A remark by C. V. Shanmugam mentioning actor Nayanthara at a public rally has triggered sharp backlash, showing how easily women in cinema are dragged into nasty political discourse
The comment, made during a women’s safety rally in Villupuram, was aimed at criticising Chief Minister M K Stalin’s “tell us your dream” initiative. “I want Nayanthara, will you fulfil it?” Shanmugam said, a remark that was quickly condemned as inappropriate and misogynistic.
The ruling DMK criticised the statement, and the reaction soon extended beyond politics, drawing sharp responses from the film industry and public figures.
A RECURRING PATTERN
The episode comes close on the heels of a personal attack on actor Trisha, reinforcing what many see as a familiar pattern. Women, particularly those in cinema, are repeatedly drawn into political narratives — often to amplify attention, provoke reaction, or sharpen criticism.
The use of well-known female public figures ensures visibility, but also raises questions about language, intent, and accountability in public discourse.
SWIFT BACKLASH
Actor and politician Khushbu Sundar criticised the remark, saying women “are not a commodity to be dragged into conversations at will.”
She added that invoking a woman’s identity in this manner reflects poorly on the speaker, not the subject. She also questioned the selective targeting of women. “A female actor may be a public figure, but she is not public property.
Dignity should not depend on profession,” she said, adding that such comments reveal “a lack of basic human decency.”
DMK MP Kanimozhi Karunanidhi described the remark as indicative of declining political standards, while actor Vishnu Manchu called it “extremely poor taste,” noting that actors are “not political punching bags.”
The South Indian Film Artistes Association also issued a statement condemning the comment as “derogatory and shameful,” reminding public representatives that office demands dignity in both language and conduct.
BEYOND APOLOGIES
While such remarks are often followed by outrage and, at times, apology, critics argue that the cycle remains unchanged. The repeated invocation of women — particularly from cinema — points to a deeper issue in political rhetoric, where visibility is prioritised over respect.
As the backlash plays out, the larger question persists: why does public discourse continue to fall back on women as its easiest reference point — and its most convenient target?
