For her 60th birthday, veteran Korean star Yuh-Jung Youn made herself a promise. She would collaborate only with those she trusts. Even if their ventures fell short, as long as she personally appreciated the people making them, the result wouldn’t much concern her.

That late-life philosophy, born of decades of limited choices and professional trauma, brought her to 'Minari,'&nbsp;director Lee Isaac Chung’s semi-autobiographical story about a Korean family putting down roots in Arkansas. Youn’s bittersweet performance as the grandmother, Soonja, in the tenderhearted immigrant drama has earned her an Academy Award nomination for best supporting actress, the first for a Korean actress.

“Me, a 73-year-old Asian woman could have never even dreamed about being nominated for an Oscar,” Youn said via video call from her home in Seoul. “‘Minari’ brought me a lot of gifts.”

As she recounted this triumph and the many pitfalls that preceded it, her pensive expression often broke into an affable smile, cheerful laughter even. Dressed in a demure black top and long necklace, there was an effortless grace to her serene presence. She came off unhurried and welcoming but determined to make her ideas understood. Occasionally she asked a friend off-camera for help with certain English words to hit each point more precisely.

She expressed surprise at the fact that co-star Steven Yeun was the first Asian American performer to receive a nomination for best actor: “All I can say is: It’s about time! The success of ‘Parasite’ has definitely helped” get more recognition for Korean performers, she said.

That movie, directed by Bong Joon Ho, was the first not in English to win best picture, and it has figured into Youn’s Oscar run in other ways.

She had returned from shooting a new project in Vancouver, British Columbia, an Apple TV drama titled “Pachinko,” just in time to hear the announcement of her nomination. First, she felt numb. Then the Korean news media began effusively reporting on her chances. “It’s very stressful. They think I’m a soccer player or an Olympian,” she said, adding, “That pressure is really hard on me.” Because of Bong’s movie, “they have hope I can win. I keep telling him, ‘It’s all because of you!’”

Bong, a fan of Kim Ki-young’s “Woman of Fire,” the 1971 film in which Youn made her feature debut, envied her awards-season experience during the pandemic. “He told me, ‘You’re lucky you can just sit down and do Zoom calls. In America they have an awards race and you have to go here and there and everywhere.’ I thought running races were only for horses,” she said.

She’s making a strong push to the finish. Youn is nominated at Sunday’s SAG Awards for her performance and as part of the “Minari” ensemble. She’s also up for an Independent Spirit Award later this month. And she’s already won accolades from more than 20 groups of critics.

They’re the latest turn in a career that covers more than 50 years in Korean television and film — including a recent cooking reality show titled “Youn’s Kitchen” and a new nonfiction series set in a guesthouse, “Youn’s Stay” — but the self-taught thespian never envisioned a life in the performing arts. Her international breakthrough seems to her, like everything else along the way, fortuitous.

“It’s embarrassing,” she said. “Most people fell in love with the movies or fell in love with theater. But in my case, it was just an accident.”

When she was a teenager in the early 1960s, an emcee for a children’s game show saw her touring a TV station and invited her to pass out gifts to the audience: “I got the check after that, and it was good money.” Similar jobs ensued until a director suggested she audition for a drama. Although she was hesitant, necessity propelled her: She had failed her college entrance exam, causing her mother profound shame.

“To tell you the truth, I didn’t know what acting was,” she said. “I tried to memorize the line and do whatever they asked me to do. At the time, I didn’t know if I was enjoying it or if I disliked it.”

But as she was on the rise in the mid-1970s, Youn married and moved to Florida, where her husband attended a university. She spent nearly a decade as a housewife raising her two American-born children, but then she divorced and returned to Korea as a single mother. Her fame had vanished, and ingrained sexism in Korean society made resuming her career a cruel pursuit. “The audience would call and say, ‘She is a divorcee. She shouldn’t be on television,’” she recalled, adding, “Now they like me very much. That’s very strange, but that’s human.”

