Visaka Raja

@ThalaVisaka

Ambedkar -- Periyar

Chennai, India

Joined November 2015

284 Following

132 Followers

32.1K Posts

ThalaVisaka retweeted

🐯மணிவண்ணன்🐯 @098765mani

2 days ago

கிட்டத்தட்ட தோத்துப்போன ம��ட்ச் எவ்ளோ நம்பிக்கை இருந்திருந்தா கடைசி நிமிடம் வரைக்கும் போராடி ஜெச்சிருப்பான்❤️‍🔥💥 இதான்டா சினிமா💥

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ThalaVisaka retweeted

Sudhir Srinivasan

@sudhirsrinivasn

25 days ago

Mannnnyyy, mannnyyy thoughts on #ModhaRathiri (possible spoilers): _____ I kept noticing these artificial, awkward smiles in Raja Karuppasamy’s Modha Rathiri. Watch Muthu's (Anishma) smiles at Marudhu (Rishikanth), even though we know she would rather be anywhere else but with him. Watch in-laws smile at each other in ways that suggest neither affection nor happiness. In this film, people smile because they are supposed to. In this film, people have been trained to suppress what they want; instead they walk around performing and trying to fit into roles enforced on them by society. Isn't marriage the grandest performance of them all? You stand where you are told, wear what you are given, say what you must, and smile when somebody points a camera at you. What a delightful idea, then, to make a debut film where the protagonists of a marriage, the bride and the groom, refuse to play their roles as they are supposed to. Isn't that why that image of the bride and groom, hiding out in the darkness like outcasts, is so memorable? It's fascinating, almost hilarious, to see how the whole machinery gets thrown into chaos when these two refuse to play their roles. You've got men and women across age groups panicking, screaming, yelling, spying... Drunk men picking fights, relatives carrying quiet resentments, caste anxieties, sexual expectations, a priest who harbous serious reservations about the institution of marriage, and even a cot that seems to have its own story (quite fitting that the first-night cot should find itself broken even before delivery)... Modha Rathiri is so full of life everywhere you look. It's the kind of film where it feels wrong to call the supporting characters “supporting characters”. So many films are full of people, but without ever managing to create individual identities among them. In Modha Rathiri, the people are all so memorable. An egotistical drunk uncle who demands respect. A young woman who's got the eyes for a man outside her caste. Marudhu’s supportive uncle, who can tolerate any insult, except that which is directed at Marudhu. A casteist man who keeps asking for forgiveness. A homemaker woman who was once a long jump athlete. I could go on and on. People aren't filling up frames here because you know, it's supposed to be a 'marriage film'. Everyone here breathes and moves. The language is so wonderfully native, as is the humour (soplaangi!) and the faces and spaces have the messiness of lived experience. Yet, the craft shows a lot of control. I remember that stylised transition from Marudhu looking at his wedding-white-shirt to suddenly finding himself on stage wearing it. That's how quickly resistance is broken by systems. Look at the montages through which romance and memory are communicated. Look at those brief shots of the well that feel so powerful. For a debut filmmaker, there’s remarkable control exerted over what ought to be an uncomfortably chaotic environment. And that's because director Raja Karuppasamy seems to have clear objectives around his portrayal of men and women. The men are mostly insufferable. They drink. They fight. They control. They are mostly incompetent too. There's a man who says, "You know I can't ride a gear-bike", and the women laugh at him. But Modha Rathiri reveals something interesting about these men. They are all performing too. Bagavathy Perumal's character, for instance, seems besotted with the idea of becoming a man everyone will respect. He is performing love towards his brother, even though the very system he champions might have well killed him. Modha Rathiri shows men like him trying to play pre-assigned roles: Provide. Protect. Go to Dubai and mourn alone if you have to. Above all, never seem inadequate in front of other men. It's probably why I wished the film were kinder to Nithish (Raja Karuppasamy), since he's never able to perform his role. Is the film able to create jokes at his expense? Yes. And yet, for a film with affection for young victims of patriarchy and prescribed roles, there's something brutal about how he's treated at the end, particularly as he arrives topless, humiliated, beaten. The women, meanwhile, keep being reprogrammed and enslaved to work as agents of the system. The way a woman talks about Marudhu's sexual