The already volatile Thirupparankundram Karthigai Deepam dispute has taken an ugly communal and casteist turn, with the social media wing of prominent Dravidianist filmmaker Pa Ranjith’s banner, Neelam, launching a direct and inflammatory attack on Madras High Court judge Justice GR Swaminathan and the broader Hindu community.

On its official handle, ‘Neelam Social,’ the organization shared an image with text that read: “In a secular country, singling out and praising one particular community alone is the remnant of Brahminism! For a judge to express that in his ruling is the height of indecency!”

ஒரு மதத்தினை
மட்டுமே தூக்கிப் பிடித்து
துதி பாடுவதென்பது
பார்ப்பனியத்தின் எச்சம் !#neelamsocial #neelamculturalcentre #religión pic.twitter.com/zzDmDhqFkH

— Neelam Social (@NeelamSocial) December 4, 2025

The post appeared in response to Justice GR Swaminathan’s order directing the State to permit the lighting of the Karthigai Deepam at the Deepathoon in Thirupparankundram and criticising officials for failing to obey the court’s instructions.

Context of the Legal Battle

The controversy stems from the Madurai Bench’s order allowing Hindu devotees to light the Karthigai Deepam at the Deepathoon, which the district administration blocked using Section 144, leading to a contempt hearing. Justice Swaminathan had summoned the District Collector and SP, questioning the failure to implement the court’s order which the police refused to implement once again.

The Neelam Social post appears to be a direct response to this judicial scrutiny, reframing it as majoritarian bias.

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The post Thirupparankundram Deepam Row: Dravidianist Director Pa Ranjith’s Neelam Org Unleashes Anti-Hindu Hate, Spews Casteist Venom At Justice GR Swaminathan appeared first on The Commune.

The controversy surrounding the October 7 altercation near the Madras High Court took a political turn, with Viduthalai Chiruthaigal Katchi (VCK) leader Thol. Thirumavalavan alleging a “planned conspiracy” against him, implicating the RSS and BJP. The incident, which involved a minor collision between Thirumavalavan’s car and lawyer Rajiv Gandhi’s scooter, escalated when VCK cadres allegedly attacked the lawyer. Despite video evidence showing the VCK vehicle hitting the scooter, Thirumavalavan maintains that the episode was orchestrated to provoke him. Kollywood director Pa Ranjith has now buttressed this “conspiracy” claim of the VCK chief, calling for government protection, further fueling the political narrative.

In a statement posted on his official X handle, Thirumavalavan said, “It has come to light that the incident on October 7, where my car was obstructed in front of the Tamil Nadu Advocates Association near the High Court, was not a random occurrence but a planned conspiracy. It has been confirmed through our investigation that members of the RSS and BJP are behind this. Therefore, we urge the Tamil Nadu government to register a case regarding this matter and conduct a thorough investigation. The conspiracy behind it must be uncovered. Furthermore, we demand that the private television channels that broadcasted this incident be immediately and thoroughly investigated without any bias.”

உயர்நீதிமன்றம் அருகே தமிழ்நாடு வழக்கறிஞர்கள் சங்கத்தின் முன்பு கடந்த அக்டோபர் -07 அன்று எனது காரை வழிமறித்த நிகழ்வு ‘தற்செயலாக நடந்தது அல்ல; திட்டமிட்டசதி’ என்பது தெரியவருகிறது.

ஆர்எஸ்எஸ் மற்றும் பாஜகவினர் இதன் பின்னணியில்உள்ளனர் என்றும் எமது விசாரணையில் உறுதிபட தெரிகிறது.…

— Thol. Thirumavalavan (@thirumaofficial) October 10, 2025

What Actually Happened

The altercation took place when lawyer Rajiv Gandhi, who was riding his scooter near the High Court premises, came into contact with Thirumavalavan’s car. Video footage from the scene shows a group of VCK members surrounding and attacking the lawyer after the collision.

Rajiv Gandhi later filed a complaint alleging that he was assaulted by VCK cadres at the instigation of Thirumavalavan. His scooter was also damaged during the scuffle. Despite the allegations and available video evidence, the Esplanade police have not yet registered a First Information Report (FIR) in connection with the incident.

Rajiv Gandhi has been admitted to a private hospital for treatment. His family has alleged that since the night of the incident, the lawyer has received over 500 threatening phone calls, and his personal phone number was circulated online by VCK supporters who allegedly encouraged further harassment.

Following public outrage, Thirumavalavan released a video claiming that the incident was an attempt to provoke him. According to his account, the lawyer deliberately tried to block his car and instigate a confrontation.

However, the lawyer’s brother refuted this version, stating that the available footage clearly shows Thirumavalavan’s vehicle hitting Rajiv Gandhi’s scooter. He said Rajiv merely approached the car to question the driver about the collision when he was attacked by VCK men.

The video of the assault quickly went viral, sparking widespread criticism.

Pa Ranjith Buttresses VCK Chief Thirumavalavan

Pa Ranjith, Kollywood director and DMK stooge who claims to speak up for the Dalits through his films and initiatives, endorsed Thirumavalavan’s post and wrote, “The incident of blocking the car near the Tamil Nadu Advocates Association in front of the High Court on October -07 did not happen by accident; it was a premeditated conspiracy, said the leader of the Viduthalai Chiruthaigal Katchi party, Annan Thiru. Thol. Thirumavalavan
@thirumaofficial, Taking this into consideration, I request the Tamil Nadu government @CMOTamilnadu to immediately provide protection!!”

