The Price Of Idolizing - Part 2

In the previous part we saw how idolizing politicians and actors blinds citizens and turns tragedies into stages for their politics. The cycle of glorifying leaders while ignoring accountability has been repeating for decades. The same culture of idolizing exists in another space that touches millions, cricket.

Let’s talk stars. Sachin Tendulkar and Virat Kohli are revered as god and King of cricket. Their records are celebrated and their influence is unquestioned. But this adoration shields them from accountability. When matches are lost due to their repeated errors or strategic failures, criticism is muted. The team suffers, the nation suffers, yet the individual continues to be idolized. 

India has won only two ODI World Cups in all these years despite being a country obsessed with cricket. This nation has produced extraordinary players, stars who are celebrated as gods, yet the results do not match the worship. This gap is not due to a lack of talent or resources but due to the effect of idolizing.

When a player underperforms in nine matches and shines in one, the nation celebrates that single success while ignoring the failures. Stars are protected with phrases such as “form is temporary, class is permanent” even when those temporary failures cost the country crucial tournaments. Idolizing shields them from accountability, and in the process the team and the nation suffer.

Countries with multiple World Cups follow a different approach. Players are treated as professionals. If performance dips over time they are benched, regardless of their past reputation. Decisions are made for the team, not for preserving an image. In India, once a player is idolized, endless chances follow. Youngsters with talent and hunger are often seen carrying water while established stars continue despite repeated underperformance.

This is the price of idolizing. Tournaments slip away, trophies remain elusive, and yet the focus stays on individuals and personal milestones. The cricket board earns, broadcasters earn, players earn, but fans and citizens lose. Time, money, and collective pride are spent, yet the return is meagre because accountability is sacrificed at the process of worship.

Cricket in India has shifted into a business where fans are no longer participants in a sport but consumers in an industry. Cheering is directed more at individuals than at results. The culture has moved from respect to blind faith, and the fact is blind faith never builds champions.

Until players are seen as professionals first and not as gods, victories will remain a dream and cycles of disappointment will continue. Personal records may rise and endorsements may multiply, but the nation will always fall short of its true potential.

This is what idolizing costs. It is not restricted to cricket alone, but shows a deeper national pattern of worshipping individuals instead of demanding results. And in that blindness of idolizing the people themselves are the ones who suffer.

Citizens or Fools? The Price of Idolizing - Part 1

In Karur, a tragedy happened during a rally held by an actor turned politician. The event which was intended to display political strength turned into a nightmare when a stampede broke out. Reports say close to forty people lost their lives. Families were shattered in a matter of minutes. Fathers, mothers, daughters, sons, people who simply came to witness a political spectacle, never returned home.

Soon after the incident politicians rushed to the spot, offered condolences and shed tears in front of the media. The party that conducted the rally announced monetary compensation. Opposition leaders used the moment to question the government. Supporters of the actor stood by his side and defended him when critics held him responsible. And now that the actor has released a statement, the same voices have turned the blame back on the ruling party. The issue has stopped being about the people who died. It has turned into a tug of war where political groups and celebrity fans pull the narrative in whichever direction serves them best.

Do you notice the pattern here. Nearly forty lives were lost, yet the debate has shifted entirely to image building and blame games. A tragedy that should have united people in grief has instead become a platform to glorify or vilify powerful figures. When a politician or a star is involved they are projected as larger than life. Their explanations or their silence becomes the centre of discussion, while the actual loss is pushed aside.

This is not new. Every time a crisis occurs, the same script gets executed. An opposition party blames the ruling side, citizens celebrate the courage of the opposition, eventually that party comes to power, and in time they repeat the same mistakes. All along citizens are the ones who suffer. We are distracted by the drama of political heroes and celebrity idols, and we forget that it is our lives and our futures that are at stake.

