Netflix’s upcoming comedy Best of the Best, premiering September 18, marks a significant shift for Maitreyi Ramakrishnan. While audiences have come to expect her in leading dramatic roles, Ramakrishnan emphasizes that she earned her spot in the coming-of-age film through a rigorous audition process rather than being hand-picked due to her fame from Never Have I Ever.
The film, co-created by Patriot Act host Hasan Minhaj and his writing partner Prashanth Venkataramanujam, is described as their response to the Step Up franchise. It follows Maya (Ramakrishnan) and Anjali (Priyanka Kedia), childhood friends who reunite at UCLA and compete for spots on the university’s prestigious Bollywood dance team.
Ramakrishnan recently met with reporters at East Tea Can in Mississauga, Ontario, to discuss her transition from television to film. She noted that her character, Maya, contrasts sharply with her previous role as Devi. Where Devi struggled with cultural insecurities, Maya is confident, rebellious, and dismissive of any challenges to her dance supremacy. Minhaj cited this emotional depth, combined with Ramakrishnan’s natural comedic talent, as key reasons he believed she was the only choice for the role.
To prepare for the physical demands of the film, Ramakrishnan underwent four months of intensive training. Although she studied Bharatnatyam as a child, she admitted she was not a dancer and feared misrepresenting the community. Her preparation included a two-month boot camp in Los Angeles and another two months in New Jersey, where she trained six days a week in styles ranging from classical Kathak to hip-hop and contemporary dance.
The film’s choreography, led by Joya Kazi, reflects the real-world evolution of South Asian diaspora culture. Minhaj explained that the movie showcases a fusion of traditional Indian movements with modern American styles like breaking and krumping, mirroring trends seen in online dance competitions and viral videos by dancers such as Usha Jey.
Minhaj highlighted that the project offers a unique opportunity to explore a unified South Asian identity in America, free from the social and political barriers that often separate cinema from India, Pakistan, Bangladesh, and Sri Lanka. The soundtrack further emphasizes this blend, featuring tracks like Truth Hurts’ Addictive, which samples the 1969 Hindi song Thoda Resham Lagta Hai.
For Ramakrishnan, the collaborative process with Minhaj and director Lena Khan allowed her to help shape the film’s tone. The result is a movie that celebrates the complexity of growing up South Asian in America, using dance as a vehicle to tell a story of friendship, competition, and cultural pride.
Maitreyi training for four months is impressive, but I wonder if the dance scenes will feel authentic or just polished Hollywood nonsense?
Finally, a Step Up-style movie with actual cultural depth! The fusion of classical and hip-hop sounds incredible.