உயர்நீதிமன்றம் அருகே தமிழ்நாடு வழக்கறிஞர்கள் சங்கத்தின் முன்பு கடந்த அக்டோபர் -07 அன்று
காரை வழிமறித்த நிகழ்வு ‘தற்செயலாக நடந்தது அல்ல; திட்டமிட்டசதி என்று
விடுதலைச் சிறுத்தைகள் கட்சியின் தலைவர், அண்ணன் திரு.தொல்.திருமாவளவன் @thirumaofficial அவர்கள் தெரிவித்துள்ளார்,
இதை… https://t.co/KWDlSwMr0S

— pa.ranjith (@beemji) October 10, 2025

While Thirumavalavan and his supporters like Pa Ranjith portray the incident as a premeditated attack, the available video footage and eyewitness accounts contradict their claims, clearly showing the VCK vehicle making contact with the lawyer’s scooter. Rajiv Gandhi and his family continue to face harassment, including threatening calls allegedly circulated by VCK sympathizers. The case remains under investigation, but the involvement of prominent figures like Pa Ranjith in backing Thirumavalavan’s version highlights the increasingly politicized nature of the controversy, raising questions about accountability and the role of party influence in shaping public perception.

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The post VCK Hit & Run Case: DMK Stooge Director Pa Ranjith Comes To Buttress Thirumavalavan’s False Claims Despite Video Evidence Showing VCK Goons Thrashing Motorist And Vandalizing His Two-Wheeler appeared first on The Commune.

Dravidianist and Kollywood film director Pa. Ranjith was granted bail following legal proceedings initiated after a tragic accident on the set of his film Vettuvam. The incident, which occurred during filming in Keezhayur, Nagapattinam district, involved the death of stuntman Mohanraj, who reportedly died after falling while performing a high-risk action sequence. Authorities initially suspected lapses in safety protocols, leading to a case being filed against the director and three crew members.

The accident halted the production of Vettuvam, a film backed by Ranjith’s banner, Neelam Productions. Reports suggest that Mohanraj suffered a fatal heart attack after falling from a vehicle during a stunt. Although he was taken to a nearby hospital promptly, he could not be saved.

Following the incident, the Keezhayur police filed a case against Pa. Ranjith, along with crew members Rajkamal, Vinoth, and Prabhakaran, citing negligence in enforcing safety measures on set. While the three crew members secured anticipatory bail earlier, Pa. Ranjith appeared in person at the Keezhayur court on 31 July 2025 to submit his statement and was subsequently granted bail.

Despite the controversy, filming has recently resumed. Vettuvam stars Arya and ‘Gethu’ Dinesh in lead roles and features several well-known actors in significant parts. In a gesture of support, Ranjith provided ₹20 lakhs in financial aid to the family of the deceased stuntman. Additionally, members of the Tamil film fraternity have extended their condolences and support to Mohanraj’s family during this difficult time.

(With inputs from Times Of India)

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The “triple flop” Dravidianist director Pa Ranjith, known for his ideologically-driven cinema, has once again stirred controversy this time at the Verchol Dalit Literary Festival—by expressing apparent resentment toward the rising success of Mari Selvaraj. In a noticeably bitter tone, Ranjith revisited his association with director Mari Selvaraj, claiming that he was the one who introduced Selvaraj through the critically acclaimed film Pariyerum Perumal. He lamented that, despite being the producer of the film, he has not been duly recognized for its success—an unusual complaint, as industry norms typically celebrate the director as the creative force behind a film’s success or failure.

Ranjith appeared to express envy over Mari Selvaraj’s rising acclaim and attempted to reclaim part of that credit by emphasizing his role in launching Selvaraj’s career. However, Mari Selvaraj has carved his own path through impactful, socially resonant films that have earned both public and critical praise, without relying on ideological narratives as heavily as Ranjith.

Rather than self-reflection, Ranjith used the platform to rationalize his string of underwhelming releases, attributing lack of recognition to others instead of acknowledging potential flaws in storytelling and audience disconnect. He went further to suggest that he has been the sole torchbearer of Dalit-focused cinema and workplace inclusion, seemingly demanding acknowledgment for championing such causes.

Why Kaala Was A Flop – A Pa Ranjith Narrative

Pa Ranjith, in an attempt to explain the commercial failure of his film Kaala, offered a string of justifications during his speech. He said, “What happened during the time of Kaala was that, immediately after Rajinikanth announced his entry into politics, everyone began to write that he was using me. Particularly, what Viduthalai Chiruthaigal Katchi’s Ravi Kumar did then was…,” Ranjith paused mid-sentence, seemingly avoiding direct criticism, and continued, “Some people started writing that I was being motivated and funded by the RSS, that I was portraying Rajinikanth as an Ambedkarite and taking him to the slums. I didn’t know what to make of all this. Kaala is a film that openly opposed RSS ideology and stands till today. I presented that straight away. The conflict is black and white. In the climax, I had said that three colours should unify. I was confused and don’t know what more I was expected to take. I’m confused as to why the film was criticized so much.”