prowess... you'd think it's a man talking through her. There is a lovely, sad moment involving a woman who once loved high jump but never really got to pursue it. When her daughter asks her why she never thought of her athlete dreams after marriage, you can see her body almost glitching, like her system quickly rebooting. She takes a moment, and then quickly says, "Poi velaya paaru." These women, it seems, have become frighteningly good at hiding themselves. Muthu, fascinatingly, hasn't... yet. That’s what makes Anishma Anilkumar’s performance so affecting. So much of Muthu exists in the distance between the performance on her face and the emotion within. She barely, if ever, is allowed to talk. Even when she talks, it's in whispers and high-pitched squeals for help. Even with Marudhu, whenever she tries to talk, he asks her to remain quiet. And quickly, she shuts up. It’s frustrating to watch because you see she has a lot to say but her society has persuaded her not to. Perhaps for this reason, I thought of Anna Ben in Kottukkaali. Not because these films or women are identical, but because Muthu too seems surrounded by people who casually suffocate her because that's how it's supposed to be. Two moments in the film capture her most authentic expression. One, when she suddenly lets go and dances. Not some graceful 'Sangeet' dance intended to charm visitors, but a kind of primal, fearsome kuthu dance that momentarily brings her relief. And then, later, when she screams... And how she screams. It feels like the release of something that has been stored for years. When you have been suffocated for so many years, ordinary language feels no longer sufficient. There’s another visceral moment involving Muthu (and the priest played by Chetan). This priest has strong opinions about society, marriage, love... but then, just as he gets ready to rebuke her, Muthusimply looks at him, this dark angel of sadness and grief. He sees her and shuts up. Priests and gods better shush in the presence of such suffering. That's why, for me, one of the loveliest things about Modha Rathiri is how it treats Muthu’s grief in the aftermath of her break-up. It would have been so easy to turn it into a joke simply because her boyfriend borders on the ridiculous and the comical. The film does encourage us to laugh at him, as I'd said, but it never laughs at Muthu's loss. That's why through the second half, we only see a devastated Muthu, quiet and brooding. I liked that the film doesn't treat Marudhu’s loss as more profound, even though you could totally understand if it did. Rishikanth is enormously likeable as Marudhu, and one of my favourite moments comes when he finally begins talking about his past to the priest (in the presence of Muthu). At one point, words seem to escape him and his hands begin moving as though they have decided to tell the story themselves. The relationship may have ended years ago; the grief, it seems, is still alive in his body. I also liked that we never see the woman Marudhu loved. We don't have to. She exists in the film as she does to Marudhu: in his mind, as a memory. Underneath all this heaviness and complexity, there's the simple and tender idea of two wounded people being comfortable in each other's presence, simply because they both recognise wounds in each other. And yet, Modha Rathiri has the restraint not to treat this as a magical relationship that ought to be celebrated right away. There's still work to be done, you see. And that's why Marudhu’s quietness (acknowledging what Muthu says only in non-verbal language) at the end is so special. The same Marudhu, who shut Muthu up earlier, has learned by the end to let her speak. I guess the uncomfortable irony here is also the suggestion that Muthu's safety and security still requires the presence of a man, the blanket of the marriage institution. Perhaps it's the film trying to say that sometimes, even rebellion has to exist within a system. I know I make Modha Rathiri seem like a mirthless film, but it really isn't. In fact, it's amazing that Raja Karuppasamy carries all of this social and emotional commentary under the deceptive structure of a wedding-chaos-comedy. This film shows such mastery of movement between seriousness and comedy, such tonal control. And how lovely that in this film, 'modha rathiri' ('first night') really does bring Marudhu and Muthu closer, except not in the way society has prescribed. For such reasons, I think it's one of the best directorial debuts in a while. As I said at the beginning, it's a film full of fake smiles, but when it ends, you see Marudhu and Muthu smiling once again, breaking into laughter. Except, this time, for the first time, they both mean it.