What makes it worse is that this is not just respect anymore, it has become worship. Politicians and actors are elevated to the level of saviours. We treat them as superhumans whose actions must always be justified. Take for example, outside our country leaders and stars eventually return to being ordinary citizens when their time in power or fame ends. Here even those who have never governed or had no good films hold assets and influence worth crores simply because we give it to them. We make them bigger than they are, and in doing so we make ourselves smaller.

Coming back to the Karur tragedy, the stampede has now been converted into a stage for politics. Politicians gained visibility, Actor gained sympathy, and the cycle continues. But the forty who died will not come back. Their families are left with grief, while the rest of us are left fighting over which hero should be celebrated. What intially looked like a human loss now has turned into a political game.

So the question is when will this cycle end?

When will citizens stop seeing politicians and celebrities as heroes and start seeing them as individuals who are accountable to us. When lives are lost or when an incident happens, it should never be about defending an actor, a politician, or a party. It should be about the people, the middle men or the so called citizens. But our obsession with idealizing those in power does the opposite. The families grieve in silence while the rest of us argue over whose hero should escape blame. Until that change happens the same pattern will repeat and the same tragedies will continue to be politicised. 

To be continued...

When Influencers Enter Classrooms

There has long been a tradition in schools and colleges of inviting a chief guest for ceremonies and functions. The purpose was never to entertain but to inspire the students. The stage was meant to be shared with people who had walked difficult paths, achieved something meaningful and could pass on lessons to young minds. Teachers, public servants, scientists, writers and government officials were often called upon. Though their speeches were not that entertaining, at least it had dignity. They did not mislead or discourage.

But over the years this culture has changed. Institutions have begun to invite celebrities, influencers, YouTubers and internet personalities. The choice of guest is rarely about the message they have. It is about who is trending, who is visible in the media and who can give the institution traction. The idea of inspiration has been replaced by the idea of popularity.

The issue is not about influencers as individuals but about what they bring into that space. When someone who rose to fame through curated content, trends or explicit material stands before a hall full of students, what is the message being delivered. The problem begins when they use this platform to glorify their journey without context. Statements like “education is not important, only skill matters” sound appealing, but they are damaging when delivered to impressionable young minds. Skill matters, of course, but skill without education rarely sustains. It is education that provides direction, discipline and the ability to use skill meaningfully. Taking away the value of education in a school auditorium weakens the very foundation of the institution itself.

We must also ask, what exactly have many of these influencers contributed to society. Are they freedom fighters, reformers, teachers or innovators. Have they built anything for the nation, or sacrificed anything for the community. Most have built careers out of entertaining people on a screen, which in itself is not wrong, but does that deserve a place on an academic stage. To narrate a personal success story is not the same as imparting wisdom, yet that is what many such appearances have become.

The danger lies in the reception. Adults may have the maturity to listen and filter ideas. Children and teenagers do not. At a stage where their identities and values are still forming, they absorb what they are told. If a figure who commands attention tells them education is secondary, that message does not leave the hall. It takes root. It becomes the lens through which they judge effort, education and ambition. A single misguided statement can undo years of patient teaching.

Some may argue that influencers already reach students through phones and the internet. So why does it matter if they are invited to schools. It matters because the institution legitimises them by placing them on that stage. What children may have otherwise consumed as entertainment now arrives packaged as authority. The school/college itself hands them credibility and with it comes the power to mislead.

Education is not just about going with trends. It is more about shaping future minds. Schools and colleges cannot afford to outsource inspiration to those who have nothing meaningful to offer.  Institutions hold an enormous responsibility. If they cannot find a guest who has genuinely contributed to the growth of society then it is better not to invite anyone. An empty stage speaks with more dignity than voices that distract.

Hridhayapoorvam Review

Hridhayapoorvam released in 2025 is directed by Sathyan Anthikad and features Mohanlal, Malavika Mohanan, Sangeeth prathap, Sangitha Madhavan and Siddique in the lead roles. The music is composed by Justin Prabhakar whose melodies and background score give the film a distinct emotional texture. The film is produced by Ashirvad Cinemas.