To put her two sons through college, she accepted parts almost indiscriminately. But turning 60 — and no longer obligated to financially support her family — meant she could invest only in people she believed in, such as auteur Hong Sang-soo, who occasionally frustrates her for the many takes he requests, and Im Sang-soo, who cast her in roles unheard of for a Korean actress of her age. In “The Taste of Money” (2013), for example, Youn embodies a powerful woman who sexually harasses her younger male secretary.

Youn’s close friend In-Ah Lee, a producer, introduced her to Chung at a film festival in Busan. Chung, like Bong, revered her in “Woman of Fire,” and his knowledge or her early work impressed her. She wanted to know more about him. “Everybody teases me about this now,” she said. “I fell in love with Isaac because he is a very quiet man. I wish he was my son too.”

In every film, Chung said via email, “she does something that is surprising or unexpected. I felt her own life and approach to life were very close to the part I had written.” He added that the actress is known in South Korea for her big heart and no-nonsense manner, and he knew she would bring those qualities to the “Minari” role “in a way that invites audiences in.”

Writing for The Nation, critic Kristen Yoonsoo Kim said Youn “steals the spotlight; even as she leans toward caricature, her Soonja brings much-needed humor and vitality to a drama that could otherwise sink easily into the dour.” (Kim’s reviews also appear in The New York Times.)

When Youn read the script, the perils of the Korean American experience and how it doesn’t fit neatly into a single identity resonated with her. “Maybe I did this movie for my two sons too, because I knew their feelings,” she said.

Chung won her over when she asked if he wanted her to imitate his grandmother and he replied that wasn’t his objective. She valued the freedom to create a character beyond what was on the page. Yet it was Chung’s empathetic approach that she came to cherish.

She recalled the chaotic first day of filming “Minari” in the heat of Tulsa, Oklahoma. Chung could see she was suffering, Youn recalled. “I could feel his respect and worry for me.”

By contrast, she admitted, she thought the many scenes she shared with Alan S. Kim, an inexperienced young actor who plays her grandson, would test her patience. “I thought, ‘It’s going to be miserable. What am I going to do with this one?’” But when she realized the boy had memorized his lines, her worry disappeared. She shares his work ethic.

Intense preparation had always served as Youn’s shield against self-consciousness about her background. “I didn’t go to acting school and I didn’t study film, so I had an inferiority complex. I practiced so hard when I got a script,” she said.

But she is skeptical about further prospects in Hollywood. Youn, who often apologized during the interview for how blunt she thinks she sounds in a tongue not her own, fears that her lack of English proficiency may impede her. But given time to learn her dialogue, she is willing to try.

“Come to think of it, it was all worth it,” Youn said. “At the time, I was suffering with only small roles and most people hated me. I thought about just quitting or going back to the States.” But she’s a survivor, she said. “I’m still alive and finally enjoying acting.”

For her 60th birthday, veteran Korean star Yuh-Jung Youn made herself a promise. She would collaborate only with those she trusts. Even if their ventures fell short, as long as she personally appreciated the people making them, the result wouldn’t much concern her.

