செவந்து போச்சு நெஞ்சே
I see this more clearly than most, and no, I am not boasting. It is simply an occupational hazard of being an editor and having spent too many hours in the bowels of the edit bay.
Media no longer informs. It edits, it withholds, and it manufactures spectacle. Shots are held, angles deliberately omitted, the precise frame awaited where chaos reaches its apex, and only then is it unleashed. Timing is not accidental. It's designed for mischief.
தப்பு தப்பா தப்புக செஞ்சே
தப்பு அறுஞ்சும் தப்புக செஞ்சே
செவந்து போச்சு நெஞ்சே...
It’s not about the story. It’s all about the narrative. In fact, it’s about the very first narrative. The one that lands first, the one that sets the frame for everything else. And, most importantly, who gets to tell it. That’s what drives the story. That’s what drives the news. Once it’s out, once it’s thrown into the world, there is no going back. No footnote can fix it. No margin can amend it. Once it’s gone, it’s gone. It’s digital ash, scattered beyond recall. Like a ghost in the edit bay, it haunts every clip, every reaction, every headline. The assembly cut defines the narrative. Everything else is merely echo.
The divide is not just political. It is performative. A pair of parallel reels, each claiming a monopoly on truth. The editors, the invisible manipulators, keep cutting, keep reordering, orchestrating outrage, timing confusion. The audience believes it is witnessing reality. The power isn’t in what we see. It’s in what they make sure we never see.
தீமை என்பது
ஆமை போல் நுழைவது
புத்தியை கொல்வது
போதை அது
For decades, or at least for as long as I have been paying attention, I have watched the same tedious narrative, now dressed up in slightly more sophisticated language. It is no longer merely left versus right. No, I see it has become a ludicrous moral theater in which one side is cast as "Good" and the other as "Evil", as if virtue and vice could be so neatly assigned.
One side proclaims itself “Good” by declaring the other as "Evil", and the other side returns the favor. Every montage, every clip, every headline is meticulously arranged to show just how “woke” the left is, how “cooked” the right is, how disastrously they perform in debate, how wrong their opinions are, and how outrageous their behavior appears.
Both sides are playing exactly the same game, cloaked in different logos, broadcast on different networks, amplified across different social media platforms. The posturing, the public shaming, the moral preening, it is all identical. Neither side is different.
If you think they’re any different, just watch. Identity politics, cancel culture, the same tired complaints conservatives have been muttering about liberals for years. Now they’re doing it, too. Only this time, it’s bigger. It’s grander. The kind of self-righteousness that fills the air like a slow-burn fuse. Where’s the so-called Christian morality the Founding Fathers were supposed to stand for? What happened to redemption? To forgiveness? And for all the liberals preaching about "openness," where’s the due process? Where’s the line between accountability and witch hunt?
Every outburst, every moral sermon, every calculated public shaming is staged. Carefully constructed, like the frame of a well-oiled machine. The world’s become one long, unblinking surveillance shot, where every mistake, every misstep is captured in high-definition, analyzed, dissected. It’s a performance, and everyone’s playing their part.
அட நானா?
அட நானா?
அட சொன்னதும் நானா, செஞ்சதும் நானா?
அட ரெண்டும் ஒண்ணா வெவ்வேறாளா?
Until we abandon the comforting illusion that all vice resides with our opponents and all virtue with ourselves, we shall remain in this miserable cycle. A cycle of synthetic outrage, trimmed for effect, packaged for mass consumption, and presented as if it were truth. The public, eager for certainty and allergic to complexity, mistakes this spectacle for moral clarity.