sudhirsrinivasn's tweet photo. Mannnnyyy, mannnyyy thoughts on #ModhaRathiri (possible spoilers):
_____

I kept noticing these artificial, awkward smiles in Raja Karuppasamy’s Modha Rathiri. Watch Muthu's (Anishma) smiles at Marudhu (Rishikanth), even though we know she would rather be anywhere else but with him. Watch in-laws smile at each other in ways that suggest neither affection nor happiness. In this film, people smile because they are supposed to. In this film, people have been trained to suppress what they want; instead they walk around performing and trying to fit into roles enforced on them by society. Isn't marriage the grandest performance of them all? You stand where you are told, wear what you are given, say what you must, and smile when somebody points a camera at you.

What a delightful idea, then, to make a debut film where the protagonists of a marriage, the bride and the groom, refuse to play their roles as they are supposed to. Isn't that why that image of the bride and groom, hiding out in the darkness like outcasts, is so memorable? It's fascinating, almost hilarious, to see how the whole machinery gets thrown into chaos when these two refuse to play their roles. You've got men and women across age groups panicking, screaming, yelling, spying... Drunk men picking fights, relatives carrying quiet resentments, caste anxieties, sexual expectations, a priest who harbous serious reservations about the institution of marriage, and even a cot that seems to have its own story (quite fitting that the first-night cot should find itself broken even before delivery)... Modha Rathiri is so full of life everywhere you look.

It's the kind of film where it feels wrong to call the supporting characters “supporting characters”. So many films are full of people, but without ever managing to create individual identities among them. In Modha Rathiri, the people are all so memorable. An egotistical drunk uncle who demands respect. A young woman who's got the eyes for a man outside her caste. Marudhu’s supportive uncle, who can tolerate any insult, except that which is directed at Marudhu. A casteist man who keeps asking for forgiveness. A homemaker woman who was once a long jump athlete. I could go on and on. People aren't filling up frames here because you know, it's supposed to be a 'marriage film'. Everyone here breathes and moves.

The language is so wonderfully native, as is the humour (soplaangi!) and the faces and spaces have the messiness of lived experience. Yet, the craft shows a lot of control. I remember that stylised transition from Marudhu looking at his wedding-white-shirt to suddenly finding himself on stage wearing it. That's how quickly resistance is broken by systems. Look at the montages through which romance and memory are communicated. Look at those brief shots of the well that feel so powerful. For a debut filmmaker, there’s remarkable control exerted over what ought to be an uncomfortably chaotic environment.

And that's because director Raja Karuppasamy seems to have clear objectives around his portrayal of men and women. The men are mostly insufferable. They drink. They fight. They control. They are mostly incompetent too. There's a man who says, "You know I can't ride a gear-bike", and the women laugh at him. But Modha Rathiri reveals something interesting about these men. They are all performing too. Bagavathy Perumal's character, for instance, seems besotted with the idea of becoming a man everyone will respect. He is performing love towards his brother, even though the very system he champions might have well killed him. Modha Rathiri shows men like him trying to play pre-assigned roles: Provide. Protect. Go to Dubai and mourn alone if you have to. Above all, never seem inadequate in front of other men.

It's probably why I wished the film were kinder to Nithish (Raja Karuppasamy), since he's never able to perform his role. Is the film able to create jokes at his expense? Yes. And yet, for a film with affection for young victims of patriarchy and prescribed roles, there's something brutal about how he's treated at the end, particularly as he arrives topless, humiliated, beaten.

The women, meanwhile, keep being reprogrammed and enslaved to work as agents of the system. The way a woman talks about Marudhu's sexual prowess... you'd think it's a man talking through her. There is a lovely, sad moment involving a woman who once loved high jump but never really got to pursue it. When her daughter asks her why she never thought of her athlete dreams after marriage, you can see her body almost glitching, like her system quickly rebooting. She takes a moment, and then quickly says, "Poi velaya paaru." These women, it seems, have become frighteningly good at hiding themselves. Muthu, fascinatingly, hasn't... yet.

