What is the story of the movie 3

Onnum Onnum Moonu

No. Guest(s) Date of Broadcast Featured Promotion 1 Krishna Kumar, Sindhu Krishna, Ahaana Krishna, Diya Krishna, Ishaani Krishna, Hansika Krishna 17 November 2019 No featured promotion[5]2 Unni Mukundan, Prachi Tehlan & Achuthan (Cameo)24 November 2019 Mamangam3 Mithun Ramesh, Divya Pillai, Veena Nair 1 December 2019 Jimmy Ee Veedinte Aishwaryam4 Avanthika Mohan, Rayjan Rajan 8 December 2019 Priyappettaval (TV series)5 Anna Ben, Rony David, Noble Babu Thomas 15 December 2019 Helen6 Afsal, Akhila Anand, Ranjini Jose, Anwar Sadath 29 December 2019 No featured promotion7 Gabri Jose, Roshan Abdul Rahoof, Sania Merin 5 January 2020 No featured promotion8 Boban Samuel, Namitha Pramod, Ranjin Raj12 January 2020 Al Mallu9 Malavika Wales, Rekha Ratheesh, Yuva Krishna 19 January 2020 Manjil Virinja Poovu (TV series)10 Ineya, Arun Raghav, Swathy Thara, Shiyas Kareem 26 January 2020 No featured promotion[6]11 Anand

3 (2012 Indian film)

2012 film by Aishwarya R. Dhanush

3 is a 2012 Indian Tamil-language romanticpsychological thriller film written and directed by Aishwarya Rajinikanth, the former wife of the actor Dhanush, who also produced the film, thus making their debut in both the fields. He also played the lead role alongside Shruti Haasan, whilst Sivakarthikeyan and Sunder Ramu appear in prominent roles.[1][2] The film follows Ram (Dhanush) and Janani (Shruti Haasan), two intermediate sweethearts who eventually get married. However, When Ram commits suicide all of a sudden and she tries to find out the truth behind his death.

The film was launched on 5 August 2011 in Chennai, with Dhanush and Amala Paul in lead roles, the latter was replaced by Shruti Haasan, due to schedule conflicts.[3] The cinematography was handled by Velraj and editing was done by Kola Bhaskar. The soundtrack album and background score were composed by Dhanush's cousin-in-law Anirudh Ravichander, marking his debut as a composer with lyrics written by Dhanush, received positiv

3.2.3 Biography

Older studies have tended to privilege the moment of initial creation/construction of an object (its ‘birth’), with less interest directed at the later stages of its ‘life’ (or indeed, multiple ‘lives’). A more holistic view would see it as impossible to fully understand a given object through a focus on any one aspect of its existence. The notion that things could be thought of as leading social lives derives from social/cultural anthropological theory (Appadurai 1986), but the metaphor has been readily adopted by archaeology (e.g. Gosden and Marshall 1999) where it has encouraged a focus on an object’s modifications, movements, changes in meaning, neglect, re-purposings, decay, destruction, etc. It is a people-focussed approach which emphasizes human investment in objects and encourages consideration of social aspects of artefact production and consumption alongside the purely functional. By focussing on the values attached to stones in the past, the biographical approach blends seamlessly into a consideration of the con

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