For her 60th birthday, veteran Korean star Yuh-Jung Youn made herself a promise. She would collaborate only with those she trusts. Even if their ventures fell short, as long as she personally appreciated the people making them, the result wouldn’t much concern her. That late-life philosophy, born of decades of limited choices and professional trauma, brought her to 'Minari,' director Lee Isaac Chung’s semi-autobiographical story about a Korean family putting down roots in Arkansas. Youn’s bittersweet performance as the grandmother, Soonja, in the tenderhearted immigrant drama has earned her an Academy Award nomination for best supporting actress, the first for a Korean actress. “Me, a 73-year-old Asian woman could have never even dreamed about being nominated for an Oscar,” Youn said via video call from her home in Seoul. “‘Minari’ brought me a lot of gifts.” As she recounted this triumph and the many pitfalls that preceded it, her pensive expression often broke into an affable smile, cheerful laughter even. Dressed in a demure black top and long necklace, there was an effortless grace to her serene presence. She came off unhurried and welcoming but determined to make her ideas understood. Occasionally she asked a friend off-camera for help with certain English words to hit each point more precisely. She expressed surprise at the fact that co-star Steven Yeun was the first Asian American performer to receive a nomination for best actor: “All I can say is: It’s about time! The success of ‘Parasite’ has definitely helped” get more recognition for Korean performers, she said. That movie, directed by Bong Joon Ho, was the first not in English to win best picture, and it has figured into Youn’s Oscar run in other ways. She had returned from shooting a new project in Vancouver, British Columbia, an Apple TV drama titled “Pachinko,” just in time to hear the announcement of her nomination. First, she felt numb. Then the Korean news media began effusively reporting on her chances. “It’s very stressful. They think I’m a soccer player or an Olympian,” she said, adding, “That pressure is really hard on me.” Because of Bong’s movie, “they have hope I can win. I keep telling him, ‘It’s all because of you!’” Bong, a fan of Kim Ki-young’s “Woman of Fire,” the 1971 film in which Youn made her feature debut, envied her awards-season experience during the pandemic. “He told me, ‘You’re lucky you can just sit down and do Zoom calls. In America they have an awards race and you have to go here and there and everywhere.’ I thought running races were only for horses,” she said. She’s making a strong push to the finish. Youn is nominated at Sunday’s SAG Awards for her performance and as part of the “Minari” ensemble. She’s also up for an Independent Spirit Award later this month. And she’s already won accolades from more than 20 groups of critics. They’re the latest turn in a career that covers more than 50 years in Korean television and film — including a recent cooking reality show titled “Youn’s Kitchen” and a new nonfiction series set in a guesthouse, “Youn’s Stay” — but the self-taught thespian never envisioned a life in the performing arts. Her international breakthrough seems to her, like everything else along the way, fortuitous. “It’s embarrassing,” she said. “Most people fell in love with the movies or fell in love with theater. But in my case, it was just an accident.” When she was a teenager in the early 1960s, an emcee for a children’s game show saw her touring a TV station and invited her to pass out gifts to the audience: “I got the check after that, and it was good money.” Similar jobs ensued until a director suggested she audition for a drama. Although she was hesitant, necessity propelled her: She had failed her college entrance exam, causing her mother profound shame. “To tell you the truth, I didn’t know what acting was,” she said. “I tried to memorize the line and do whatever they asked me to do. At the time, I didn’t know if I was enjoying it or if I disliked it.” But as she was on the rise in the mid-1970s, Youn married and moved to Florida, where her husband attended a university. She spent nearly a decade as a housewife raising her two American-born children, but then she divorced and returned to Korea as a single mother. Her fame had vanished, and ingrained sexism in Korean society made resuming her career a cruel pursuit. “The audience would call and say, ‘She is a divorcee. She shouldn’t be on television,’” she recalled, adding, “Now they like me very much. That’s very strange, but that’s human.” To put her two sons through college, she accepted parts almost indiscriminately. But turning 60 — and no longer obligated to financially support her family — meant she could invest only in people she believed in, such as auteur Hong Sang-soo, who occasionally frustrates her for the many takes he requests, and Im Sang-soo, who cast her in roles unheard of for a Korean actress of her age. In “The Taste of Money” (2013), for example, Youn embodies a powerful woman who sexually harasses her younger male secretary. Youn’s close friend In-Ah Lee, a producer, introduced her to Chung at a film festival in Busan. Chung, like Bong, revered her in “Woman of Fire,” and his knowledge or her early work impressed her. She wanted to know more about him. “Everybody teases me about this now,” she said. “I fell in love with Isaac because he is a very quiet man. I wish he was my son too.” In every film, Chung said via email, “she does something that is surprising or unexpected. I felt her own life and approach to life were very close to the part I had written.” He added that the actress is known in South Korea for her big heart and no-nonsense manner, and he knew she would bring those qualities to the “Minari” role “in a way that invites audiences in.” Writing for The Nation, critic Kristen Yoonsoo Kim said Youn “steals the spotlight; even as she leans toward caricature, her Soonja brings much-needed humor and vitality to a drama that could otherwise sink easily into the dour.” (Kim’s reviews also appear in The New York Times.) When Youn read the script, the perils of the Korean American experience and how it doesn’t fit neatly into a single identity resonated with her. “Maybe I did this movie for my two sons too, because I knew their feelings,” she said. Chung won her over when she asked if he wanted her to imitate his grandmother and he replied that wasn’t his objective. She valued the freedom to create a character beyond what was on the page. Yet it was Chung’s empathetic approach that she came to cherish. She recalled the chaotic first day of filming “Minari” in the heat of Tulsa, Oklahoma. Chung could see she was suffering, Youn recalled. “I could feel his respect and worry for me.” By contrast, she admitted, she thought the many scenes she shared with Alan S. Kim, an inexperienced young actor who plays her grandson, would test her patience. “I thought, ‘It’s going to be miserable. What am I going to do with this one?’” But when she realized the boy had memorized his lines, her worry disappeared. She shares his work ethic. Intense preparation had always served as Youn’s shield against self-consciousness about her background. “I didn’t go to acting school and I didn’t study film, so I had an inferiority complex. I practiced so hard when I got a script,” she said. But she is skeptical about further prospects in Hollywood. Youn, who often apologized during the interview for how blunt she thinks she sounds in a tongue not her own, fears that her lack of English proficiency may impede her. But given time to learn her dialogue, she is willing to try. “Come to think of it, it was all worth it,” Youn said. “At the time, I was suffering with only small roles and most people hated me. I thought about just quitting or going back to the States.” But she’s a survivor, she said. “I’m still alive and finally enjoying acting.”