That’s what makes Anishma Anilkumar’s performance so affecting. So much of Muthu exists in the distance between the performance on her face and the emotion within. She barely, if ever, is allowed to talk. Even when she talks, it's in whispers and high-pitched squeals for help. Even with Marudhu, whenever she tries to talk, he asks her to remain quiet. And quickly, she shuts up. It’s frustrating to watch because you see she has a lot to say but her society has persuaded her not to. Perhaps for this reason, I thought of Anna Ben in Kottukkaali. Not because these films or women are identical, but because Muthu too seems surrounded by people who casually suffocate her because that's how it's supposed to be.

Two moments in the film capture her most authentic expression. One, when she suddenly lets go and dances. Not some graceful 'Sangeet' dance intended to charm visitors, but a kind of primal, fearsome kuthu dance that momentarily brings her relief. And then, later, when she screams... And how she screams. It feels like the release of something that has been stored for years. When you have been suffocated for so many years, ordinary language feels no longer sufficient. There’s another visceral moment involving Muthu (and the priest played by Chetan). This priest has strong opinions about society, marriage, love... but then, just as he gets ready to rebuke her, Muthusimply looks at him, this dark angel of sadness and grief. He sees her and shuts up. Priests and gods better shush in the presence of such suffering.

That's why, for me, one of the loveliest things about Modha Rathiri is how it treats Muthu’s grief in the aftermath of her break-up. It would have been so easy to turn it into a joke simply because her boyfriend borders on the ridiculous and the comical. The film does encourage us to laugh at him, as I'd said, but it never laughs at Muthu's loss. That's why through the second half, we only see a devastated Muthu, quiet and brooding. I liked that the film doesn't treat Marudhu’s loss as more profound, even though you could totally understand if it did.

Rishikanth is enormously likeable as Marudhu, and one of my favourite moments comes when he finally begins talking about his past to the priest (in the presence of Muthu). At one point, words seem to escape him and his hands begin moving as though they have decided to tell the story themselves. The relationship may have ended years ago; the grief, it seems, is still alive in his body. I also liked that we never see the woman Marudhu loved. We don't have to. She exists in the film as she does to Marudhu: in his mind, as a memory. Underneath all this heaviness and complexity, there's the simple and tender idea of two wounded people being comfortable in each other's presence, simply because they both recognise wounds in each other.

And yet, Modha Rathiri has the restraint not to treat this as a magical relationship that ought to be celebrated right away. There's still work to be done, you see. And that's why Marudhu’s quietness (acknowledging what Muthu says only in non-verbal language) at the end is so special. The same Marudhu, who shut Muthu up earlier, has learned by the end to let her speak. I guess the uncomfortable irony here is also the suggestion that Muthu's safety and security still requires the presence of a man, the blanket of the marriage institution. Perhaps it's the film trying to say that sometimes, even rebellion has to exist within a system.

I know I make Modha Rathiri seem like a mirthless film, but it really isn't. In fact, it's amazing that Raja Karuppasamy carries all of this social and emotional commentary under the deceptive structure of a wedding-chaos-comedy. This film shows such mastery of movement between seriousness and comedy, such tonal control. And how lovely that in this film, 'modha rathiri' ('first night') really does bring Marudhu and Muthu closer, except not in the way society has prescribed. For such reasons, I think it's one of the best directorial debuts in a while. As I said at the beginning, it's a film full of fake smiles, but when it ends, you see Marudhu and Muthu smiling once again, breaking into laughter. Except, this time, for the first time, they both mean it.

