Salman Khan dethrones SRK in Forbes' 2014 Celebrity 100 list

New Delhi, May 29: Actor Pooja Hegde revealed that her Instagram account was hacked after unflattering memes about her colleague Samantha Ruth Prabhu were shared.

Samantha's angry fans are not buying her explanation and it has prompted a Twitter trend #PoojaMustApologizeSamantha.

On Monday night, Pooja put out a tweet that her Instagram had been hacked and was in the process of being retrieved. She urged her fans to not accept any invitations or pass out any personal information to the person asking.

She wrote, "Hi guys, so I've been informed by my team that my insta account has been hacked and my digital team is helping me with it. Please do not accept any invitations or pass out any personal information out to the person asking. Thank you."

An hour later, which she spent "stressing," the 'Mohenjodaro' star tweeted again to say the account was restored and that all activity in the while it had been hacked would be undone.

"Spent the last hour stressing about the safety of my Instagram account. Thanking my technical team for instant help at this hour. Finally, got my hands back on my Instagram Any message, follow back or post in d past hour from my account has been done will be undone. Ty," tweeted Hegde.

The 29-year-old actor announced that her feed has been cleaned up now. Her most recent Instagram post is now one on pet food that she posted three days ago.

In Pooja's tweets, there is no mention of Samantha.

According to the screenshots that are being circulated over social media, a meme of Samantha was posted from Pooja's account. It read, "I don't find her pretty at all."

This tweet has triggered Samantha's fans who have not been pacified by her explanation and are demanding that Pooja apologise, meanwhile Pooja's fans say she has nothing to apologise for.

Washington D.C., Jan 16: Barbara Broccoli, who has since long been the producer of the James Bond franchise, recently clarified in an interview that the 007 character won't be played by a woman in the forthcoming rendition.

Broccoli, accompanied by her half brother and fellow producer Michael G. Wilson, told Variety: "He can be of any color, but he is male."

She went on to say: "I believe we should be creating new characters for women -- strong female characters. I'm not particularly interested in taking a male character and having a woman play it. I think women are far more interesting than that."

According to Fox News, the current Bond hero, Daniel Craig, announced last November that he would cease to play the legendary character once he is done with the upcoming 'No Time To Die' movie that is scheduled for release in coming April.

Commenting on Daniel parting ways with the franchise, Broccoli said: "I'm in total denial. I've accepted what Daniel has said, but I'm still in denial. It's too traumatic for me."

Fox News reported last July that the British Actress Lashana Lynch could possibly star in the 2020 Bond flick, but such speculations were dispelled once the trailer for the movie was brought out last December.

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.