Engineering a difference 🛩️ Theoretical Empericist Movies ° Football ° Stories ° Shitposts
California, USA
Joined July 2026
- Tweets6.1K
- Following6.6K
- Followers10K
- Likes9.4K
Pinned Tweet
With due respect Sir, unless you're in some selective core fields and in the service industry for both software products and services, I don't see the incentive.
Let's take aerospace for example. One of my good buddies started Sarla Aviation. A company that wants to bring technology to reduce traffic affordably.
And they, have been somewhat successful so far. But that's one story
I know 99 others where product ideas are either shut down, shunned upon and are not invested in at all.
Build in India is selective, and not supported very well on the roots. And I feel it's a cultural problem too. People don't trust, they don't see the vision. They sit in a room, take 2 minutes to decide a product won't work.
And I haven't even gotten to the major part. Job offer incentives in these said core industries such as semiconductor manufacturing and aerospace and electric motors are absolutely horrendous, for the lack of a better way to put it. People are getting 4-8 LPA in top cities.
On the contrary, here if you do things the right way, you start in high 5 and low 6 figures. And, the benefits are quite nice. And, the incentive to grow is there. And.. more importantly, there is an engineering satisfaction
If you can, influence and make these changes, Sir. Until then, I'm sorry but a ton of people like me will not move back to India.
Indians have made a major contribution to America's technological prowess. Yet, a big part of America no longer wants us.
Indians who are on a visa in the US face the painful prospect of uprooting the life you have built with hard work.
Let this be the birth pains of a bold new future.
Come back, let's build India 🙏
S was seven years old when his parents went out for the night. His big sister was left in charge. He loved her. She was his whole world, the one person he trusted without thinking. The house felt big and quiet, but he felt safe because she was there.
Time kept moving, and so did she. Now she is the one struggling. Bills she cannot pay. She is close to asking strangers for help, close to begging. When S hears about it, he feels something he cannot name. Not joy, exactly. Maybe just the feeling that the world keeps its own score. (6/7)
Thinking that tomorrow is a Monday in itself can cause anxiety to the point of needing 30 minutes of meditation
Dhee 🏒 retweeted
**Part 1**
The rise of Mammootty as an actor has to be studied between 1985-2005. He was already a leading man by the mid 1980s, but the films that fixed his place came later.
Oru CBI Diary Kurippu was the clear turning point on the commercial side. He played Sethurama Iyer, a calm CBI officer who solved a murder case with method and restraint. The character entered the film late, spoke with a Tamil accent, and never raised his voice. The film ran for a long time even in Tamil Nadu and set a standard for investigative thrillers in Malayalam. It was not loud. It was precise.
The CBI series continued from there. Jagratha arrived with the same team and the same quiet method. Later entries followed after a long gap, and still held the same poise and case complexity in my opinion.
At the same time he worked with Adoor Gopalakrishnan. Anantaram gave him a supporting part that he took without complaint. Mathilukal cast him as Vaikom Muhammad Basheer, a writer in prison who falls in love with a voice beyond the wall. The performance won him a National Award and remains one of the quietest things he has done.
Vidheyan (my personal favorite and it definitely inspired Bramayugam) took one of the best turns. He played a cruel landlord who had no empathy and mercy towards his subordinates. Adoor made him cut his hair short and drop the usual star look. That film won him another National Award. Three films with the same director, three very different men. Adoor has not repeated that run with any other lead actor.
Bhoothakkannadi (what a fucking movie) sits in the same stretch. Mammootty played Vidyadharan, a soft spoken clockmaker and widower whose mind begins to fray. He looks at the world through the magnifying glass he uses for watches, and that glass becomes the film’s way of showing how he sees and reads everything around him. The performance is stripped of any star mannerism. He walks and speaks with a quiet hesitation that makes the character’s confusion feel lived rather than acted. It remains one of the strongest examples of how far he could go when the role asked for nothing but stillness and damage.
Other work filled the years. Oru Vadakkan Veeragatha gave him Chandu Chekavar, a role that carried moral doubt instead of simple heroism. Thalapathi put him opposite Rajinikanth. The Ambedkar biopic later added another National Award. What linked the better films was the range. One year he was the soft spoken detective who preferred files and logic. The next he was a prisoner or a tyrant or a man slowly losing his grip. He did not treat the commercial and the serious as separate tracks.
The same actor who could carry a long running CBI series could also sit inside Adoor’s frames or Lohithadas’s close study of a broken mind and let the camera stay on his face for minutes. That combination is what made that 20 year period feel like high point after high point.
The star was already there. The actor kept proving he could go further than the star image allowed. Those years still define what people mean when they say Mammootty can do anything.
**Part 1**
The rise of Mammootty as an actor has to be studied between 1985-2005. He was already a leading man by the mid 1980s, but the films that fixed his place came later.
Oru CBI Diary Kurippu was the clear turning point on the commercial side. He played Sethurama Iyer, a calm CBI officer who solved a murder case with method and restraint. The character entered the film late, spoke with a Tamil accent, and never raised his voice. The film ran for a long time even in Tamil Nadu and set a standard for investigative thrillers in Malayalam. It was not loud. It was precise.
The CBI series continued from there. Jagratha arrived with the same team and the same quiet method. Later entries followed after a long gap, and still held the same poise and case complexity in my opinion.
At the same time he worked with Adoor Gopalakrishnan. Anantaram gave him a supporting part that he took without complaint. Mathilukal cast him as Vaikom Muhammad Basheer, a writer in prison who falls in love with a voice beyond the wall. The performance won him a National Award and remains one of the quietest things he has done.
Vidheyan (my personal favorite and it definitely inspired Bramayugam) took one of the best turns. He played a cruel landlord who had no empathy and mercy towards his subordinates. Adoor made him cut his hair short and drop the usual star look. That film won him another National Award. Three films with the same director, three very different men. Adoor has not repeated that run with any other lead actor.
Bhoothakkannadi (what a fucking movie) sits in the same stretch. Mammootty played Vidyadharan, a soft spoken clockmaker and widower whose mind begins to fray. He looks at the world through the magnifying glass he uses for watches, and that glass becomes the film’s way of showing how he sees and reads everything around him. The performance is stripped of any star mannerism. He walks and speaks with a quiet hesitation that makes the character’s confusion feel lived rather than acted. It remains one of the strongest examples of how far he could go when the role asked for nothing but stillness and damage.
Other work filled the years. Oru Vadakkan Veeragatha gave him Chandu Chekavar, a role that carried moral doubt instead of simple heroism. Thalapathi put him opposite Rajinikanth. The Ambedkar biopic later added another National Award. What linked the better films was the range. One year he was the soft spoken detective who preferred files and logic. The next he was a prisoner or a tyrant or a man slowly losing his grip. He did not treat the commercial and the serious as separate tracks.
The same actor who could carry a long running CBI series could also sit inside Adoor’s frames or Lohithadas’s close study of a broken mind and let the camera stay on his face for minutes. That combination is what made that 20 year period feel like high point after high point.
The star was already there. The actor kept proving he could go further than the star image allowed. Those years still define what people mean when they say Mammootty can do anything.
Dhee 🏒 retweeted
With #RamayanaPart1 coming, it is hard not to imagine the warrior side of Sita and how she was one of the best.
Good Day to you all
🤖 Made with AI
With #RamayanaPart1 coming, it is hard not to imagine the warrior side of Sita and how she was one of the best.
Good Day to you all
🤖 Made with AI