270

23K

ThalaVisaka retweeted

𝗟𝗼𝗴𝗮𝗻♬

@vasloga

7 days ago

எத்தனை முறை பார்த்தாலும் சலிக்காத படம்🔥 & காட்சிக்கு நடுவில் வரும் BGM😍

333

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ThalaVisaka retweeted

Mr Expiry

@Expi_R045

3 days ago

சொத்தை கூட பங்கிட்டு வார்கள்...அதிகாரத்தை பங்கிட மாட்டார்கள்...ஆசான் மொரட்டு ஸ்பீச்...அதுவும் அந்த பாஜக கூட கூட்டணி கட்சிகளுக்கு அதிகாரம் கொடுக்குதுன்னு சொன்னதுலாம் திமுகவ செருப்பால அடிச்ச மாதிரி இருந்துச்சு...

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Who to follow

RANGADURAI G

@RANGAINSTRO

Belongs to Dravidian(Tamilian) Stock

JaiBhim-Thozhar

@JaiBhim_Thozhar

சுயமரியாதை,சுதந்திரம்,சமத்துவம், ��மூகநீதி,சகோதரத்துவம் அமைய பாடுபடுவோம் | Let’s strive for Self-Respect, Liberty, Equality, Social Justice & Fraternity💙🖤❤️

S இ��வரசு

@rockprince007

When you change the way you look at things, the things you look at change. - Max Planck (1858 - 1947)

ThalaVisaka retweeted

CMOTamilNadu

@CMOTamilnadu

3 days ago

தமிழ்நாட்டின் மத��ப்புமிகு மகளிரான நம் பாட்டி, அம்மா, அக்கா, தங்கைகள், பெண் குழந்தைகள் மற்றும் திருநர் அனைவருக்கும் கட்டணமில்லா வெற்றிப் பயணம் திட்டம் அக்டோபர் 2 முதல்

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ThalaVisaka retweeted

News18 Tamil Nadu

@News18TamilNadu

5 days ago

#WATCH | பி.டி. உஷாவி��் 42 ஆண்டு கால சாதனையை மகள் முறியடித்தது மகிழ்ச்சி என தடகள வீராங்கனை வித்யா ராமராஜின் பெற்றோர் நெகிழ்ச்சி #PTUsha #AsianGames #Vidhya #athlete #News18TamilNadu

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ThalaVisaka retweeted

Aadhav Arjuna

@AadhavArjuna

5 days ago

2026 ஆம் ஆண்டுக்கான ஆசிய விளையாட்டுப் போட்டிகள் - ஒரே தொடரில் மூன்றாவது முறையாகப் பதக்கம் வென்று, உலக அரங்கில் இந்திய நாட்டிற்கும் தமிழகத்திற்கும் வரலாற்றுச் சிறப்புமிக்க புகழை ஈட்டித் தந்திருக்கிறார் தடகள வீராங்கனையர் வித்யா ராம்ராஜ். ஜப்பானில் நடைபெற்று வரும் ஆசிய விளையாட்டுப் போட்டிகள் - 'Women's 4x400m Relay' பிரிவில், தங்கப்பதக்கம் வென்றுள்ள இந்திய அணிக்கும், அணியில் இடம்பெற்று சிறப்பாக பங்களித்ததோடு - மூன்றாவது பதக்கத்தை வென்று தமிழ்நாட்டிற்குப் பெருமை சேர்த்துள்ள வித்யா ராம்ராஜ் அவர்களுக்கும் எனது ம��மார்ந்த வாழ்த்துகளைத் த��ரிவித்துக்கொள்கிறேன். 'Mixed 4x400m Relay' ஆட்டத்தில் இந்திய அணிக்காக விளையாடி வெள்ளிப் பதக்கம், 'Women's 400m Hurdles' தனிநபர் ஆட்டத்தில் தேசிய சாதனையை முறியடித்ததோடு மட்டுமல்லாமல் வெண்கலப் பதக்கம் வென்றது, இன்றைய ஆட்டத்தில் தங்கப்பதக்கம் என, மேற்கொண்ட கடின உழைப்பையும், எதிர்கொண்ட சவால்களையும் உலக சாதனையாக மாற்றி விளையாட்டுத்துறையில் புது சரித்திரம் படைத்திருக்கிறார் வித்யா ராம்ராஜ் அவர்கள். அவரது வெற்றிப் பயணத்திற்குத் தமிழ்நாடு அரசு எப்போதும் பக்கபலமாக இருக்கும். ஆசிய விளையாட்டுப் போட்டிகளில் தங்கப்பதக்கம் வெல்பவர்களுக்குத் தமிழ்நாடு விளையாட்டு மேம்பாட்டு ஆணையத்தால் வழங்கப்படும் ரூ.75 லட்சம் உயரிய ஊக்கத் தொகையினை (High Cash Incentive) பெறும் வித்யா ராம்ராஜ் அவர்கள், மேலும் பல வரலாற்றுச் சாதனைகள் படைக்க அவருக்கு எனது பாராட்டுகள்.

