In a tragic turn of events, a police constable named Muthukumar was allegedly killed during a drunken altercation in Usilampatti, Madurai district, on 27 March 2025. His body has been sent to Government Rajaji Hospital for a post-mortem examination.
According to police reports, Muthukumar, a 2009-batch constable who worked as the driver for the Usilampatti Town Inspector, was off duty at the time of the incident. He had visited a TASMAC liquor shop within the Sindupatti police station limits along with his cousin, Rajaram.
While at the shop, an argument broke out between Muthukumar and a group of individuals. After the confrontation, he and his cousin left and proceeded to a farm located under the Usilampatti Town police station’s jurisdiction.
However, the same group followed them to the farm, leading to another heated exchange. The altercation escalated into violence when the gang attacked Muthukumar with stones and an iron rod before fatally crushing his head with a boulder. He died on the spot.
Following the incident, Madurai Superintendent of Police B.K. Arvind visited the crime scene. Meanwhile, Usilampatti police have launched a search operation to track down the suspects.
A shocking and disturbing case has come to light as the Tirunelveli Mahila Court on 27 March 2025, sentenced a Christian priest and his driver to seven years of concurrent imprisonment for sexually assaulting multiple women and threatening to leak their intimate photos online in 2016.
Following a detailed trial, Judge T. Panneerselvam convicted 47-year-old priest Joshua Emmanuel from Karuppur near Ettayapuram in Thoothukudi district, and his 32-year-old driver Vinoth Kumar. Joshua was sentenced to 24 years under various sections of the IPC and IT Act, but the court ruled that he would serve seven years concurrently. He was also slapped with a ₹54,000 fine. Meanwhile, Vinoth Kumar, who was found guilty of assisting in the crimes, received a 15-year sentence under different sections, to be served concurrently for seven years, along with a ₹3,000 fine.
The heinous crimes were committed under the guise of religious rituals. Joshua Emmanuel deceived women by claiming to perform prayers to remove ‘evil forces’ affecting their lives. He allegedly took them to isolated locations, where he sexually assaulted them and extorted their jewelry. Additionally, he lured educated women with false promises of government jobs before subjecting them to abuse.
The horrifying case unraveled when a 24-year-old woman and a 26-year-old B.Ed student from the district filed complaints with the Tirunelveli Superintendent of Police. One of the victims revealed that Joshua took her to Salem and assaulted her. The B.Ed student, who accused the priest of sexual exploitation, later died by suicide, leaving behind a note blaming him.
Following the explosive complaints, police launched an investigation and arrested Joshua Emmanuel and Vinoth Kumar from Virudhunagar. This chilling case has sent shockwaves across the region, exposing the dark side of abuse hidden behind religious deception.
After advising the DMK run Greater Chennai Corporation to “learn from Indore” in handling urban issues, Sivaganga Congress MP Karti Chidambaram has now petitioned Prime Minister Narendra Modi to take urgent action on the rising health and safety risks posed by India’s growing stray dog population, which is closely linked to rabies cases.
Sharing details on social media, Karti Chidambaram stated, “Met the Hon’ble Prime Minister today in his Parliament House office to bring to his notice the growing health & safety concerns posed by stray dogs. India is home to one of the largest stray dog populations globally, with over 6.2 crore stray dogs. India is also endemic for rabies, responsible for 36% of the world’s rabies-related deaths. Despite the introduction of the Animal Birth Control (ABC) Rules, 2023, the implementation has been ineffective. I raised concerns about the inadequacy of the current system, where local bodies lack the resources, funding, and technology to tackle this issue effectively. It’s clear that urgent action is required. I suggested establishing a National Task Force to provide a holistic, humane, and scientific solution while working closely with local bodies. Additionally, dedicated shelter houses and a long-term plan must be in place to address this challenge.”
Only recently Congress MP Karti Chidambaram sparked debate on 25 March 2025, by suggesting that the Greater Chennai Corporation should take lessons in waste management from Indore, a city in BJP-ruled Madhya Pradesh known for its cleanliness.
Reacting to reports that Chennai officials plan to visit Europe in May to study waste management techniques, Karti took to X, questioning the effectiveness of such foreign study tours. He posted, “Can the @chennaicorp name one learning & implementation of a practise from any of the previous study tours? Poor garbage management, street dogs & cattle, broken sidewalks & potholed roads is the hallmark of Chennai. Visit Indore to start with.“
Can the @chennaicorp name one learning & implementation of a practise from any of the previous study tours? Poor garbage management, street dogs & cattle, broken sidewalks & potholed roads is the hallmark of Chennai. Visit Indore to start with. https://t.co/yDCko3AaL2
His remarks, seen as an unexpected endorsement of Indore’s municipal administration under the BJP, come amidst the Congress being in alliance with the DMK in Tamil Nadu which remains at odds with the BJP government on various issues, including language policies and delimitation.