She never dreamed of acting, now she’s an Oscar nominee for 'Minari'

Priyanka Chopra Jonas isn’t the kind to let a minute of her life slip away, even when life is on lockdown.

While others were perfecting their sourdough starters last spring, Chopra Jonas decided to write her first book — and finished it. As quarantine fatigue curtailed our enthusiasm for crafting and Kondo-izing, she was in London shooting the romantic drama “Text for You” alongside Sam Heughan and Celine Dion.

By the time a lot of us had been rendered bloblike, Chopra Jonas was in overdrive, simultaneously promoting three projects: her Netflix movie, “The White Tiger,” adapted from Aravind Adiga’s Booker Prize-winning rags-to-riches novel about a self-made Bangalore businessman; her memoir, “Unfinished,” which chronicles her 38 years, including her reign as Miss World and breakthrough into Bollywood and eventually Hollywood; and her new sustainable hair care line, Anomaly.

As if that weren’t enough, she was prepping to shoot “Citadel,” a spy series directed by the Russo brothers for Amazon, which had been delayed a year because of COVID-19 restrictions.

Through it all, Chopra Jonas was still finding room for some self-care and shut-eye, “which has to be scheduled time, because otherwise I would never get sleep,” she said. In a phone call in late January from her home in London, Chopra Jonas tracked the recent routines and cultural items that are keeping her busy.

These are edited excerpts from the conversation.

Wednesday morning

In our profession, my routine is dictated by the schedule that my team decides for me, predominantly. So the only thing routine-y about my schedule is I always make sure I have at least eight hours of sleep. My coffee machine is in my bedroom, right by my bed. The first thing I do is press the Nespresso button and smell the aroma of the coffee, and that’s how my eyes open.

Then I check out the news and scroll through Twitter usually still when I’m in bed. I need five or 10 minutes to orient myself to the fact that I’m waking up. On a languid day, maybe it would be half an hour. This ritual is ultimately what led me to “The White Tiger.” There was so much chatter around it in literary circles. I’m an avid reader. I try and pick up the books everyone’s talking about because I don’t really have the luxury of time to discover my own favourites.

