Aishwarya tries committing suicide, says Pakistani website. Rai puts to rest all rumours

Mumbai, Jun 15: Bollywood actor Shah Rukh Khan has paid a heartfelt tribute to actor Sushant Singh Rajput, who was found dead at his Bandra residence in Mumbai on Sunday.

Taking to Twitter, the superstar recalled the 'Kai Po Che' actor's "energy, enthusiasm, and his full happy smile."

Sushant, who was a big fan of Shah Rukh, was often compared to him as both the actors made a successful transition from the small screen to Bollywood without any Godfathers.

Sharing a throwback picture along with Sushant, Khan also noted how much the late actor loved him and asserted that he will surely miss him.

"He loved me so much...I will miss him so much. His energy, enthusiasm, and his full happy smile. May Allah bless his soul and my condolences to his near and dear ones. This is extremely sad....and so shocking!!," the tweet read.

Sushant, 34, committed suicide by hanging himself on Sunday, Additional Commissioner of Police Manoj Sharma confirmed. However, no suicide note has been recovered from Rajput's residence, as per the police and further investigation is underway.

As per the latest development, the body of the actor is brought to Dr RN Cooper Municipal General Hospital from his residence in Bandra.

The actor, who rose to fame with the 2008 television series 'Pavitra Rishta,' made his Bollywood debut with Abhishek Kapoor's 'Kai Po Che' in 2013.

One widely loved actor for his simplicity and humble nature, the actor gave hit movies to the entertainment industry, including MS Dhoni's biopic, where he played the cricketer on screen.

The star was last seen in Nitish Tiwari's 'Chhichhore,' alongside Shraddha Kapoor in 2019.

The news of the sudden demise of the actor left a bevy of his fans, and Bollywood celebrities in shock, triggering an outpouring of condolences.

Washington D.C., Jun 7: South Korean pop band BTS and their record label Big Hit Entertainment have donated USD one million to support Black Lives Matter.

According to Variety, the donation was transferred earlier this week, with Black Lives Matter confirming receipt to the label on Friday.

"Black people all over the world are in pain at this moment from the trauma of centuries of oppression. We are moved by the generosity of BTS and allies all over the world who stand in solidarity in the fight for Black lives," the outlet quoted Kailee Scales, managing director for Black Lives Matter as saying.

The widely lauded band, earlier on Wednesday, took to Twitter to show their solidarity with the people fighting against the social injustice.

"We stand against racial discrimination. We condemn violence. You, I and we all have the right to be respected. We will stand together," the tweet read.

The pledge of the donation from the Korean boy band and its label comes during a time when people and celebrities from the industry have come forward to demonstrate their support for the black community.

Several big names from the music and acting industry also observed 'Blackout Tuesday' earlier the week as a message of solidarity in response o the death of George Floyd, an African-American man in the United States.

Feb 10: Bong Joon-ho’s film “Parasite” starts in a dingy, half-basement apartment with a family of four barely able to scratch out a life. There must be no place to go but up, right? Yes and no. There’s nothing predictable when the South Korean director is on his game.

This dark, socially conscious film about the intertwining of two families is an intricately plotted, adult thriller. We can go up, for sure, but Bong can also take us deeper down. There’s always an extra floor somewhere in this masterpiece.

It tells the story of the impoverished four-person Kim family who, one by one, and with careful and devious planning, all get employed by the four-person affluent Park family — as a tutor, an art teacher, a driver and a housekeeper. They are imposters stunned by the way wealth can make things easier: “Money is an iron. It smooths out all the creases,” says the Park patriarch with wonder.

Bong, who directed and wrote the story for “Parasite,” has picked his title carefully, of course. Naturally, he’s alluding to the sycophantic relationship by a clan of scammers to the clueless rich who have unwittingly opened the doors of their home on a hill. But it’s not that simple. The rich family seem incapable of doing anything — from dishes to sex — without help. Who’s scamming who?

Bong’s previous films play with film genres and never hide their social commentary — think of the environmentalist pig-caper “Okja” and the dystopian sci-fi global warming scream “Snowpiercer.” But this time, Bong’s canvas is a thousand times smaller and his focus light-years more intense. There are no CGI train chases on mountains or car chases through cities. (There is also, thankfully, 100% less Tilda Swinton, a frequent, over-the-top Bong collaborator.

The two Korean families first make contact when a friend of the Kim’s son asks him to take over English lessons for the Park daughter. Soon the son (a dreamy Choi Woo-sik) convinces them to hire his sister (the excellent Park So-dam) as an art teacher, but doesn’t reveal it’s his sis. She forges her diploma and spews arty nonsense she learned on the internet, impressing the polite but firm Park matriarch (a superb Jo Yeo-jeong.)

The Park’s regular chauffer is soon let go and replaced by the Kim patriarch (a steely Lee Sun-kyun). Ditto the housemaid, who is dumped in favor of the Kims’ mother (a feisty Jang Hye-jin.) All eight people seem happy with the new arrangement until Bong reveals a twist: There are more parasites than you imagined. The clean, impeccably furnished Park home will have some blood splashing about.

Bong’s trademark slapstick is still here but the rough edges of his often too-loud lessons are shaved down nicely and his actors step forward. “Keep it focused,” the Kim’s son counsels his father at one point. Bong has followed that advice.

There are typically dazzling Bong touches throughout. Just look for all the insect references — stink bugs at the beginning to flies at the end, and a preoccupation with odor across the frames. And there’s a scene in which the rich matriarch skillfully winds noodles in a bowl while, in another room, duct tape is being wrapped around a victim and classical music plays.

Bong could have been more strident in his social critique but hasn’t. There are no villains in “Parasite” — and also no heroes. Both families are forever broken after chafing against each other, a bleak message about the classes ever really co-existing (Take that, “Downton Abbey”).

“Parasite” is a worthy winner of the Palme d’Or at the Cannes Film Festival, the first South Korean movie to win the prestigious top prize. The director has called it an “unstoppably fierce tragicomedy.” We just call it brilliant.