When Aryan Khan finally unveiled his much-anticipated directorial debut, The Ba**ds of Bollywood, all eyes were on Netflix to see whether Shah Rukh Khan’s son could live up to the towering expectations. Four days into its release, the numbers tell an interesting story: the show has debuted at #4 globally among non-English series, with 2.8 million views and 14.8 million hours viewed. Impressive by any standard, but as always in Bollywood and in streaming, the comparisons are inevitable.
Global Entry, Not Just Local Hype
Unlike many Indian series that take weeks to build traction beyond the subcontinent, The Ba**ds of Bollywood made an immediate mark worldwide. Netflix’s Tudum data confirms that the series, despite being released on a Thursday and thus having fewer days to rack up numbers, managed to break into the top 10 across all languages. In fact, it even edged past Wednesday Season 1, which logged 2.1 million views in the same week.
That in itself is no small feat. Aryan’s show is holding its own in a marketplace dominated by American blockbusters and glossy K-dramas. At the same time, the French limited series Bon Appétit, Your Majesty continues to lead the non-English chart with 6.5 million views, while Wednesday Season 2 towers above everything else with 7.2 million.
The Heeramandi Benchmark
And yet, in India, another number looms large: Sanjay Leela Bhansali’s Heeramandi. When it was released last year, Bhansali’s opulent drama set the bar staggeringly high, with 4.5 million views and 33 million hours watched in its debut week. In contrast, Aryan Khan’s satirical portrayal of Bollywood politics and stardom fails to achieve the same level of success.
Of course, context matters. Heeramandi was a prestigious period drama by a legendary filmmaker, backed by Bhansali’s signature larger-than-life storytelling. Aryan’s show, on the other hand, is a biting, irreverent satire, an entirely different genre that doesn’t traditionally draw as broad an audience. Where Heeramandi dazzled with grandeur, The Ba**ds of Bollywood* relies on wit, meta-humor, and cameos to keep viewers hooked.
What the Show Is Really About
For those yet to tune in, Aryan Khan’s directorial debut tells the story of Aasmaan Singh (Lakshya), an outsider who gets his big break in the chaotic world of Bollywood. He lands a dream project with eccentric producer Freddie Sodahwallah (Manish Chaudhari) while simultaneously trying to juggle an acting role in a Karan Johar film and his growing romance with co-star Karishma (Sahher Bambba).
The casting itself is a clever nod to Bollywood’s complex dynamics. Alongside newcomers, the show ropes in established actors like Bobby Deol, Mona Singh, Raghav Juyal, Anya Singh, and Manoj Pahwa. But what truly fuels the buzz are the cameos: Shah Rukh Khan, Salman Khan, Aamir Khan, S. S. Rajamouli, Ranbir Kapoor, Ranveer Singh, Emraan Hashmi, and Arshad Warsi all pop up, making the series feel like a love letter and a roast rolled into one.
Shorter Episodes, Tighter Impact
One reason the show’s “hours viewed” metric is lower than its peers, despite strong viewership, is its format. With seven episodes running 40–50 minutes each, the total runtime is leaner than most 8–10 episode seasons. Whereas this necessarily entails a decrease in viewing time, it also works to complement Aryan’s wish to keep the story tight and avoid unnecessary sprawl, a pleasant departure from an era of stodgy streaming epics.
The Burden of Expectations
Regardless of whether the statistics are read or not, Aryan Khan’s debut comes with a greater level of scrutiny. Being the son of Shah Rukh Khan, every achievement or shortcoming is magnified. A #4 debut globally, in just four days, is remarkable. Yet, headlines will inevitably pit his show against Heeramandi or even against Netflix’s international juggernauts.
In truth, Aryan’s achievement lies not in surpassing those records but in carving a space of his own. The Ba**ds of Bollywood proves that Indian satire, sharp, self-aware, and laced with industry in-jokes, can resonate with a worldwide audience. That it sits alongside French, American, and Korean hits on the same list shows that global viewers are ready for new flavors of storytelling.
Looking Ahead
What remains to be seen is whether the series sustains its momentum in the coming weeks. If word of mouth and curiosity around the cameos hold strong, The Ba**ds of Bollywood could climb even higher. At the very least, Aryan Khan has announced his arrival not just as “Shah Rukh’s son,” but as a filmmaker willing to take risks.
Bollywood may be full of bastions and gatekeepers, but Aryan’s satire suggests there’s room for outsiders, too, even if they come from the most famous film family of them all.