It is here that The Romantics risks becoming a hollow, self-congratulatory corporate PR exercise. That very ivory tower-led filmmaking shines every brighter in the third episode, titled The New Guard, which goes all in on the nepotism discussion.

Stories that hinge on aspiration rather than reflecting reality and embracing who we are.

'Your eyes have something that can't be wasted on action' Adi reportedly told him, adding, 'In this country, a superstar will only be that person who is every mother's son, every sister's brother and every college girl's fantasy.' What follows is a fittingly lengthy look back at the makings of the cultural sensation that is DDLJ.Ī particularly telling moment from the episode is when Adi muses 'I think Indian cinema represents Indians, and Indians are people who constantly aspire to more than who they are.' It is a stray thought that says a great deal about the YRF and Dharma school of filmmaking and the specific subset of India they represent. It was the sets of that film that served as the foundation of his friendship and winning collaboration with a young Shah Rukh Khan – the TV actor turned budding movie star, who wanted to be an action hero and opt for darker roles who was forced into the world of romance that would come to define him. He goes on to discuss assisting his father on films like Lamhe (which remains an objectively creepy male fantasy film) and, two years later, Darr. Fun fact: during their film-family birthday parties growing up, the dance-offs were always won by Adi, leaving second place to a young Hrithik Roshan. A spirited, excitable Adi (everyone else seems to be on a nickname basis with him so I am going to join right in) recounts his own origin story, with additional inputs from childhood friends Hrithik Roshan, Abhishek Bachchan, Karan Johar and Uday Chopra. The second episode tells the Aditya Chopra story and finally introduces us to the mystery man himself (who seems entirely at ease here).

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