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Prithviraj Sukumaran isn’t just an actor, producer, and director—he’s a self-anointed crusader for the leftist elite, wielding cinema as a weapon to smear Hindus, the Bharatiya Janata Party (BJP), and Prime Minister Narendra Modi. Born into a film family in Kerala, Prithviraj has built a career on privilege while posturing as a champion of downtrodden. His collaborator, screenwriter Murali Gopy, openly admits to an “anti-right” stance while criticizing the mainstream Left for not being pure enough, as noted in a 2023 Indian Express interview. Gopy’s influence is evident in Prithviraj’s projects, which drip with disdain for Hindu nationalism and Prime Minister Narendra Modi’s vision of a united India. From his social media virtue-signalling to his filmography, Prithviraj peddles a worldview that romanticizes Kerala’s red-draped politics, cajoles the Islamists, vilifying anyone who dares to embrace Hindu pride or support the BJP. He’s not a filmmaker—he’s a propagandist with a camera, and through his works – Empuraan and Jana Gana Mana – he is waging an ideological/political warfare against Hindus who are vocal and support Prime Minister Modi.
Dissecting Empuraan: A Cinematic Hit Job On Hindus And BJP That Shows A PM Modi Look Alike Getting Killed By Foreign Agents
Empuraan, released on March 27, 2025, and co-starring Mohanlal, is Prithviraj’s most brazen assault yet on Hindus, the BJP, and Modi. The film opens with a disclaimer—“All scenes and characters depicted are fictional”—but what unfolds is a calculated distortion of history, starting with a village burning in 2002, a clear reference to the Godhra riots. That real event saw a Muslim mob burn a train, killing 59 Hindu pilgrims, sparking riots. Like a typical leftist dimwit, Prithviraj erases the initial attack, showing only Hindu mobs as aggressors—beating a Muslim boy to death, attacking Muslim refugees, and raping a pregnant Muslim woman in a Hindu household.
On the other hand, the Sabarmati Express carnage “accidentally” catches fire from inside which the Gujarati Hindu communal party leader Bajrang Patel, uses it as an opportunity to kill Muslims and grab power. A Muslim boy (Prithviraj) escapes from there and takes revenge on the Hindu leader who, by now, has become a national leader of ruling Hindu party.
Credits: @Pora_Babu on XCredits: @Pora_Babu on XCredits: @Pora_Babu on X
The propaganda intensifies with the Hindu mob leader named “Bajrang,” a blatant nod to Bajrang Dal, a Hindu rights group tied to the RSS. He later becomes the national leader of the Hindu party and is portrayed as someone close to the Home Minister.
Credits: @Pora_Babu on X
And then you’ve Jathin “Ram” Das, a sitting CM who joins hands with the pro-Hindu party at the Centre. In real-life, it translates to the Centre engineering a split in Congress to bring a Hindu party to power in Kerala.
Credits: @Pora_Babu on XCredits: @Pora_Babu on X
The film frames this merger as a betrayal of Kerala’s culture, a divisive message rooted in the state’s history of “secular” pandering of the Islamists by the Communists. A villain resembling Narendra Modi spouts baseless claims about Kerala’s “600 km coastline” being used for drug smuggling, while a reference to a bomb on a dam—read: Mullaiperiyar—stokes fear with reckless sensationalism. What Prithviraj is implying is there’s a conspiracy being hatched by the Hindu “fanatic party” to explode a major dam and kill millions.
The climax is a chilling fantasy: “Bajrang” is defeated by a Christian “Lucifer” (Mohanlal) and a Muslim “Zayed” (Prithviraj), a non-Hindu alliance defeating the Hindu leader “Ramdas” who is then killed by a Chinese mafia. Is Prithviraj’s fetishing that Narendra Modi be killed by Chinese agents and foreign forces?
@Pora_Babu on X
Throughout the film, agents of the ‘Deep State’ and foreign forces are shown in good light. A British intelligence agent aids Lucifer, hinting at a “deep state” plot while a “Christian NATO” targets Hindus for supporting pro-Hindu parties.
@Pora_Babu on X@Pora_Babu on X
Muslims are portrayed as “innocent,” like Zayed saving girls from trafficking, despite NCRB data showing Muslims, 14% of India’s population, made up 19% of prisoners in 2022—a statistic often debated in discussions of crime and communal bias.