AadhavArjuna's tweet photo. 2026 ஆம் ஆண்டுக்கான ஆசிய விளையாட்டுப் போட்டிகள் - ஒரே தொடரில் மூன்றாவது முறையாகப் பதக்கம் வென்று, உலக அரங்கில் இந்திய நாட்டிற்கும் தமிழகத்திற்கும் வரலாற்றுச் சிறப்புமிக்க புகழை ஈட்டித் தந்திருக்கிறார் தடகள வீராங்கனையர் வித்யா ராம்ராஜ்.

ஜப்பானில் நடைபெற்று வரும் ஆசிய விளையாட்டுப் போட்டிகள் - 'Women's 4x400m Relay' பிரிவில், தங்கப்பதக்கம் வென்றுள்ள இந்திய அணிக்கும், அணியில் இடம்பெற்று சிறப்பாக பங்களித்ததோடு - மூன்றாவது பதக்கத்தை வென்று தமிழ்நாட்டிற்குப் பெருமை சேர்த்துள்ள வித்யா ராம்ராஜ் அவர்களுக்கும் எனது ம��மார்ந்த வாழ்த்துகளைத் த��ரிவித்துக்கொள்கிறேன்.

'Mixed 4x400m Relay' ஆட்டத்தில் இந்திய அணிக்காக விளையாடி வெள்ளிப் பதக்கம், 'Women's 400m Hurdles' தனிநபர் ஆட்டத்தில் தேசிய சாதனையை முறியடித்ததோடு மட்டுமல்லாமல் வெண்கலப் பதக்கம் வென்றது, இன்றைய ஆட்டத்தில் தங்கப்பதக்கம் என, மேற்கொண்ட கடின உழைப்பையும், எதிர்கொண்ட சவால்களையும் உலக சாதனையாக மாற்றி விளையாட்டுத்துறையில் புது சரித்திரம் படைத்திருக்கிறார் வித்யா ராம்ராஜ் அவர்கள்.

அவரது வெற்றிப் பயணத்திற்குத் தமிழ்நாடு அரசு எப்போதும் பக்கபலமாக இருக்கும். ஆசிய விளையாட்டுப் போட்டிகளில் தங்கப்பதக்கம் வெல்பவர்களுக்குத் தமிழ்நாடு விளையாட்டு மேம்பாட்டு ஆணையத்தால் வழங்கப்படும் ரூ.75 லட்சம் உயரிய ஊக்கத் தொகையினை (High Cash Incentive) பெறும் வித்யா ராம்ராஜ் அவர்கள், மேலும் பல வரலாற்றுச் சாதனைகள் படைக்க அவருக்கு எனது பாராட்டுகள்.

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The Khel India

@TheKhelIndia

5 days ago

FIRST ATHLETICS GOLD IS HERE!!!!! 🤩🇮🇳 Indian 4x400m Women’s Team won the Gold Medal at Asian Games 2026! 🥇 FINALLY, OUR GIRLS DID IT!!!!!!! ��

