored in its characters, a distinction that sets it apart from other series. “The essence lies in its characters. When we created this show, we aimed for a longer format to adequately portray the characters in a way that resonates with audiences long after. Similar to how “Friends” became ingrained in popular culture, we aspired for our characters to become household names that audiences quote.”
