on General Zia’s nuclear ambitions.

At 2.5 hours total, the short runtime is the show’s only real mercy. While the pace is brisk and action frequent, it leaves little room for character development or emotional weight. The format fails to capitalize on the very thing OTT allows—depth and nuance. Instead of digging into Doval’s psyche or Maryam’s stakes, Salakaar gives us caricatures wearing spy costumes and racing through plot points like a to-do list.

Mouni Roy’s character, despite her position as a capable agent, is written with the depth of a 90s heroine—always needing rescue. Roy does her best, trying to portray strength through minimal material. Naveen Kasturia fares better, showcasing promise in the action scenes and delivering moments of intensity that hint at what the show could’ve been. Mukesh Rishi, as General Zia, brings menace and weight, providing one of the few memorable performances.

What really derails Salakaar is its sloppy attention to detail and jarring tonal shifts. Intelligence officers make rookie mistakes. Terminology like “embassy” and “high commission” are used interchangeably. Covert ops are carried out as if in a Bollywood musical. The show seems confused—part Argo, part Kingsman, with the subtlety of a sledgehammer and none of the satire.

Director Faruk Kabir seems more interested in fast-paced montages than coherent storytelling. In trying to pay tribute to Doval, Salakaar unintentionally undercuts his legacy. Tributes demand care and depth. This one merely ticks boxes, hoping patriotic visuals will cover for weak execution.

In the end, Salakaar is not a disaster, but it’s not a worthy homage either. It’s watchable, thanks only to its runtime and a few strong performances. But if you’re still searching for India’s Argo, the hunt continues.