Unmasking the Sinister Conspiracy: The Sardaar Ji 3 Controversy and the Khalistani Agenda. (1 Viewer)

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Unmasking the Sinister Conspiracy: The Sardaar Ji 3 Controversy and the Khalistani Agenda.

The Sardaar Ji 3 controversy transcends a mere cinematic dispute; it stands as a chilling, meticulously orchestrated conspiracy to entrench the pernicious lie that Hindus harbour an unyielding hatred for Sikhs. This falsehood, demanding urgent exposure, reverberates with painful resonance for countless Hindus who endured the brutal onslaught of Sikh separatism and terrorism during the blood-drenched 1980s and 1990s in Punjab. Those years bore witness to sinister unofficial networks wielding local Punjabi to unleash terror and fracture communal bonds, a tactic now reborn in the digital age.

This essay anchors itself in the irrefutable truth that the Government of India never officially banned the film, unravelling how the Khalistani ecosystem has masterfully exploited this moment, through manipulative cinema, venomous social media campaigns, and the complicity of Sikh religious heads, to ignite a relentless agenda of communal discord.

This sinister plot unfolds at a critical juncture when India faces warlike tensions with Pakistan, a context that amplifies the stakes, with Diljit Dosanjh’s actions and the film’s release in Pakistan serving as pivotal threads in this web of division.

The absence of an official ban on Sardaar Ji 3 is a cornerstone of this exposé. The decision to abandon its India release, declared on June 25, 2025, by the producers and Diljit Dosanjh, was a voluntary retreat sparked by a fierce public backlash following the trailer’s debut on June 23, 2025, amid the raw, unhealed wounds inflicted by the Pahalgam terror attack on April 22, 2025. Neither the Central Board of Film Certification nor the Ministry of Information and Broadcasting has endorsed any ban, yet the Khalistani ecosystem, thriving on platforms like X, Instagram, and beyond, launches an unrelenting assault, shrieking that Hindus, in cahoots with the government, silenced the film.

This vicious distortion seeks to brand Sikhs as perpetual victims of Hindu tyranny, a calculated revival of the insurgency-era propaganda that once tore communities asunder, exploiting historical grievances to fuel present-day rifts. This conspiracy emerges at a pivotal moment when India stands on the brink of war with Pakistan, drawing unsettling parallels to historical junctures where Sikh actions shaped the nation’s fate. In the Third Battle of Panipat (1761), the Marathas confronted Ahmad Shah Abdali, yet many Sikhs remained aloof, with some indirectly aiding the invader, fracturing the resistance against a common foe. Similarly, during the 1857 Mutiny against British rule, Sikhs largely dissociated themselves, aligning with the colonial power against Hindu and Muslim rebels, undermining a united struggle for independence.

Today, as Pakistan wages proxy warfare, evidenced by the Pahalgam attack and General Munir’s recent hate speech on the two-nation theory, venomously calling for Hindu subjugation, the release of Sardaar Ji 3 in Pakistan on June 27, 2025, despite a blanket ban on Indian movies since 2019, signals a profound abandonment of nationalist sentiment.

This calculated move, likely coordinated with the Pakistani government or censor board, bolsters enemy propaganda, portraying Hindus as the oppressor while Sikhs align with a hostile adversary, amplifying Pakistan’s efforts to undermine India. At the heart of this narrative stands Diljit Dosanjh, a prominent Sikh face commanding massive support within the Sikh community. His influence amplifies the ecosystem’s strategy, rooted in his 2020 farmers’ protest remarks, reported on December 18, 2020. At the Singhu border, he called for a peaceful resolution but subtly suggested Sikhs use “brains” over past violence, a veiled swipe at the government. This stance, coupled with his documented interactions with Khalistani figures like Jasbir Singh Rode, fuelled accusations of separatism. The ecosystem now weaves this into the Sardaar Ji 3 saga, disregarding its commercial filming in February 2025, well before the Pahalgam attack, and its voluntary release decision. Diljit’s fleeting “aisi taisi” remark on Instagram in late June 2025, caught by observers as a casual dismissal of critics, has been cunningly spun into a symbol of Sikh defiance, igniting a social media firestorm. Comments labelling Hindus as “andbhagat,” “gobar eaters,” and “cow urine drinkers” flood the platforms, a direct fallout of this manipulation, deepening communal wounds.

This multi-pronged assault is a well-honed strategy. Punjabi cinema, with Chal Mera Putt (2019) weaving narratives of Sikh-Pakistani unity while casting Hindus as adversaries, sets the cultural stage. The Sardaar Ji 3 Pakistan release further entrenches this, serving as a propaganda tool for Pakistan to showcase Sikh disloyalty to India. Social media amplifies the hate, while religious heads with Khalistani leanings, echoing the separatist rhetoric of yesteryears, lend spiritual legitimacy, framing the controversy as a sacred battle.