@Pora_Babu on X
Meanwhile, a character in a tricolour saree—symbolizing the Congress—gives a speech on democracy only to be arrested by the Enforcement Directorate (ED), a dig at real-world ED raids. It is another matter that the commie Prithviraj has shown the Congress too in bad light once again hammering that he’s a two-bit propagandist of the hammer-sickle party.
@Pora_Babu on X
Cinematically, Empuraan is a disaster. Poorly edited, technically weak, and stretched beyond reason, its camera work is a mess, with random angles that add nothing. The hyped “OTT-quality shot” Prithviraj bragged about is nowhere to be seen—unless he meant the third-rate visuals that dominate the film. Mohanlal is sidelined, while Prithviraj’s Zayed hogs the spotlight, turning a supposed epic into a soapbox for ideological score-settling.
Jana Gana Mana: A Masterclass In Hypocrisy And Anti-Hindu Bias
Prithviraj’s 2022 film Jana Gana Mana is another chapter in his anti-Hindu, anti-BJP crusade, cloaked as a socio-political thriller. The film claims to oppose discrimination, with a scene criticizing a textbook for injecting “the politics of color into the mind of a six-year-old.” Yet it casts a fair-skinned Prithviraj as the virtuous hero fighting for the “oppressed,” while the villain, a dark-skinned Tamil-speaking politician named Nageswara Rao, is steeped in Hindu religious symbols and heads the RJSP party—sporting saffron and RSS-ish flags, a clear jab at the BJP. Rao is the prime accused in the “Ramanagara Riots,” a fictional event that mirrors real-world communal tensions often blamed on the BJP by its critics.
Credits: @labstamil on XCredits: @labstamil on X
The film’s villains are tellingly named—Raghuram Iyer (advocate representing the State), Shwetha Gupta (Chairperson of National Commission for Women), and a casteist professor, Vydarshan—surnames that scream “upper-caste Hindu identity”, while a “good” PhD guide, “Hamid sir”, is Muslim.
Credits: @labstamil on XCredits: @labstamil on XCredits: @labstamil on XCredits: @labstamil on X
A student’s thesis on the “perpetuation of caste system in 21st century India” ends in her suicide, with the blame pinned on a “Central” university whose director, resembling Modi, ignores enquiry reports—a thinly veiled attack on the PM.
Credits: @labstamil on XCredits: @labstamil on X
Every “good” character is either Muslim or a non-practicing Hindu, while “bad” characters flaunt Hindu symbols or symbols/colours associated with the RSS and BJP.
Credits: @labstamil on X
Real-world issues like demonetization (called “banning notes”) to fearmonger about the BJP “banning votes,” a baseless scare tactic aimed at Modi’s governance.
Credits: @labstamil on X
The film accuses politicians of using emotions to turn people into “bhakts,” a term weaponized by the left to mock Modi’s supporters, while ironically manipulating its audience with the same emotional tactics it decries.
Credits: @labstamil on X
The film is a masterclass on hypocrisy. It rails against “identity politics” but indulges in it shamelessly, portraying practicing Hindus as villains and Muslims as victims—a trope that fuels division while pretending to preach unity.
One of the most engaging but dishonest film is Jana Gana Mana, from Commiewood.
Infact the movie clearly states its political ideology and bigotry very clearly, including its emotional manipulation technique.
But alas, we were hooked to cinema and missed it all.
Not Just In Reel, Prithviraj Peddles Anti-Development Propaganda In Real As Well Like A True-Red Communist
Prithviraj Sukumaran’s anti-development propaganda reeks of shameless opportunism, nowhere more evident than in his 2021 crusade against Lakshadweep’s administrative reforms—a pathetic attempt to undermine the Modi government’s vision for progress. He spun a web of lies about spending “quality time” with the “warm-hearted people of Lakshadweep” during the filming of Anarkali, claiming their support to fuel his opposition to infrastructure and tourism initiatives that could have transformed the islands from a backwater into an economic hub. In truth, the Anarkali crew faced outright hostility from locals, shattering his fabricated sob story. His sanctimonious plea for authorities to “listen to the voice of the people,” as part of the ‘Save Lakshadweep’ campaign, was nothing but a dog whistle to paint development as a cultural assault, conveniently ignoring how decades of neglect had left the islands stagnant. This isn’t concern—it’s sabotage, a cynical ploy by a self-righteous fraud who’d rather see India languish in underdevelopment than admit Modi’s reforms might actually work, all while he hides behind his hollow “progressive” facade.
Prithviraj Sukumaran peddled a narrative that propped up the Islamic country of Maldives by hyping it as a celebrity paradise in a 2021 Times of India feature, gushing about his family vacation there with his wife Supriya Menon and daughter Alankrita, conveniently ignoring India’s own coastal gems like Lakshadweep. This glowing endorsement, paired with his anti-development stance on Lakshadweep, subtly steered tourism dollars to the Maldives, a nation often at odds with India’s geopolitical interests, while undermining Modi’s push for domestic tourism growth.