My days start with a workout, usually on Zoom with my trainer. I started getting consistent with working out during quarantine. I hate working out otherwise. I’m not one of those people who’s like, “Oh my gosh, I enjoy it so much that I need it.” I listen to Hindi rap, like Raftaar and Divine, while I work out. It’s alive and visceral.

Wednesday afternoon

I watched the inauguration, and I think I felt exactly what the world was feeling. It was a very emotional time for a lot of my friends and family in America, and I felt very excited about the fact that the country is stepping into the right direction in terms of leadership. Not only should leadership look like this, but also sound like this. As someone coming from a country who has had many females in high positions of power, it’s awesome to see the U.S. finally get their first.

My days for the past two weeks have been back-to-back with recording my audiobook and promo, and [together] it takes 12 to 13 hours a day. I filmed three talk show interviews — Kelly Clarkson, Lilly Singh and Ellen — and I recorded a few podcasts and did several phone interviews. I think I was one of the earlier people to commit to the fact that we’re going to be working off Zoom for a really long time. So I found a corner of my room with a fireplace where I do all my Zoom calls.

Wednesday night

Before bed, I always need a few hours to unwind, and this is usually when I watch TV or read. Right now I’m reading “Amnesty,” Aravind Adiga’s next novel. I obviously am a fan. This is based in Australia, and it’s about a Sri Lankan immigrant, and it’s a thriller from his perspective. I do love to get out of work mode and just enjoy the content for what it is. But most of my reading I do with both [enjoyment and the idea of a project] in mind.

I haven’t been able to commit to a TV show because of how busy my schedule is. I recently finished “The Undoing,” “The Boys” and “Bridgerton” but I’m also really into movies after dinner. I’ve watched a lot of the Oscar contenders — “Sound of Metal,” “Da 5 Bloods,” “One Night in Miami.”

Thursday morning

Finally, I had some semblance of a morning I don’t even know how long. I woke up by 10, had a quick workout and then I had luxurious brunch with my mom, who is living in London with me. She was here with my husband during the holidays so that we could be together. I felt safer with her around me. My husband left-top of the year, but I didn’t let my mom go. So I’ve sort of kidnapped her right now.

Thursday afternoon

My first call wasn’t until 2 — a prep call with the producers of “Citadel,” which I am so excited to start. Prep calls are usually character development, which is one of my favourite things. The most exciting job as an actor is when you have the ability to take someone off the page and really breathe life into them.

Thursday night

Then it was back to promo. Unlike normal junkets where you’re local and live with the media, we have been up early and late to hit markets all over the world. Tonight we ended with “The Late Show With Stephen Colbert” at 1 am.

I couldn’t sleep, because you know when you go beyond tired on the other side of the hill? That happened. Then I was on TikTok for hours. I’m a secret admirer, so I consume whatever they show me. It’s a lot of baby videos or doggy videos or kitten videos.

We got a quarantine pet, yes, we did! He’s Panda, and he’s a rescue. I got Nick a German shepherd for our anniversary last year, and my dog, Diana, who I’ve had for four years, she’s a rescue as well. So we had the two. But Nick’s parents were visiting and they brought their girls with them, and the house was full of four dogs, and it was so amazing that after Nick’s parents left, I was kind of feeling like, we need another dog. He’s a mix between an Australian shepherd and a husky. And he’s a punk. He deliberately defies you but he’s so adorable that you forget everything. He’s in LA with Nick at the moment, but they should be coming here sometime next month.

Friday morning

It was my last free weekday before I start “Citadel,” which I’ll be filming until next November. It was also release day of “The White Tiger.” Release day is filled with a roller coaster of emotions, but always with bright eyes and hope for a strong opening. I’m so proud to share this film with the world.

Friday afternoon

I did “Hot Ones.” Oh my God. I’ve done it before on Jimmy Fallon, and it almost killed me. But this time — and I love spicy food. I need hot sauce. I carry it everywhere — but some of the hot sauces are like poison. They’re insane how spicy they are. I literally felt like I was going to faint. I had to open the doors up and walk outside and eat ice cream and milk, and I was crying. Ghost pepper was at No. 4. So you could imagine what No. 10 was.