The plot is one of a kind. Simple yet unique, it has a gentle touch of comedy, emotion and many other shades of life. It is a light hearted film but at the same time deeply layered with moments that make you think. The story feels close to the heart as it captures ordinary life in a way that makes the ordinary look extraordinary.

The cast deserves credit for elevating this story. Mohanlal shines with his natural humour and effortless emotional depth. He plays the role with a grace that only years of experience can bring. Malavika Mohanan plays her part with conviction, adding freshness to the narrative. While Sangeeth and Siddique add charm and balance to the flow of the film. Each actor feels carefully placed and that gives the movie a natural rhythm.

Music by Justin Prabhakar takes the film to a whole new level. The background score captures every emotion beautifully and the songs feel like they are naturally put into the story rather than added on top of it. Watching the film with its music feels like listening to a tale.

Cinematography and screenplay together make the film even more striking. The frames are often saturated with colours but they do not look overdone. Instead they feel like the plot demands that vibrancy. The locations have been chosen thoughtfully and add to the warmth of the story. Screenplay keeps the flow intact and there is never a dull stretch. Comedy appears at the right time, emotions arrive naturally and the blend of everything keeps the audience hooked.

The Co writing and direction is where Sathyan Anthikad proves once again that art has no age. At over seventy he delivers a film that feels as fresh as ever. His years of experience can be seen in every frame. The dialogues feel natural, the humour never feels forced and the story flows as if it has a life of its own. Mohanlal’s humour becomes an added strength and the balance between depth and lightness is maintained till the end.

Overall Hridhayapoorvam is a film that touches the heart. It makes you laugh, it makes you think and it makes you feel the warmth of ordinary life. It is not a larger than life spectacle, but a film that sits next to you like a family member and makes you feel at home. It is a wonderful watch.

Rating: 8/10⭐️

Privilege: The Power to Ignore

Privilege is often portrayed as nothing more than the reward of hard work, as though the world were an equal playing field and every person had the same road to walk. It is easy to glorify someone’s success as effort alone, when the doors they walked through were already open, when the ground they stood on was already steady, when the space around them was already made safe by the others.

To say that privilege is merely about choice is to insult those who never had one. It is to look at the person who never got a stage and tell them they should have performed better, to look at the child locked out of classrooms and say they should have studied harder. This is not truth but is arrogance, and it keeps power in the hands of those who already have it.

The cruelty of privilege is not just in what it gives but in what it denies. It creates a blindness that makes people mock struggles they have never endured, it allows them to reject pain that has never crossed their doorstep, it makes them believe that fairness has already been achieved simply because they themselves were never forced to fight for it. In this way privilege does not just protect the fortunate, it also silences the less fortunate, stripping their suffering of legitimacy while celebrating someone else’s advantage as destiny.

What makes privilege most dangerous is not the comfort it provides, but the indifference it breeds. Once someone convinces themselves that their rise was only about their own effort, they begin to see the suffering of others as weakness, they begin to believe inequality is natural, they begin to defend a system that was never fair to begin with. And when a society normalises that mindset it raises generations who mistake opportunism for merit and selfishness for strength.

Privilege survives through excuses and denial. It convinces people that what they hold was rightfully earned and that others simply did not try hard enough. In that point of arrogance, the pain of those who were never given the same ground to stand on is ignored as nothing and their struggle is treated as failure.

Madharaasi Review

Madharaasi is a 2025 Tamil action drama directed by AR Murugadoss featuring Siva Karthikeyan in the lead role with Vidhyut Jamwal, Rukmini Vasanth, Biju Menon, Shabeer Kallarakkal and others playing crucial parts. And music composed by Anirudh Ravichander. The film had fairly high expectations as it was considered the return of Murugadoss after a gap, and audiences were eager to see if the filmmaker still retained his signature touch of making action packed commercial cinema, that could also hold depth.