Propagandist Prithviraj: A Fraud Masquerading As A Filmmaker
Prithviraj Sukumaran is two-bit commie fraud, peddling divisive fantasies that vilify Hindus, the BJP, and Modi while raking in crores from a starstruck audience. Empuraan and Jana Gana Mana aren’t films—they’re hit jobs on faith, plurality, and India’s cultural soul, part of a Malayalam cinema nexus including Kuruthi and The Great Indian Kitchen that peddles anti-Hindu bile under the guise of “progressive” art. His privilege as a film-family scion fuels this hypocrisy—he’s no underdog, just a pampered propagandist cashing in on division while cloaking his attacks in “fiction.” The BJP, which has lifted India from socialist mire, and Narendra Modi, a leader of grit, don’t need lectures from this smug hack. It’s time we stopped clapping for his trash and called him what he is: a sanctimonious peddler of hate, unworthy of the screen he pollutes.
Vallavaraayan is a political writer.
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On 28 March 2025, Tamilaga Vettri Kazhagam (TVK) cadres created chaos in Thiruvanmiyur with relentless drumbeats, loud celebrations disrupting residents, and poor parking adding to the disorder. Many party workers carelessly left their vehicles on the roads, leading to severe traffic congestion and inconvenience for daily commuters. The traffic police struggled to manage the disorder, making this an unwelcome Friday ordeal for the city—all on the sidelines of TVK’s first ever general council meeting at the Ramachandra Convention Hall in Thiruvanmiyur.
Part-time politician Vijay organized this meeting to mark the party’s one-year anniversary. Massive cutouts of Vijay were erected outside the venue, with the entrance designed to mimic the Tamil Nadu Secretariat. The venue was heavily decorated with banners and posters showcasing Vijay’s political journey, while the atmosphere was filled with the rhythmic beats of dhols and nagadas.
During the meeting, more than 15 resolutions were expected to be discussed and passed, with over 2,000 members in attendance.
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The film begins with the standard disclaimer: “All scenes and characters depicted are fictional.” Yet what followed felt like a deliberate, pointed portrayal — not of fiction, but of ideological venom. The first fifteen minutes of the movie depict a village being burned down in 2002, clearly hinting at real-life communal violence. A disturbing scene shows a young Muslim boy calling for his father during an ambush, only to be brutally beaten to death by a Hindu man. This is followed by a group of Muslims seeking refuge in a Hindu household, where they are attacked once again culminating in a horrifying moment where a Hindu man rapes a pregnant Muslim woman.
These scenes were not only excessive but were filmed with a narrative that clearly paints an entire Hindu Community in a vicious and villainous light. It was deeply troubling to see such depictions presented with such intensity and bias, especially by a celebrated actor-director duo like Prithviraj and Mohanlal. This isn’t just fiction, this is a narrative choice, and a deeply polarizing one.
The film continues to propagate this agenda with the storyline revolving around a prominent political party merging with a pro-Hindu party. This, according to the director, is shown as an event that distorts Kerala’s culture and politics, a dangerous and divisive message, hinting at real-life political propaganda against the BJP.
One of the most bizarre and baseless moments in the film is when a villain affiliated with the pro-Hindu party resembling Prime Minister Narendra Modi states that “Kerala, with its 600 km coastline, can be used to smuggle drugs and psychotropic substances.” Where Prithviraj sourced this outrageous claim remains a mystery. Adding to this absurdity is a shocking reference to a bomb being dropped on a dam an unmistakable nod to the Mullaiperiyar Dam, laced with unnecessary fear-mongering and sensationalism.
The political undertone of the film turns darker in the climax. The pro-Hindu leader clearly resembling the image of Prime Minister Narendra Modi is killed. His allies are gunned down, while the ones standing victorious alongside Prithviraj and Mohanlal are portrayed as foreigners. The implication is chilling a subtle suggestion that the Prime Minister of India could be eliminated with the help of foreign forces.
From a cinematic perspective, the film is a disaster. Technically weak, poorly edited, and unnecessarily stretched, Empuraan struggles even as a work of fiction. The camera work is subpar, with random angle choices that make no visual or narrative sense. The much-hyped “OTT-quality shot” that the director bragged about during an interview is nowhere to be seen unless he meant the third-rate visuals that populated most of the film.
Though titled Empuraan, the movie narrates the story of Zayed Masood, played by Prithviraj, with Mohanlal’s character seemingly irrelevant and underutilized. For a Lalettan fan, this felt like a betrayal. The film wasn’t about him. It was about pushing a political ideology and settling ideological scores, not telling a story.