He went on to say that the entire Tamil community turned against Kaala after comments made by Rajinikanth about the Thoothukudi firing incident, claiming that those remarks triggered widespread negative campaigning against the film. Then he lamented that, “No one showed mercy that I was the one who directed it. ‘Ranjith was sold out’. That’s all that mattered. Many others have worked with Superstar Rajinikanth, but they were never sold-out directors, but I was the only one who was.”

Envy Towards Mari Selvaraj? Pa Ranjith’s Attempt To Overshadow His Protégé’s Success

In a later part of his speech, Pa Ranjith appeared to repeatedly downplay Mari Selvaraj’s success, claiming that Pariyerum Perumal—the film that launched Mari’s career—only came to be because of his backing. He seemed intent on reminding the audience that he produced the film and, in doing so, tried to shift the spotlight back onto himself.

Speaking at the event, Ranjith said, “We have made Pariyerum Perumal and released it—it became a huge hit. But what happened at that time was… Pariyerum Perumal was a movie that I invested my own money in. I’m its producer. While releasing the movie, I had previously given some money to my wife for savings. I got that from her and released the movie. But after watching the movie, I saw an article, I think it was Vikatan, they had not even mentioned that it was produced by Neelam Production, but had written that Pariyerum Perumal was awesome. A director wrote ‘Director Ram’s upbringing led to this film being made.’ I’m asking, what is wrong with you praising me? What is the problem with writing ‘Neelam Production’? When a good movie comes out, who is it being produced by?”

Ranjith went on to say that he had no clear expectations about whether the film would succeed. He admitted that only two scenes truly resonated with him. One was the moment where the character says, “I’m going to become a doctor.” After watching that scene, Ranjith told the team, “That alone is enough for me.” The other was the professor’s line, “If you back down in fear, will they spare you?”—a moment that ultimately convinced him to go ahead and release the film.

He concluded by subtly expressing resentment that, “Even then, everyone seemed to have an issue acknowledging that it was a Ranjith production. But fine, let it be. But a Mari Selvaraj rose from that, didn’t he? And now he’s reached great heights, hasn’t he?”

Ranjith Attempt to Claim Sole Ownership Over Dalit Representation Simply To Undermine Mari Selvaraj

Perhaps the most disappointing moment came when flop director Pa Ranjith appeared to craft a narrative positioning himself as the only true advocate for Dalit representation in cinema—while subtly discrediting director Mari Selvaraj’s contributions. In a surprising and divisive remark, Ranjith suggested indirectly a notion that Mari Selvaraj was not committed to offering opportunities or showing preferential support to Dalits in his film projects. He implied that, unlike himself, Mari was reluctant to prioritize the upliftment of marginalized communities in his work.

Ranjith said, “Mari Selvaraj came and asked me how many people have come to work in your production, how many have come to make films, and how many of them are non-Dalits. How many people are working with your movement, and when there are this many non-Dalits, how are you going to respond to the accusations against you? I said I don’t care about that. Yes, I am a Dalit. I live for Dalits. I will give a chance only to Dalits. I don’t care and I don’t understand. I know who I am. Why should I come to you and give a certification in written to trust me? I don’t need it.”

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Mohanlal, the giant of Malayalam cinema, recently showed the world what true humility looks like by apologizing for the anti-Hindu undertones in his film L2: Empuraan. Meanwhile, Rajinikanth, Tamil cinema’s so-called “Superstar,” remains a shameless enabler of anti-Hindu Dravidianist propaganda, refusing to utter a word of regret for his role in the vile Kaala — a film that spat on Hindu values and peddled propaganda against the BJP — and doubling down by aligning himself with directors who peddle the same divisive garbage.

Mohanlal’s Humility

L2: Empuraan, released on March 27, 2025, was meant to be a triumphant sequel to Lucifer, elevating Mohanlal’s legacy and Malayalam cinema’s global stature. Instead, it sparked outrage among Hindus for its depiction of communal violence—sequences that echoed the 2002 Gujarat riots but painted Hindus as merciless villains while conveniently glossing over the Godhra train burning that ignited the conflict. The film was nothing but a brazen anti-Hindu, anti-BJP, and anti-Modi propaganda thanks to its Communist Goebbelian director Prithviraj Sukumaran and writer Murali Gopy of caricaturing Hindu karsevaks as violent thugs and mocking sacred iconography with burning crosses and collapsing symbols.

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.

The film promoted hatred against politically vocal Hindus and portrayed them as a threat to society, something that the Kerala’s pseudo-secular leftist parties do. 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. The film is all about painting Hindu nationalism as a modern-day plague.

Yet, Mohanlal didn’t dodge or deflect. On March 30, 2025, he issued a public apology, acknowledging the distress caused to his fans and vowing to excise the offending scenes.

Mohanlal took to Facebook to reassure his fans that certain themes would be removed from the film. In his message, he also expressed regret for any distress caused.

