Rana Daggubati is back as the fixer who can clean up anything — except his own mess. Venkatesh Daggubati returns with his fiery swag. Add to the mix the brooding intensity of Arjun Rampal and the sparkling entry of Kriti Kharbanda, and what you get is Rana Naidu Season 2 — a cocktail of cricket, crime, and chaotic family ties. But is this new season a dhamaka or just more of the same thakela drama?
Let’s spill the chai.
The Swag is Back, But So Are the Flaws
Just like Season 1, Rana Naidu 2 thrives on attitude. The tone is gritty, stylish, and soaked in testosterone. You get gang wars, dirty politics, and scandalous secrets wrapped in a shiny Netflix package. But beneath the glossy surface lies a script that feels like déjà vu.
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The writing squad — yes, we counted at least half a dozen cooks in this chaotic kitchen — tries again to give an Indian twist to a foreign concept. But it feels like they’ve seen the world, just not the gallis and mohallas of India lately. There’s a clear disconnect between the flashy storytelling and ground reality.
Meet Rauf Mirza, the New Animal in Town
Here’s a twist: enter Arjun Rampal as Rauf Mirza, a gangster who swings a cricket bat like it’s a weapon of mass destruction. Honestly, he’s got that Animal energy going — unhinged, violent, and unpredictable. It’s deliciously over-the-top and might just be the season’s most fun twist.
Another surprise? The OTT debut of Kriti Kharbanda. She plays Alia Oberoi (yep, that’s the name), the studio owner’s daughter who adds a modern, rebellious spark to the show. Her story touches on broken family bonds and shifting values, trying to reflect society’s changing lens on relationships — though at times it feels like she’s been dropped into the chaos without a proper arc.
Masala Without the Meal
From politics to power games, the series throws in everything it can. But here’s the problem — it’s all spice, no soul. Think of it like ordering a thali and getting only pickles and chutneys. Where’s the dal-roti of storytelling?
The direction — shared by Karan Anshuman, Suparn Varma, and Abhay Chopra — feels scattered. One minute you’re in a cricket-fixing racket, the next you’re deep in emotional family mess, and then boom — another shootout or dramatic monologue. The pacing stumbles, and the narrative feels stretched thin.
Performances: Who Stands Tall?
Rana Daggubati remains the show’s anchor. His screen presence is solid, his performance convincing, and he carries the weight of this messy plot on his sturdy shoulders. He’s the reason the show still holds your attention.
Venkatesh, though, seems a bit lost. His character, which once had raw appeal, now borders on exaggerated. The emotional beats fall flat, thanks to repetitive writing and overacting.
Surveen Chawla tries injecting some real emotion into the story. And Dino Morea, in his limited scenes, brings in a flicker of intrigue. But it’s Ishita Arun, in a brief role, who manages to make the most impact — talk about stealing the scene in under five minutes.
A Family Full of Villains — But No Hero in Sight
If you’re looking for someone to root for, good luck. Every major character is a shade of grey — or plain dark. The series tries hard to make Rana an anti-hero in the vein of Deewar, but that emotional connection just doesn’t build.
And with so many Mirzapur-style references — from violent families to criminal dynasties — it’s tough not to feel like we’ve seen this all before. Only this time, it’s not as gripping.
Final Verdict: Watch It… If You Love Desi Drama Served with Swear Words
Rating: 2/5
If your idea of entertainment is intense stares, family fights, cricket-fixing, and a splash of blood on designer jackets — then Rana Naidu Season 2 might just be your jam. It’s flashy, it’s dramatic, and yes, it’s unapologetically loud.
But if you’re craving depth, strong writing, and characters that leave a lasting impression, this one might not hit the boundary.
Then again, in the OTT world, sometimes all you need is a chaotic, high-octane fix. And Rana Naidu 2 delivers just that — messy, masaledaar, and unapologetically wild.
Now, where’s that popcorn?