This is not the first time Prithviraj has pushed an anti-Hindu agenda. His previous film Jana Gana Mana carried similar undertones. And now, Empuraan joins a growing list of Malayalam films that seem to follow a disturbing trend Kuruthi, Kappela, The Great Indian Kitchen, and now this all produced or associated with a particular nexus involving Prithviraj, Suraj Venjaramoodu, Roshan Mathew, and producer Listin Stephen. Each film, in its own way, subtly or overtly vilifies Hindu traditions, beliefs, and institutions.
What could’ve been a grand cinematic journey turned into a politically motivated hit job. Empuraan isn’t just a bad film, it’s an attack on faith, on political plurality, and on the very soul of balanced storytelling.
Abhijith Radhakrishnan Nair is a political consultant.
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Amid Tamil Nadu Chief Minister MK Stalin’s resolution in the state legislative assembly on 27 March 2025, urging the Union government to withdraw the Waqf (Amendment) Bill, 2024, the Tamil Nadu BJP criticized the ruling DMK’s move. They released a video highlighting the impact of the Waqf Board Act on residents who have lost their livelihoods due to its biased and authoritarian nature, all under the watch of MK Stalin in the state.
The video shared by the Tamil Nadu BJP spotlighted the troubling situation in Palayapettai village in Tirunelveli district, which has around 1,500 homes. Of these, nearly 1,200 homes, some of which have been occupied for five to six generations, are now being claimed by the Waqf Board. Residents face constant harassment from Waqf authorities, who demand bribes for basic services such as setting up street lights, changing deeds from parents to children, or acquiring an NOC certificate. These bribes range from ₹50,000 to ₹1,00,000. Ironically, the Waqf Board, which came into existence in 1954, also claims ownership of a 500-year-old temple in the village.
In response, Tamil Nadu BJP posted on its official X account, stating, “It is high time that this Waqf Act, which continues to encroach upon the lands of indigenous peoples and make them refugees, without any formal documentation, should be amended.”
In the video shared by Tamil Nadu BJP, the party strongly declared, “Land is people’s recognition! Land is people’s identity! Land is people’s right! The Waqf Board seeks to seize the land that people have earned through generations of hard work, overcoming tears and hardships.”
One resident’s family in the video shared their painful experience, saying, “We have been living in the same village, in the same house, for over 150 years. Six generations of our family have lived in this house. I want to transfer the ownership of this house from my mother’s name to mine but when I tried to do, they said, ‘You cannot register it here.’ We asked the Sub-Registrar and he said, ‘Your ward has been blocked.’ When we asked who blocked it, they said, ‘The Waqf Board.’ They told us to go to the Waqf Board and obtain a No Objection Certificate (NOC). When we went to the Waqf Board office to request the NOC they demand ₹50,000 to ₹1,00,000 as a bribe. They keep saying, ‘None of the people in your area have any authority. You are all under the Waqf board’ and create issues by claiming we owe them money.”
Another resident said, “I have all the necessary documents, including the sale deed but they are refusing to proceed with the registration.”
A woman in the village shared her frustration, saying, “They claim that the land belongs to the Waqf Board and refuse to provide anything. The entire wall has cracks. When we approached the bank with the deed to request a loan they refused to provide it. What are we supposed to do?”
Another woman expressed her struggle, saying, “We are unable to build proper toilet facilities or install electric lights. When we request an electricity connection, they demand money. If we want to build a single room on our own land, they ask for separate payment for that too. So, what is the solution for us? We work hard to earn our living, while they exploit and extort money from us.” Another resident added, “They constantly come and harass us, demanding money.”
The 500-year-old temple in the village is also embroiled in disputes, as the Waqf Board claims ownership. This temple, where people have gathered to share their joys and sorrows, and the temple pond where they’ve immersed themselves in prayer, are cherished parts of the community’s life. These sacred places are now being claimed by the Waqf Board.
A villager shared, “This is the pathway to the temple and an arch was constructed here by the trustee but they came and protested saying it shouldn’t be built. We built only after obtaining permission from the police. If we try to do anything good for the temple, they say we shouldn’t. Hence, we are requesting the government authorities to resolve this issue once and for all.”
A female devotee and village resident questioned, “As Hindus, how can we not worship our deity?”
The fate of Palyapettai village in Tirunelveli district hangs in the balance, with houses on the brink of collapse, temple ponds choked with overgrown bushes, and a severe lack of basic amenities such as streetlights and proper roads. The lives of its residents remain uncertain.
