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Alia Bhatt clarifies that she didn’t get injured on the sets of Gangubai Kathiawadi

A few days ago, Alia had posted on her Instagram story about her back being hurt. Well, this started speculation that the actress got injured while shooting for Sanjay Leela Bhansali’s Gangubai Kathiawadi. However, the actress today took to Instagram to clarify that she didn’t get injured on the sets of the film.

She posted on her Insta story, “To all those articles out there saying that I have hurt myself on the sets of my film.. they are NOT true.. This is an old injury that has been acting up for a while and just gave way one day at HOME.. No accident or nothing.. pls pls do clarify next time before printing long long articles on what happened to me.. Having said that thanks to few days of complete rest and being horizontal I’m back in action and am resuming shoot from today! Thank you for all the get well soon messages as i have got wel very very soon.”


It is good to know that Alia is back in action. It was a few days ago when the first look posters of Gangubai Kathiawadi were unveiled and Alia’s look as Gangubai was appreciated a lot. The film will be hitting the screens in September this year.

2020 is going to be a very busy year for Alia Bhatt as she will have as many as four releases this year, Sadak 2, RRR, Brahmastra and Gangubai Kathiawadi. The actress also has Karan Johar’s directorial Takht in her kitty, but the movie will reportedly hit the screens in 2021.

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The Mummy

Relies on body horror, sound design and shock value over spectacle

X/ DiscussingFilm

How Lee Cronin’s 'The Mummy' turns a classic adventure into a domestic horror

Highlights

  • Moves away from the adventure tone of The Mummy (1999) into possession-led horror
  • Shifts the setting from desert tombs to a family home in Albuquerque
  • Focuses on parental fear and a “returned” child rather than treasure hunting
  • Relies on body horror, sound design and shock value over spectacle
  • Critics call it bold and unsettling, but uneven in storytelling

From desert spectacle to domestic dread

For decades, The Mummy has been tied to adventure, romance and spectacle, most famously in The Mummy (1999). That version thrived on sweeping desert landscapes, archaeological intrigue and a sense of escapism.

Lee Cronin takes a sharply different route. His reworking strips away the sense of adventure and relocates the horror into the home. The story still begins in Egypt, anchored by an ancient sarcophagus, but quickly shifts to the United States, where the real tension unfolds inside a family house.

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