Friday night

I did a viewing party for “The White Tiger” with a lot of my family and friends all on Zoom. It is such a provocative tale of something that all of us have become so desensitized to, which is this large division between the haves and the have-nots. And COVID specifically showed the world that disparity so glaringly. When is the last time you’ve driven past a homeless shelter or a homeless person and not done anything about it? A majority of the world lives in circumstances like that, so it’s really a sort of mirror into self-reflection. I’m very proud of the movie because it has social commentary, but at the same time it’s sarcastic, funny, dark and really clever.

Priyanka Chopra Jonas isn’t the kind to let a minute of her life slip away, even when life is on lockdown. While others were perfecting their sourdough starters last spring, Chopra Jonas decided to write her first book — and finished it.

Priyanka Chopra Jonas isn’t the kind to let a minute of her life slip away, even when life is on lockdown. While others were perfecting their sourdough starters last spring, Chopra Jonas decided to write her first book — and finished it. As quarantine fatigue curtailed our enthusiasm for crafting and Kondo-izing, she was in London shooting the romantic drama “Text for You” alongside Sam Heughan and Celine Dion. By the time a lot of us had been rendered bloblike, Chopra Jonas was in overdrive, simultaneously promoting three projects: her Netflix movie, “The White Tiger,” adapted from Aravind Adiga’s Booker Prize-winning rags-to-riches novel about a self-made Bangalore businessman; her memoir, “Unfinished,” which chronicles her 38 years, including her reign as Miss World and breakthrough into Bollywood and eventually Hollywood; and her new sustainable hair care line, Anomaly. As if that weren’t enough, she was prepping to shoot “Citadel,” a spy series directed by the Russo brothers for Amazon, which had been delayed a year because of COVID-19 restrictions. Through it all, Chopra Jonas was still finding room for some self-care and shut-eye, “which has to be scheduled time, because otherwise I would never get sleep,” she said. In a phone call in late January from her home in London, Chopra Jonas tracked the recent routines and cultural items that are keeping her busy. These are edited excerpts from the conversation. Wednesday morning In our profession, my routine is dictated by the schedule that my team decides for me, predominantly. So the only thing routine-y about my schedule is I always make sure I have at least eight hours of sleep. My coffee machine is in my bedroom, right by my bed. The first thing I do is press the Nespresso button and smell the aroma of the coffee, and that’s how my eyes open. Then I check out the news and scroll through Twitter usually still when I’m in bed. I need five or 10 minutes to orient myself to the fact that I’m waking up. On a languid day, maybe it would be half an hour. This ritual is ultimately what led me to “The White Tiger.” There was so much chatter around it in literary circles. I’m an avid reader. I try and pick up the books everyone’s talking about because I don’t really have the luxury of time to discover my own favourites. My days start with a workout, usually on Zoom with my trainer. I started getting consistent with working out during quarantine. I hate working out otherwise. I’m not one of those people who’s like, “Oh my gosh, I enjoy it so much that I need it.” I listen to Hindi rap, like Raftaar and Divine, while I work out. It’s alive and visceral. Wednesday afternoon I watched the inauguration, and I think I felt exactly what the world was feeling. It was a very emotional time for a lot of my friends and family in America, and I felt very excited about the fact that the country is stepping into the right direction in terms of leadership. Not only should leadership look like this, but also sound like this. As someone coming from a country who has had many females in high positions of power, it’s awesome to see the U.S. finally get their first. My days for the past two weeks have been back-to-back with recording my audiobook and promo, and [together] it takes 12 to 13 hours a day. I filmed three talk show interviews — Kelly Clarkson, Lilly Singh and Ellen — and I recorded a few podcasts and did several phone interviews. I think I was one of the earlier people to commit to the fact that we’re going to be working off Zoom for a really long time. So I found