Writing in Malayalam, he acknowledged that some political and social elements in Empuraan, the sequel to Lucifer, had led to unrest. He stated, “I have come to understand that certain political and social themes in the film have deeply upset many of my dear ones. As an artist, it is my responsibility to ensure that none of my films promote hatred toward any political movement, ideology, or group.”

He further emphasized that the responsibility was shared by everyone involved in the film. “The Empuraan team and I sincerely apologize for the distress caused. Recognizing that this responsibility rests with all of us, we have collectively decided to remove such themes from the film,” he added.

Reflecting on his career, he concluded, “For the past four decades, I have been one of you in my cinematic journey. Your love and trust are my greatest strengths. I believe there is no Mohanlal beyond that… With love, Mohanlal. #L2E #Empuraan.”

The massive Hindu outrage has led to the film taking a serious hit at the box-office prompting the the filmmakers to voluntarily make 17 cuts to the film. Mohanlal’s legacy, though briefly tarnished, he had the humility to accept the mistake and express regret for being part of a propaganda film.

Rajinikanth’s Spineless Silence

Contrast this with Rajinikanth, a man who cloaks himself in spirituality but lacks the spine to confront the venom he’s helped unleash through his films.

His 2018 film Kaala, directed by the rabidly anti-Hindu Pa. Ranjith, was a masterclass in Dravidianist propaganda. The film cast Rajini as a Dharavi slum leader—a dark-clad “Ravana” figure—pitted against Nana Patekar’s white-clad, Ram-worshipping villain, a thinly veiled stand-in for the BJP. It flipped the Ramayana on its head, glorifying Ravana as a Dravidian hero while sneering at Rama as a symbol of “oppressive Hindu hegemony.” Hindu rituals were mocked, tilak-sporting villains strutted around with Ram idols, and Rajini’s character even threatened, “If stealing my land is your God’s Dharma, then I won’t spare your God either.”

Did Rajinikanth apologize? Did he distance himself from this grotesque distortion of Hindu faith? Not a chance. He stayed silent, letting the film’s bile fester unchallenged. This wasn’t a one-off lapse either. The Commune has chronicled how Rajini has repeatedly chosen scripts that demonize Hindus—think Petta, with its digs at Bajrang Dal, or Vettaiyan, another Dravidianist flop that smeared Hindus, lionized minorities, peddled DMK’s propaganda against NEET and glorified British colonialist Thomas Babington Macaulay.

In Lal Salaam, Rajinikanth plays Moideen Bhai, the good Muslim while another villain (Adithya Menon) is portrayed with a nice red tilak. The Hindu villains are shown as taking the guise of Muslims wearing skullcaps and are shown as instigators of riots. The narrative takes a distressing turn when the Hindu antagonist inflicts permanent harm on Moideen’s son. He even justified his daughter’s derogatory usage of the word Sanghi. Each time, he hides behind the excuse of being a “director’s actor,” as if his superstar status doesn’t give him the clout to reject such trash. For a man who claims devotion to Sanatana Dharma, his reel and real life reeks of venom against politically assertive Hindus and Prime Minister Narendra Modi.

The Dravidianist Puppet Strings

Rajinikanth’s complicity isn’t ignorance—it’s cowardice. The Dravidian ideology, with its roots in EVR’s separatist fantasies, has long sought to vilify Hindu culture, and Tamil cinema has been its megaphone. Directors like Pa. Ranjith and TJ Gnanavel—Rajini’s collaborator on Vettaiyan—wear their anti-Hindu bias like a badge of honor. The Commune has exposed how Kaala wasn’t just a film but a propaganda tool, aligning with the Dravidian narrative that paints Rama as an “upper-caste” tyrant and Ravana as a misunderstood icon. The so-called ‘spiritual’ Rajini, the one of the top film stars in India could have said no. Instead, he lent his iconic persona to amplify this poison, proving he’s less a superstar and more a puppet dancing to the tune of ideologues who despise the very faith he claims to cherish.

Mohanlal, by contrast, operates in a different league. When Empuraan stumbled into controversy, he didn’t let Prithviraj’s agenda define him. He took responsibility, faced the backlash, and acted decisively. Rajini, however, seems content to let Ranjith and his ilk drag his legacy through the mud, film after film, with no apology in sight.

A Legacy of Shame Vs. Redemption

Mohanlal’s apology wasn’t weakness—it was strength, a bridge to his fans that reaffirmed his bond with them. The Commune noted the film’s initial box-office success—crossing ₹100 crore globally in days—yet Mohanlal prioritized harmony over profit, ensuring Empuraan didn’t become a permanent stain. Rajinikanth, meanwhile, clings to his silence, his halo dimmed by every anti-Hindu jab he’s endorsed. His fans may still cheer, but for many, the “Thalaivar” they adored is now a hollow shell, a tool for Dravidian propagandists who laugh as they dismantle Hindu pride.

Mohanlal proved a star can rise above controversy with dignity. Rajinikanth, shackled by his own spinelessness, remains a cautionary tale—a giant reduced to a pawn, too timid to say “sorry” and too compromised to care.

When life makes you a superstar, be like Mohanlal and not Rajini.

Vallavaraayan is a political writer.

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The post When Life Makes You A Superstar, Be Like Mohanlal And Not Rajinikanth appeared first on The Commune.

“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.