எந்த வித முறையான ஆவணங்களும் இல்லாமல், மனம் போன போக்கில் பூர்வகுடி மக்களின் நிலங்களை ஆக்கிரமித்து அவர்களை அகதியாக்கும் சூழ்ச்சியாக நீடிக்கும் இந்த வக்ஃப் சட்டமானது, திருத்தப்பட வேண்டியது காலத்தின் கட்டாயம்.. pic.twitter.com/SqoAMiai65
In 2020, the Tamil Nadu Waqf Board claimed ownership of the entire Balasamudram Municipality in Dindigul district, asserting that their records indicate the area spans 389 acres. Due to ongoing legal disputes, this claim has left approximately 10,000 residents in limbo, as they can now not sell their ancestral properties.
In September 2022, the Tamil Nadu Waqf Board claimed ownership of the entire Thiruchendurai village in Tiruchirapalli, including temple lands, sparking significant concern among residents. This claim emerged when local farmer Rajagopal was required to obtain a No Objection Certificate from the Waqf Board to register his land sale, despite having proper revenue documents. The claim was recently debated in parliament, including over the 1,500-year-old Manendiyavalli Sametha Chandrasekhara Swamy temple. The Tamil Nadu Registration Department has acknowledged issues with encroachments and disputed properties but struggled to justify the Waqf Board’s claims over temple lands.
In 2023, the Tamil Nadu Waqf Board asserted ownership over land allocated to 73 Scheduled Caste families in Anganakaundan Puthur, Erode District. The Tamil Nadu government provided this land in 1980 after a flood, and since then, it has been their home for 40 years. The Waqf Board’s claim has caused significant challenges, including transferring land titles, registering deeds, and obtaining loans.
In January 2023, the DMK government wrongly reclassified 57 acres of agricultural land in Veppur village, Ranipet District, as Waqf Board property. This land, which Hindu families had farmed for decades, was abruptly claimed by the Waqf Board without proper notice or due process, causing considerable distress among the affected farmers.
On 11 August 2024, former Tamil Nadu Waqf Board President Abdul Rahman claimed that the Peyazhwar Temple in Mylapore, Chennai, which is allegedly situated on land claimed by the Kutchery Road Mosque.
In January 2025, residents of Min Nagar in Kanchipuram district faced challenges after the Tamil Nadu Waqf Board claimed 2.43 acres of land they’ve lived on for over 40 years. The Kanchipuram Registrar’s Office confirmed the claim, hindering property registrations. The land was purchased in 1982 by employees of the Kanchipuram Electric City Office.
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“L2: Empuraan,” unleashed on March 27, 2025, was billed as Mohanlal’s triumphant return, a sequel to “Lucifer” meant to hoist Malayalam cinema into the stratosphere. Instead, it’s a grotesque propaganda vehicle, steered off a cliff by director Prithviraj Sukumaran and writer Murali Gopy, with Mohanlal as Khureshi Ab’raam/Stephen Nedumpally reduced to a pawn in their sanctimonious game. What could have been a cinematic triumph is instead a shameless assault on Hindu sentiments, the BJP, and Prime Minister Narendra Modi, delivered with the finesse of a drunk uncle ranting at a wedding. Much like Rajinikanth’s trash film “Kaala” which blatantly peddled anti-Hindu and anti-BJP propaganda, “Empuraan” swan-dives into the same cesspool, dragging Mohanlal’s legacy down with it in a spectacle of political posturing and betrayal. If the entire review has to be summarized in a single line – Empuraan is worth nothing except for the meaning you get when you misread the name in Tamil. For a detailed analysis read further.
Kaala:Rajini::Empuraan:Mohanlal
In Kaala, the anti-Hindu streak is blatant and unapologetic. Ranjith casts Rajinikanth as a Dharavi slum leader, a dark-clad “Ravana” figure pitted against Nana Patekar’s white-clad, Ram-worshipping villain, Hari Abhyankar, the leader of Navbharat Nationalist Party (a BJP stand-in). The film flips the Ramayana on its head, glorifying Ravana as a Dravidian hero while mocking Rama as a symbol of oppressive Hindu hegemony. Hindu rituals, like Ganesh Chaturthi, are sneered at, and the antagonist’s devotion to Krishna and Rama is framed as a jibe at Hindus. The messaging is clear: Hindu traditions are tools of the elite to crush the downtrodden, with Dalit and Muslim characters lionized as victims of this savarna savagery. It’s a sledgehammer approach—crude, in-your-face, and dripping with Ranjith’s disdain for anything saffron.