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KiriSudan

@sudan_kiri

5 days ago

🚨🚨TN’s Men Are Dying Too Young And The Data Needs Attention Tamil Nadu recorded 4.02 lakh male deaths vs 2.91 lakh female deaths in 2025, a gap of 1.10 lakh deaths. The most worrying part: 86% of this gap came from people aged 15–64, the years when people are working, raising families and supporting ageing parents. The age-wise gap is striking: • 15–24: 9,167 men vs 4,461 women • 25–34: 17,135 vs 6,177 • 35–44: 31,585 vs 11,406 • 45–54: 54,743 vs 26,269 • 55–64: 81,840 vs 51,365 Officials cite road crashes, suicide, tobacco/alcohol use and poorly detected heart, kidney and metabolic diseases among the concerns. There is also a major data gap: only 41% of registered deaths were medically certified in 2025. The comparison with Sweden is particularly interesting. Sweden recorded almost equal male and female deaths in 2025 — around 46,000 each. But the key difference is when people die: only about 10% of deaths in Sweden occur before 65, compared with 42% in Tamil Nadu. This is more than a health statistic. Preventing premature deaths among working-age men is also about protecting families, children and household economic security.

sudan_kiri's tweet photo. 🚨🚨TN’s Men Are Dying Too Young And The Data Needs Attention

Tamil Nadu recorded 4.02 lakh male deaths vs 2.91 lakh female deaths in 2025, a gap of 1.10 lakh deaths.

The most worrying part: 86% of this gap came from people aged 15–64, the years when people are working, raising families and supporting ageing parents.

The age-wise gap is striking:
• 15–24: 9,167 men vs 4,461 women
• 25–34: 17,135 vs 6,177
• 35–44: 31,585 vs 11,406
• 45–54: 54,743 vs 26,269
• 55–64: 81,840 vs 51,365

Officials cite road crashes, suicide, tobacco/alcohol use and poorly detected heart, kidney and metabolic diseases among the concerns.

There is also a major data gap: only 41% of registered deaths were medically certified in 2025.

The comparison with Sweden is particularly interesting. Sweden recorded almost equal male and female deaths in 2025 — around 46,000 each. But the key difference is when people die: only about 10% of deaths in Sweden occur before 65, compared with 42% in Tamil Nadu.

This is more than a health statistic. Preventing premature deaths among working-age men is also about protecting families, children and household economic security.

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Shalin Maria Lawrence

@ShalinSpeaks

6 days ago

He was not allowed to campaign in certain dominant caste areas of his constituency last time . Today he is blessing their children with a gold ring . Power can easily make a difference if proper representation is given to Dalits ,which @CMOTamilnadu does so effortlessly.

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TamilNadu Updates

@tn_updatess

6 days ago

September mudinju October vara pothu innum inga enna da panitu iruka😤

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Sports Apna 🇮🇳 @sportsapna1

7 days ago

WHAT A RACE! 😱🔥🇮🇳 India were around 4th-5th place, but Abinaya Rajarajan, the rising 19-year-old, made that final 100m INSANE! 😱 WHAT A COMEBACK! 🔥🇮🇳

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karthik subbaraj

@karthiksubbaraj

11 days ago

Paratha is a Dish... Brotta is an emotion 😊 Bookings open now for #Dorothy In Cinemas this FRIDAY!! #DorothyfromSep25

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@Ste4vee

11 days ago

Ithana naala idha epdi kekama irundhen.. Ena mari oru velaipaadu raja raja dhan nu summava solranga 🛐😭

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Mihir Jha

@MihirkJha

13 days ago

Insta is full of Techies sharing layoffs stories... Is situation really so bad in the IT industry?

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Ilaiyaraaja

@ilaiyaraaja

12 days ago

I offer my sincere gratitude to the Honorable Enver Erdogan MP, Minister for Finance, Victorian Government, and the Members of Parliament for having my 50-year journey commemorated through a ceremonial stamp release. Being born in a small, remote village in Tamil Nadu and honored in an Australian Parliament is truly touching. I also take this opportunity to thank the countless people who gave life to my music, the artists who walked beside me, and generations of listeners who welcomed my compositions. @OneMercuri

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Malahassan @rightraaa

15 days ago

Yuvan has a very deeply buried sadness in him There’s no other real explanation for it It’s the way his music hits you way too personally and creates that lump in your throat feeling.