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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The post Empuraan Review: Mohanlal Stoops Low Like Rajini To Peddle Anti-Hindu, Anti-BJP, Anti-Modi Propaganda appeared first on The Commune.

Vetrimaaran who is known for making leftist-Dravidianist propaganda films has produced a film under his banner Grassroot Films called ‘Bad Girl‘, that attempts to portrays the story of a Tamil Brahmin girl who wants to be rebellious, break the shackles of “Brahminical patriarchy“, chooses to live the “high” life and defies her parents and family.

The film being touted as a ‘coming-of-age’ drama about a Tamil Brahmin girl, glorifies her indulging in vice while her family is portrayed as being regressive.

The trailer features an elderly Tamil Brahmin woman, presumably the protagonist’s grandmother, angrily yelling at the teenage protagonist “Aye Peeda! Aathla Illiya Nee?” (Hey you filth! Are you have your periods?), a desperate attempt to demonize Tamil Brahmins and show them as despicable.

It also shows the teenage school going girl lusting over a boy from another community.

The girl then goes on to blackmail her mother saying that once school is over she will do whatever she likes with visuals showing montages of the girl having sex.

What is a Dravidioid film without peddling propaganda against the Narendra Modi government. The last scene of the trailer shows the protagonists family joining other members of their community banging their vessels and shouting “Go Corona Go!”, an apparent dig at Prime Minister Narendra Modi’s clarion call to thank the frontline workers for their unparalleled service.

The trailer of this film ‘Bad Girl’, produced by Dravidianist director Vetrimaaran in collaboration with leftist, virtue-signaling filmmaker Anurag Kashyap, was shared by the notoriously anti-Hindu and flop-prone director Pa. Ranjith.

Happened to watch #BadGirl, and it’s truly a bold and refreshing film! Director #VetriMaaran deserves immense credit for backing such a daring story. The film powerfully portrays women’s struggles and society’s expectations through a unique new wave cinema style. Congratulations… pic.twitter.com/EanrwiDE2I

— pa.ranjith (@beemji) January 26, 2025

It was also shared by Dravidianist virtue-signalling actor Vijay Sethupathi.

#BadGirl teaser is here, Presented by @anuragkashyap72 & #VetriMaaran, this coming-of-age drama premieres at #IFFR2025! Watch the teaser now! Best wishes to the team!https://t.co/J8PRzdGgB4#BadGirlTheMovie #VetriMaaran #AnuragKashyap #AnjaliSivaraman #VarshaBharath… pic.twitter.com/2BuhkQHXWt

— VijaySethupathi (@VijaySethuOffl) January 26, 2025

There are some serious questions to be asked to these pusillanimous Dravidianists.

Will they be able to watch this film with their wives and daughters? Will Vetrimaaran or Pa Ranjith or Anurag Kashyap or Vijay Sethupathi raise their daughters like they’ve shown the protagonist? Will Vetrimaaran or Pa Ranjith or Anurag Kashyap show women of their families or community as ‘Bad Girls’ indulging in vice?

Why do these pusillanimous Dravidianist filmmakers always choose a Brahmin woman for their “progressive” and “bold” ideas? Why do they always go after the Brahmin woman’s flesh to satiate their fetish? Is it because they don’t find their own wives and women attractive?

Why don’t these pusillanimous social justice warriors show members of their community or any other dominant community as regressive? Why not show women of your own community to be “bold” and “progressive” breaking the familial shackles?

Why don’t you show a hijab-clad woman liberating herself to fulfill her desires?

Promiscuity is power only for Brahmin women and not for women of other communities? Will you allow your wives or daughters to be as promiscuous as you portray the protagonist to be? You want your wives and daughters to be “pathini” while you make Brahmin women as guinea pigs for your social justice experiment?

Dear Dravidoid cowards, Brahmin women are not your social justice trophies!

Vallavaraayan is a political writer.

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The post Will The Pusillanimous Vetrimaaran/Pa Ranjith/Vijay Sethupathi Allow Women From Their Own Families Or Community To Go Woke And Be ‘Bad Girls’ Embracing Vice? appeared first on The Commune.

The upcoming Tamil film Bad Girl, directed by Varsha Bharath and produced by filmmakers Vetrimaaran and Anurag Kashyap, has drawn sharp criticism from director Mohan G Kshatriyan. The film, which will be premiering at the 54th International Film Festival Rotterdam (IFFR), has sparked a debate over its portrayal of Brahmin characters in Tamil cinema.

The teaser, which was launched on 26 January 2025 at an event in Chennai, follows a young Brahmin girl (played by Anjali Sivaraman) as she navigates the challenges of adolescence and societal expectations, particularly surrounding her relationships. The film highlights her struggles with criticism and shaming for her personal choices.