Empuraan, by contrast, takes a slicker, more insidious tack. The fictional Akhanda Shakti Morcha (ASM), a Hindutva party, is a thinly veiled BJP proxy. It’s the BJP and RSS in all but name, cast as barbaric vandals tearing apart Kerala’s “secular” soul. Prithviraj and writer Murali Gopy don’t just stop at political critique—they caricature Hindu karsevaks as violent thugs, while their foes, including Mohanlal’s shadowy protagonist, emerge as morally superior. The film’s symbolism, like burning crosses and collapsing “L”s, subtly mocks Hindu iconography, but it’s less about rewriting epics and more about painting Hindu nationalism as a modern-day plague. The reference to the 2002 Gujarat Riots where the Hindus are shown as merciless villains while Muslims are shown as the poor hapless souls, you know what this trash film is all about. Where Kaala screams its Hinduphobia, Empuraan smirks through a polished lens, cloaking its contempt in a veneer of sophistication.
Anti-BJP Stance And Secular Sanctimony
Both films frame the BJP as a villain, but their battlegrounds differ. Kaala ties its anti-BJP stance to Tamil pride, pitting the Navbharat Nationalist Party (a BJP stand-in) against Rajinikanth’s black-clad, tricolour-defying hero. The party’s lion symbol (a nod to Gujarat and Modi) and saffron imagery are ridiculed as alien impositions on Tamil soil. It’s a regionalist middle finger to BJP’s national ambitions, amplified by Ranjith’s blue-flag-waving Ambedkarite defiance. The film thrives on this us-versus-them clash, reveling in its rejection of Hindutva’s electoral dominance outside Dharavi.
Empuraan takes a broader, more sanctimonious swipe. The ASM’s infiltration of Kerala is less about regional chauvinism and more about a moral crusade against BJP’s communal politics. Prithviraj’s narrative oozes Kerala’s self-righteous secularism, casting the BJP as a predatory outsider disrupting a utopian social fabric.
The real threat to Kerala is from the Islamists who have made Malappuram a hot bed of radicalization threatening the unity and sovereignty of India. Love Jihad is a dreaded reality affecting both Hindu and Christian families in the state. Radical Islamists have carved out Pakistan-like enclaves for themselves. However, this ‘peaceful community’ is never shown in bad light but the film goes out of the way to slander vocal Hindus.
Propagandist Prithviraj
All this propaganda is thanks to Prithviraj, the self-styled auteur whose fingerprints are all over this debacle. His direction reeks of a smug, elitist disdain, turning a potentially gripping tale into a soapbox for his thinly veiled political biases. He’s not just a filmmaker here—he’s a pontificating crusader, using “Empuraan” to flex his woke credentials while thumbing his nose at Hindus. The ASM’s every sneer and saffron symbol screams anti-Modi venom, a cheap ploy that’s less subtle than a brick through a window. It rails against division while wallowing in its own stereotypes, reducing Kerala to a melodramatic cesspit for clout. Prithviraj’s posturing as a progressive darling is laughable—he’s less a visionary than a sanctimonious hack, peddling divisive tripe under the guise of art.
The visuals—jungle fights, Mohanlal’s grand entry—are undeniably slick, a testament to technical prowess that briefly distracts from the rot. But it’s lipstick on a pig. Prithviraj’s heavy-handed messaging turns every frame into a lecture, alienating ardent Mohanlal fans. His political grandstanding doesn’t elevate the film; it guts it, leaving a hollow shell that’s neither entertaining nor insightful.
Mohanlal Stoops Low To Become A Rajinikanth
Mohanlal’s fans are left reeling. After a string of flops, this was his lifeline, but Prithviraj’s insufferable agenda has turned it into a millstone. The superstar’s charisma shines through, yet he’s shackled to a narrative that betrays his roots, a man who was admired by people across the ideological/political spectrum has turned himself into a propaganda pawn now complicit in trashing Hindus.
Malayalam cinema’s golden boy risking his universal appeal for a partisan jab.
A Propaganda That Should Be Trashed
In the end, “L2: Empuraan” is a dazzling disaster—a propaganda-soaked mess that sacrifices art for ideology. Mohanlal’s star power can’t save it, and Prithviraj’s insipid political posturing only deepens the wound. Both Kaala and Empuraan wield anti-Hindu, anti-Modi, and anti-BJP propaganda. Like Kaala, it’s a film that spits on Hindu identity, demonizes nationalism, and grovels to anti-Modi dogma, all while its director preens like a self-righteous martyr. It is a shame that Rajinikanth and Mohanlal, titans of their industries, lend their stardom to these agendas.
A legacy tarnished, a fanbase betrayed, by becoming the pawns of pompous frauds.
Vallavaraayan is a political writer.