a corner of my room with a fireplace where I do all my Zoom calls. Wednesday night Before bed, I always need a few hours to unwind, and this is usually when I watch TV or read. Right now I’m reading “Amnesty,” Aravind Adiga’s next novel. I obviously am a fan. This is based in Australia, and it’s about a Sri Lankan immigrant, and it’s a thriller from his perspective. I do love to get out of work mode and just enjoy the content for what it is. But most of my reading I do with both [enjoyment and the idea of a project] in mind. I haven’t been able to commit to a TV show because of how busy my schedule is. I recently finished “The Undoing,” “The Boys” and “Bridgerton” but I’m also really into movies after dinner. I’ve watched a lot of the Oscar contenders — “Sound of Metal,” “Da 5 Bloods,” “One Night in Miami.” Thursday morning Finally, I had some semblance of a morning I don’t even know how long. I woke up by 10, had a quick workout and then I had luxurious brunch with my mom, who is living in London with me. She was here with my husband during the holidays so that we could be together. I felt safer with her around me. My husband left-top of the year, but I didn’t let my mom go. So I’ve sort of kidnapped her right now. Thursday afternoon My first call wasn’t until 2 — a prep call with the producers of “Citadel,” which I am so excited to start. Prep calls are usually character development, which is one of my favourite things. The most exciting job as an actor is when you have the ability to take someone off the page and really breathe life into them. Thursday night Then it was back to promo. Unlike normal junkets where you’re local and live with the media, we have been up early and late to hit markets all over the world. Tonight we ended with “The Late Show With Stephen Colbert” at 1 am. I couldn’t sleep, because you know when you go beyond tired on the other side of the hill? That happened. Then I was on TikTok for hours. I’m a secret admirer, so I consume whatever they show me. It’s a lot of baby videos or doggy videos or kitten videos. We got a quarantine pet, yes, we did! He’s Panda, and he’s a rescue. I got Nick a German shepherd for our anniversary last year, and my dog, Diana, who I’ve had for four years, she’s a rescue as well. So we had the two. But Nick’s parents were visiting and they brought their girls with them, and the house was full of four dogs, and it was so amazing that after Nick’s parents left, I was kind of feeling like, we need another dog. He’s a mix between an Australian shepherd and a husky. And he’s a punk. He deliberately defies you but he’s so adorable that you forget everything. He’s in LA with Nick at the moment, but they should be coming here sometime next month. Friday morning It was my last free weekday before I start “Citadel,” which I’ll be filming until next November. It was also release day of “The White Tiger.” Release day is filled with a roller coaster of emotions, but always with bright eyes and hope for a strong opening. I’m so proud to share this film with the world. Friday afternoon I did “Hot Ones.” Oh my God. I’ve done it before on Jimmy Fallon, and it almost killed me. But this time — and I love spicy food. I need hot sauce. I carry it everywhere — but some of the hot sauces are like poison. They’re insane how spicy they are. I literally felt like I was going to faint. I had to open the doors up and walk outside and eat ice cream and milk, and I was crying. Ghost pepper was at No. 4. So you could imagine what No. 10 was. Friday night I did a viewing party for “The White Tiger” with a lot of my family and friends all on Zoom. It is such a provocative tale of something that all of us have become so desensitized to, which is this large division between the haves and the have-nots. And COVID specifically showed the world that disparity so glaringly. When is the last time you’ve driven past a homeless shelter or a homeless person and not done anything about it? A majority of the world lives in circumstances like that, so it’s really a sort of mirror into self-reflection. I’m very proud of the movie because it has social commentary, but at the same time it’s sarcastic, funny, dark and really clever.

Priyanka Chopra Jonas’s Week: Fireside Zoom calls and 'Bridgerton' episodes

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She never dreamed of acting, now she’s an Oscar nominee for 'Minari'

Priyanka Chopra Jonas’s Week: Fireside Zoom calls and 'Bridgerton' episodes