The film received support from Dravidianist director Pa Ranjith who wrote on his X handle, “Happened to watch #BadGirl, and it’s truly a bold and refreshing film! Director #VetriMaaran deserves immense credit for backing such a daring story. The film powerfully portrays women’s struggles and society’s expectations through a unique new wave cinema style. Congratulations #varsha. Anjali Sivaraman delivers an amazing performance—don’t miss this one! Check out the teaser: http://youtu.be/y87Jp5IPF-s”

Happened to watch #BadGirl, and it’s truly a bold and refreshing film! Director #VetriMaaran deserves immense credit for backing such a daring story. The film powerfully portrays women’s struggles and society’s expectations through a unique new wave cinema style. Congratulations… pic.twitter.com/EanrwiDE2I

— pa.ranjith (@beemji) January 26, 2025

However, it is the depiction of Brahmin families in the film that has drawn backlash from Mohan G Kshatriyan, known for his films like Bakasuran, Rudra Thandavam, and Draupathi. Slamming Pa Ranjith and the filmmakers for making such stale content, taking to his official X handle, film maker Mohan G Kshatriyan wrote a post on his X handle where he slammed the filmmakers, stating, “Portraying a brahmin girl personal life is always a bold and refreshing film for this clan. What more can be expected from vetrimaran, Anurag kasyap & Co.. Bashing Brahmin father and mother is old and not trendy.. Try with your own caste girls and showcase it to your own family first.“

Portraying a brahmin girl personal life is always a bold and refreshing film for this clan. What more can be expected from vetrimaran, Anurag kasyap & Co.. Bashing Brahmin father and mother is old and not trendy.. Try with your own caste girls and showcase it to your own family… https://t.co/XP8mtnaFws

— Mohan G Kshatriyan (@mohandreamer) January 27, 2025

Kshatriyan’s comments have fueled the ongoing discussion about caste portrayals in Tamil cinema, with many questioning whether such narratives are overly critical of one community.

The teaser introduces a Tamil Brahmin girl who is a rebel, defies societal expectations of being the “good girl” as she seeks to break free from the constraints of the usual trope of “Brahminical patriarchy”, and since this film is from the Dravidianist ideologue’s soil, it needs to show her embracing the identity of a modern, liberated woman.

The stale narrative in the teaser takes a snarky jab at those who continue to resist “progressive” ideals, contrasting them with the image of modern youth celebrating freedom and rationality, drinking away to glory, dancing in clubs with a triumphant “Cheers!” The deep-seated hypocrisy within the Dravidian male psyche has also been seen harboring a peculiar fetish for Brahmin women. This obsession only stems from an inability to appreciate their own caste people and family members/friends/partners, redirecting their lust toward the very group they claim to oppose.

Time and again the Tamil society has enabled this poison to take root and flourish, allowing the pervasive dehumanization and objectification of Brahmin women.

(With inputs from India Today)

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The post Film Director Mohan G Slams Pa Ranjith And ‘Bad Girl’ Filmmakers For Negative Stereotyping Of Brahmin Family appeared first on The Commune.

Director and actor Gautham Vasudev Menon, whose latest film Dominic and the Ladies’ Purse is currently in theatres, recently shared his thoughts on the rising trend of caste-based “oppressed, depressed, suppressed” films that sow division among people.

In a recent interview to ‘Neeya Naana’ fame Gobinath, the filmmaker questioned the necessity of such films in today’s context, asserting that these stories lack relevance in the present day, which is why filmmakers often choose to set them in a bygone era.

“I don’t want to name the films and make it sound like I’m just sitting and saying something. But the division among the people, in terms of caste and such things, creating stories and movies around such themes, despite knowing they no longer reflect the current reality, and setting them in the 80s and 90s, is not something I resonate with. It’s getting to be a bit too much. These are not the stories that we’re looking for. I don’t think those stories need to be told anymore. It’s not necessary I feel. Since you can’t set such stories in the present context, you resort to setting it in a bygone era – saying this happened in 80s, this happened in 90s. You can’t tell a similar story in today’s context with the same effect. Nobody wants that.”, Gautham said.

Nobody wants caste related films ahm pic.twitter.com/zycRYOAJn3

— Villainism (@Karuppu_7) January 24, 2025

Gautham’s comments are seen as a jibe against the the likes of Dravidianist filmmakers like Pa. Ranjith and Vetrimaaran who often resort to making caste-based “oppressed, depressed, suppressed” films that pits one caste against another.

Incidentally, Gautham had starred in Vetrimaaran’s film Viduthalai Part 2 which is peddles the same propaganda.

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The post “It’s Getting To Be A Bit Too Much, Nobody Wants That”: Gautham Vasudev Menon On The Surge Of Caste-Based Movies In Tamil Cinema appeared first on The Commune.

Kollywood celebrities, known for their vocal stance on social issues, have fallen eerily silent on the recent Anna University sexual assault case. While these celebrities quickly condemned similar incidents under the previous regime, their voices are conspicuously absent now, raising concerns about their selective outrage and potential political motivations.

Only a few Kollywood celebrities have spoken out on this Anna University case, while the loud voices when the DMK was in opposition are now wholly muted. Despite the case unfolding weeks ago, many of these so-called heroes and movie stars from Kollywood have kept their mouths glued shut, refraining from criticizing the DMK government, leading to questions about whether they will only speak out against women’s assault when it aligns with the political interests of their party.

Rajinikanth

Actor Rajinikanth, who had called for strict action against the perpetrators of the 2018 rape and murder of a 17-year-old tribal girl, has remained silent on the recent sexual assault case at Anna University. In 2018, while preparing to enter politics, he had stated, “Stringent action should be taken against the culprits.”