The plot in itself is not something extraordinary as it revolves around an effort to suppress gun culture in the city. What adds a slight twist is that the protagonist suffers from delusion disorder which shapes his perception of reality. Alongside this we see a romantic track and some emotional elements layered over the action. While the core of the story is not fresh it is the execution and writing that keeps it engaging. The first half moves at a racy pace that barely allows you to breathe while the second half slows down considerably, though never to the point of losing interest.

A crucial aspect that strengthens the writing is the flashback portion which explains why this delusion syndrome affects the hero. Unlike the exaggerated and unnecessary fake flashback sequences that have become common in many recent films, this one runs barely two or three minutes yet conveys an emotion that is genuine. It adds a layer of authenticity to the character and avoids the artificial melodrama that often drags down commercial cinema.

Murugadoss once again proves that writing and screenplay are often greater strengths than novelty of the plot. The screenplay is done with care and the placement of scenes works effectively to maintain rhythm. He is one of the few directors who is not lazy to write his film in a conventional yet effective way and this is evident throughout Madharaasi. Unlike some filmmakers who attempt to project themselves as the Nolan of the industry, Murugadoss remains a genuine writer and director who works with conventional templates and still delivers them with conviction. Many directors today walk in with stronger stories but fail in execution while Murugadoss on the other hand elevates a simple story into something that looks powerful. The film shows what proper structuring can do to even a familiar premise.

Technically Madharaasi is stunning. The cinematography and stunts are mounted on a scale that Tamil cinema rarely sees. There is a truck sequence where a massive collision plays out with cars being smashed and tossed, which feels as authentic and dynamic as any Hollywood action set piece. The impact is heightened further by the excellent sound design which captures every blast every shatter and every fall with a punch. Special credit must be given to Vidhyut Jamwal whose physicality and stunt work raise the bar as always but the real surprise comes from Siva Karthikeyan who for the first time convincingly matches Vidhyut’s physical intensity. The choice to rely on practical stunts and real explosions rather than overused green screen graphics makes the film feel raw and immersive. In terms of visual impact this is a five on five effort.

Anirudh Ravichander’s music adds another strong layer. While the songs follow the standard Tamil cinema template of an introduction track, a love song and a few situational numbers the treatment makes them fit seamlessly into the narrative. More importantly the background score plays an integral role in shaping the emotional and action scenes of the film. The pairing of action cinematography with a balanced sound design gives Madharaasi, a level of authenticity that makes you feel inside the world rather than watching from outside.

In the acting department every major performer contributes effectively. Shabeer Kallarakkal as Chirag is a standout who brings intensity and unpredictability to his character. Vidhyut Jamwal as Virat provides a powerful antagonist whose presence makes the stakes feel genuine, because when a villain feels untouchable the fear of what might happen if he breaks free becomes real. Siva Karthikeyan carries both strengths and weaknesses of his familiar persona. There are moments of his typical comic body language that feel repetitive but he also delivers in areas we rarely expect from him, especially in a brutal pre climax fight sequence that strips away the image of a soft entertainer and replaces it with a rawer more intense side. His portrayal of a man with delusion disorder is not flawless but is strong enough to leave an impact.

The film is not without shortcomings. The second half does fall with stretches that feel extended as though the narrative was fully resolved in the first half but required to be dragged further. Yet Murugadoss manages to cover most of these flaws through his screenplay which keeps the proceedings alive. Despite dips in momentum Madharaasi never collapses into dullness.

Overall Madharaasi stands as a significant return for AR Murugadoss. It may not boast of a groundbreaking story but the writing, execution, stunts, visuals, music and performances make it a complete cinematic experience. It is not flawless but it is undoubtedly a film worth watching at least once. 

(What truly stands out here is not that Murugadoss reinvented anything but that he showed the audience of what honest writing can do. At a time when many Tamil directors speak like philosophers yet fail to translate their words into meaningful cinema, Murugadoss shows that films do not need self glorification they need sincere effort. He proves once again that he is a writer first and a director next and more importantly he is one who refuses to be lazy with his writing.)

Rating: 7/10⭐️