This diverts attention from Pakistan’s role in the Pahalgam attack and ongoing infiltrations, a reality starkly felt along India’s borders. Historically, Hindus have been ensnared in a moral dilemma; their efforts to shield Sikhs during crises like the 1984 riots, driven by Congress workers, met with blame-shifting from the insurgency era. Meanwhile, Diljit and the ecosystem deploy an old, tested script: positioning Sikhs as victims, aligning with enemies like Pakistan, and leaving Hindus to grapple with their stance.

The FWICE narrative paints Diljit’s Pakistan ties as reckless, but the ecosystem transforms this into a Hindu-Sikh war. Javed Akhtar’s defence of the backlash as excessive is drowned out by the festering hate, reviving the insurgency’s tactics that scarred Hindu communities.

The flow of this conspiracy is seamless: unofficial networks once sowed terror with Punjabi propaganda; now, they orchestrate division through cinema, digital vitriol, and religious endorsement.

The Pakistan release and Diljit’s remarks, though not the pivot, are deftly woven to perpetuate the Hindu-hate myth. For Hindus who suffered separatism’s wrath, this reopens old wounds, exploiting their pain to fuel current rifts.

The ecosystem’s success lies in this calculated ambiguity, leaving Hindus questioning their role while Sikhs are portrayed as abandoning the national cause. As rumours swirl about Diljit’s potential exclusion from the upcoming Border 3, his recent manoeuvres demand scrutiny. On the cusp of this decision gaining traction, he has once again played the Sikh card with calculated ambiguity. In a statement, he feigned ignorance about disclosing details of the movie or his character, yet slyly revealed he is set to portray Nirmal Jit Singh Sekhon, the heroic Sikh Param Vir Chakra recipient. This deliberate invocation of Sekhon’s legacy, a revered symbol of Sikh valour, serves a dual purpose: to rally Sikh support by leveraging national pride and to provide an insurance policy. Should he be ousted, Diljit can cry discrimination, positioning himself as a victim of Hindu or nationalist bias, further entrenching the ecosystem’s narrative.

This strategic move underscores his awareness of the game, urging readers to remain vigilant against his manipulative tactics. To shatter this diabolical plot, the government must thunderously proclaim the lack of a ban, Diljit’s pre-attack timeline, and the enduring legacy of Hindu liberalism that allowed Sikhs to coexist and prosper while their presence has vanished with no recovery in Pakistan.

Media must flood the discourse with irrefutable evidence, silencing the hate labels and exposing Pakistan’s propaganda.

Readers must stay alert to Diljit Dosanjh’s calculated plays, recognising his exploitation of Sikh identity, whether through Sardaar Ji 3’s Pakistan release or his Border 3 posturing, as a tool to deepen divisions. This transparency is the only path to crush this agenda, restore communal harmony, and honour the sacrifices of a united India. The time to act is now, lest the shadows of the past engulf the future.
 
I'd like to add this tweet here
I'm copy pasting the test also

imo Daljit is a ISI asset and all his fame is fake and made up


View: https://x.com/KesariDhwaj/status/1939672482266632467

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#DiljitDosanjh making a movie with a Pakistani actress is nothing new. For past couple of years, there have been numerous movies starring Pakistani actors, mainly comics from the stage plays.This is part of a larger movement of sorts which claims that "Charhda Punjab" (Indian/East Punjab) and "Lehnda Punjab" (Pakistani/West Punjab) are basically one entity in terms of culture, and one people.Divided by evil politicians (Read - Hindus)But there is (not so) subtle undercurrent here - Muslims and Sikhs are natural partners, it is the Hindus which are mischiveous, cunning and can't be trusted.All the comic actors who have been part of Punjabi movies have multiple times abused and made fun of Hindus in their plays while showing brotherhood towards Sikhs.Iftikhar Thakur - one of the prominent comics from Pakistan, openly said in his play that "Hindu beghairat hote hain, Sikh to hamara bhai hain? [ Hindus lack honor and self-respect, while Sikhs are our brothers].There is a very popular Pakistani TV drama by the name of Sang-e-Mah, based on certain aspects of Pakhtoon customs. This drama has a Sikh charachter who's loyal to one of the main charachters of the drama, and Sikhs have been shown as part of the Pakhtoon culture.There are groups in Pakistan and India which facilitate visits to Pakistan (mostly) of the older generation which migrated to India in 1947, to visit their ansectral place(s). Most visitors from Indian side (and from UK) are Sikhs.Even if Punjabi films don't have Pakistani actors, they have storylines with cross border theme showing great love between Pakistani Muslims and Sikhs.Many Sikhs claiming that Sikhism is more closer to Islam than Hinduism because it is a monotheistic religion is not a theological point. It has repurcussions beyond theology.On a tangent note - pick-up a movie about 1984 and Khalistani militancy and you'll see all the bad cops as either Hindus (mainly) or cut surds.The reality of Sikhs in Pakistan is known to the world - shot and killed for their religion, their daughters are abducted and converted to Islam forcibly, and they aren't exactly free in Pakistan as the Pakistanis and some of their Sikhs propagandist would like you to believe.Long story short - this Sikh and Pakistani Punjabi Muslim bhaichara has more to it than 'artists have no boundaries' and 'we're same people'.
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