Additionally, Rajinikanth had claimed to be “unaware” of the Hema Committee report that exposed the issue of sexual harassment in the workplace, which drew national attention. Rajinikanth has also refrained from commenting on recent tragedies, such as the floods and landslides in Tiruvannamalai. While he had previously expressed strong reactions to the custodial deaths of Jayaraj and Fenix during the AIADMK regime, who released a picture of his ‘angry face’ expressing shock, calling for punishment for the responsible officials. Now, Rajinikanth has not made any public statements regarding the recent sexual assault case.

Pa Ranjith

Dravidianist director Pa. Ranjith stands out in Kollywood for his peculiarity. Unlike others, he tends to condemn cases involving Dalits only when they occur outside Tamil Nadu, where he lives and earns a living. While he vocally expresses his anger over incidents in northern and northeastern parts of India, he remains silent or even doesn’t care serious issues when they arise in his home state. His reactions, especially on social media, highlight his apparent bias, as seen in his past tweets on various incidents.

Wrestler’s Sexual Harassment Case

During 2023, Dravidianist director Pa. Ranjith condemned the arrest of wrestlers who were protesting and peddled narratives stating, “Condemnations against the manhandling of peacefully protesting #SakshiMalik and other Wrestling Olympians and World Championship at the #WrestlersProtest against sexual harassment by Brij Bhushan Sharan Singh, Wrestling Federation Chairman and BJP MP. The champions who unfurled the India’s tricolour flag at world championship have been treated without any dignity and respect. It is a disgrace that the government has neither responded to the protest nor to their decision of the champions immersing their medals river water. In solidarity with #WrestlersProtest, I demand the immediate removal of Singh from his post as Chairman of WFI and MP and lawful action against Singh.”

Condemnations against the manhandling of peacefully protesting #SakshiMalik and other Wrestling Olympians and World Championship at the #WrestlersProtest against sexual harassment by Brij Bhushan Sharan Singh, Wrestling Federation Chairman and BJP MP.

The champions who…

— pa.ranjith (@beemji) May 30, 2023

Dalit Sexual Assault Case 

Pa. Ranjith shared a post from his organization, Neelam Cultural Centre, which condemned the rape of Dalit women across India. However, when an individual and an organization speak out about such issues nationwide, it raises questions as to why he remains silent on similar incidents occurring in his own state, in his own backyard. It stated, “Every Day In India. #Shame! If these are the reported cases, then just try to imagine the unreported cases from backward rural India that many of the sexual abuses and violence by UC men at their farms against #DalitWomen, the real digit will show sickness of #Casteism.”

Every Day In India. #Shame!

If these are the reported cases, then just try to imagine the unreported cases from backward rural India that many of the sexual abuses and violence by UC men at their farms against #DalitWomen, the real digit will show sickness of #Casteism.@beemji pic.twitter.com/N7n3mxa4Z6

— நீலம் பண்பாட்டு மையம் (@Neelam_Culture) October 2, 2020

Manipur Riots

During the Manipur riots, when a tribal woman was paraded naked, Pa. Ranjith condemned the incident, which took place in northeastern India. However, he has remained silent, with nothing more than a sealed mouth, when a woman was sexually assaulted —this time, a student on a college campus in his own state. What has stopped him from speaking out in his own backyard?

He stated, “Condemnations against the BJP led governments’ silence on Ethnic Riots in Manipur Following the order to include the social-economically and politically dominant Meitei Hindu tribe into the Schedule Tribe list, broke out riots between Meitis and Kuki-Zo Christian Tribes. The riots have continued for two months leading to massive displacement, killing of civilians, sexual violence while internet has been shut down across the state. The attacks have taken communal forms with burning down of churches and places of historical significance of the Kuki-Zo tribe. The governments and its institutions in both – state and Centre being led by the BJP have disregarded the issue. This silence and insensitivity is in-acceptable and shame in a democracy. We demand the justice to the survivors of the violence and resignation of respective political representatives. My solidarity and support to the people of Manipur. “

Condemnations against the BJP led governments’ silence on Ethnic Riots in Manipur

Following the order to include the social-economically and politically dominant Meitei Hindu tribe into the Schedule Tribe list, broke out riots between Meitis and Kuki-Zo Christian Tribes.

The…

— pa.ranjith (@beemji) July 20, 2023

Pollachi Sexual Assault Case 2019 

Some may argue that Pa. Ranjith, as a Dalit activist, has always been vocal about Dalit rights, and that this silence reflects a contradiction. This was evident when he was outspoken during the 2019 Pollachi sexual assault case, where he sharply criticized the AIADMK regime. In a series of posts, he stated, “Every time incidents like Pollachi happen, which question humanity, we all ask women to be responsible and careful… but no change will happen just because of our sins, regrets, and anger after the problem arises. Everyone should come forward to challenge the reactionary views on women’s bodies, clothing, social activities, and culture in a male-centric society. We must introspect, or no matter how many laws are passed, the voices of the affected women will continue to be ignored by the authorities. We too will keep listening, watching, raising our voices, or doing nothing.”

However, now, despite the current situation where ruling DMK government spokespersons are brazenly victim-blaming the assault victim, Pa. Ranjith has remained completely silent.