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Fearing for their lives, farmers who own private land have submitted a petition to the Sub-Collector’s Office, requesting action against a DMK functionary who allegedly trespassed onto their estate in Athupollachi near Pollachi and threatened those supporting the opposing side in an ongoing land dispute.
A dispute exists over ancestral land between Sethilvel, a resident of Athupollachi near Pollachi and his father. The case is currently pending in the Pollachi Civil Court. In the meantime, there have been attempts to illegally seize the land by forging documents in collaboration with a land fraudster. Amid this situation, a DMK functionary from Cheran Nagar, Pollachi, reportedly trespassed onto the property and threatened those present, telling them to leave. He allegedly claimed that due to his significant position in the party, he was powerful and could act without consequence. The petition demands an investigation into these actions, appropriate measures against the DMK leader, and the provision of security for the victims.
In a related incident last week, another DMK executive was accused of land grabbing. Ramakrishnan, a DMK member and the Chairman of Kottur Panchayat near Pollachi in Coimbatore district, has been the subject of numerous complaints. In response, DMK councilors held a sit-in protest at the Kottur Panchayat, accusing him of corruption and the poor management of public works, which has shocked many.
Ramakrishnan is also under investigation for alleged irregularities in the silt removal project at the Aliyar Dam as part of the Kudimarathu project. Consequently, the Coimbatore District Collector ordered the suspension of the silt removal work. More recently, Ramakrishnan has been accused of trying to seize property from a woman, which led her to release a video and attempt suicide. The woman, said to be a relative of Ramakrishnan, alleges that he has been pressuring her to sell all her properties. Distressed by this, she submitted a letter to the police, stating that his actions played a role in her suicide attempt. This incident has caused an uproar in the Pollachi area.
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Tamil Nadu BJP President Annamalai has fiercely criticized Chief Minister MK Stalin, accusing him of being a “con artist” pretending to defend the constitution. This comes amid the escalating controversy surrounding the three-language policy, which has sparked debates across states. Recently, Uttar Pradesh Chief Minister Yogi Adityanath also called out the hypocrisy of the ruling DMK in Tamil Nadu.
In a post on his official X account, Annamalai responded to the criticism of Stalin, saying, “Thiru @mkstalin, you are a con artist masquerading as a protector of our constitution & our federal structure. Usually, con artists scam the rich, but DMK shows no disparity; they scam both the rich and the poor. The whole country now knows that the Chief Minister of Tamil Nadu’s family owns private schools that teach three languages & more but opposes the same policy for the state’s Government school students. They are calling you a hypocrite, Thiru @mkstalin. TN CM thinks that the orchestrated drama by his partymen in pockets here and there reflects the voice of entire TN. It is also unfortunate that you haven’t realised that your attempts to divert people’s attention to insignificant matters have been exposed. Live in your blissful world of ignorance, Thiru @mkstalin. We will not disturb you.”
Thiru @mkstalin, you are a con artist masquerading as a protector of our constitution & our federal structure. Usually, con artists scam the rich, but DMK shows no disparity; they scam both the rich and the poor.
Annamalai’s pointed rebuttal to CM MK Stalin came in response to Stalin’s recent remarks, which were a reply to Uttar Pradesh Chief Minister Yogi Adityanath’s statement. Adityanath had accused the DMK of attempting to create divisions whenever they felt their vote bank was under threat, specifically regarding the three-language policy debate.
In his response, Stalin claimed that Tamil Nadu’s firm position on the Two Language Policy and Fair Delimitation was gaining nationwide attention, which, according to him, was unsettling the BJP. Furthermore, he mocked Uttar Pradesh Chief Minister Yogi Adityanath’s comments on hate, stating, “Spare us. This isn’t irony—it’s political black comedy at its worst,” and emphasized that the DMK doesn’t oppose any language but stands against imposition and linguistic chauvinism, asserting that the issue isn’t about “riot-for-votes politics” but rather a fight for dignity and justice.
Chief Minister MK Satlin said, “Tamil Nadu’s fair and firm voice on #TwoLanguagePolicy and #FairDelimitation is echoing nationwide—and the BJP is clearly rattled. Just watch their leaders’ interviews. And now Hon’ble Yogi Adityanath wants to lecture us on hate? Spare us. This isn’t irony—it’s political black comedy at its darkest. We don’t oppose any language; we oppose imposition and chauvinism. This isn’t riot-for-votes politics. This is a battle for dignity and justice.”
Tamil Nadu’s fair and firm voice on #TwoLanguagePolicy and #FairDelimitation is echoing nationwide—and the BJP is clearly rattled. Just watch their leaders’ interviews.
And now Hon’ble Yogi Adityanath wants to lecture us on hate? Spare us. This isn’t irony—it’s political black… https://t.co/NzWD7ja4M8
