'Kolaveri Di' haunts me: Dhanush

Washington, May 2: American singer Ariana Grande and Justin Bieber have teamed up to help others in need during the COVID-19 pandemic.

Grande and Bieber announced on Friday(local time) that they are working on a song, 'Stuck With U,' which will drop next week with all proceeds slated to go to coronavirus relief.

The 26-year-old songstress Ariana tweeted on Friday, "Stuck with u by me and @justinbieber out May 8th. head to my Instagram for more info. thank u to @1strcf and @sb_projects for making this possible."

Grande also announced the news on Instagram, and wrote, "Grateful to announce that my friend and i have partnered with @1strcf and @sb_projects on this release. proceeds from the streams and sales of #stuckwithu will be donated to first responders children's foundation to fund grants and scholarships for children of healthcare workers, emergency medical technicians (EMTs), paramedics, police officers and firefighters serving at the front lines during the global pandemic."

The 26-year-old pop-star Bieber, also added in a statement, "More than ever we are seeing the selfless, tireless and amazing work that doctors, nurses and healthcare providers give to the world every day. It is our hope we can lend our voices to raise awareness and give much-needed support for them and their families. It's my honour to come together with my friend Ariana and our SB Projects family to try and do some good."

The two music superstars have also independently been helping people in need. According to sources to Page Six, Grande, who has been communicating her longing to make music during the quarantine, has sent fans between 500 and 1,000 USD using the Venmo app.

One of the Ariana fans told Page Six that the 'Senorita' singer "took care of my salary for the month." She has helped more than 20 fans, said the outlet.

The '7 rings' singer also joined the Disney family singalong in April and sang 'I Won't Say I'm In Love' the animated film 'Hercules.'

Back in February, Bieber cantered his efforts on China, saying at the time that he "couldn't imagine how scary it would be if a new disease was effecting my wife and my family and friends."

The 'Yummy' singer said he made a donation to the country and urged his followers to join in on the conversation.

Bieber also accepted the #AllInChallenge to raise money for COVID relief. The singer said he will fly to your house for a private concert and sing 'One Less Lonely Girl.'

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.