பொள்ளாச்சி போன்று ஒவ்வொரு முறை மனிதத்தை கேள்விகேட்கும் சம்பவங்கள் நடக்கும் போதும் பெண்களை பொறுப்புக் கோர சொல்லும், எச்சரிக்கையாக இருக்க சொல்லும் நம் அனைவருக்கும்….நம் பாவம், பரிதவிப்பால், பிரச்சினை நடந்த பிறகு எழும் கோவத்தால் மட்டும் ஒரு மாற்றமும் இங்கு நிகழப்போவது இல்லை.

— pa.ranjith (@beemji) March 12, 2019

Kamal Hassan

In 2023, Kamal Haasan joined the growing list of celebrities voicing support for the protest by India’s wrestling community. Marking one month since the protests began, the full-time actor and part-time politician addressed the issue on social media. He wrote, “Today marks 1 month of protests by athletes of the wrestling fraternity. Instead of fighting for national glory, we have forced them to fight for personal safety. Fellow Indians, who deserves our attention, our national sporting icons or a politician with an extensive criminal history? #IStandWithMyChampions#WrestlersProtest.”

Today marks 1 month of protests by athletes of the wrestling fraternity. Instead of fighting for national glory, we have forced them to fight for personal safety.

Fellow Indians ,who deserves our attention, our national sporting icons or a politician with an extensive criminal…

— Kamal Haasan (@ikamalhaasan) May 23, 2023

Brothers Duo Actor Suriya & Karthi

The Dravidianist family of actors Suriya and Karthi are another example of hypocrisy. They have consistently aligned themselves with the DMK, openly opposing the AIADMK regime in Tamil Nadu and its ideological counterpart at the center, a stance they have repeatedly emphasized.

In 2018, while criticizing the AIADMK, actor Suriya posted, “Friends, now we are the ones eating mixture (savoury),” highlighting his discontent with the political situation at the time.

இப்போது மிக்சர் சாப்பிட்டுக் கொண்டிருப்பது நாம் தான் நண்பர்களே….

— Suriya Sivakumar (@Suriya_offl) February 18, 2017

His brother, actor Karthi, was seen present at a press meet, condemning the Pollachi sexual harassment case 2019 and criticizing the AIADMK regime. Currently the actor duo’s mouth is tightly sealed.

Memories 2019:

பொள்ளாச்சி பாலியல் வன்கொடுமைக்கு நடிகர் சங்கம் கண்டனம்:

கடந்த சில நாட்களாக ஊடகங்களிலும், பத்திரிகைகளிலும் வரும் பொள்ளாச்சியில் நடந்துள்ள பாலியல் வன்கொடுமை பற்றிய செய்திகள் மனதை கனக்கச் செய்கின்றன.

இந்த செயலின் பின்னணியில் உள்ளவர்களை விரைவாக கண்டறிந்து, அவர்கள்… pic.twitter.com/siLCxbeS3P

— Blue Sattai Maran (@tamiltalkies) December 29, 2024

Siddharth

Dravidianist flop-actor Siddharth, who has been criticized by netizens for his selective stance, deleted a post after facing severe backlash for not speaking out on the current Anna University sexual assault case, while he had previously criticized the AIADMK regime in 2019. In a post from 2019, he had stated, “Shocked by the #PollachiSexualAbuse case. Hope there is systemic support given so that survivors can come forward and strengthen the case against the criminals who did this. Preying on girls using social media is a growing menace and we must safeguard against it.”

RJ Balaji

Dravidianist hypocrite RJ Balaji, who refers to himself as the ‘brother-in-law’ of DMK scion and Deputy Chief Minister Udhayanidhi Stalin, previously condemned the 2018 sexual harassment case involving a minor, schooling society for it. However, he is now conspicuously silent on the matter. In 2018, via his social media handle, he stated, “What happened to the little girl in Chennai is cruel. As a parent, I feel petrified and unsafe for our children’s safety. Not able to imagine the plight of that 12 year old. We live amidst such sick men around us. Please give them the highest punishment.” 

Earlier, in 2012, during the Delhi Nirbhaya gang rape case, Dravidianist RJ Balaji expressed, “From Delhi to Thoothukudi, wherever it happens, it’s a sick cruelty. Working on changing the mindset of Indian men (at least the next generation) towards women is as important as forcing the government to bring in stricter laws. I hope this time our anger doesn’t get diluted until both are achieved.”

However, he is now conspicuously silent, refusing to speak out, as he enjoys the success of his movies funded by Dravidianist ideology and continues to profit by aligning with them.

The silence of Kollywood celebrities on the Anna University sexual assault case is a damning indictment of their selective outrage. While they have readily condemned similar incidents in the last regime, their voices are curiously absent when the spotlight falls on the current ruling party. This deafening silence raises serious questions on whether they are truly champions of women’s rights or are merely political opportunists who prioritize their own interests over the well-being of their fellow citizens. The actions of these Kollywood celebrities speak louder than their words, and their silence in this critical moment speaks volumes about their true character.

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The post The Diabolical Hypocrites Of Kollywood: Do They Have An Ounce Of Shame? appeared first on The Commune.