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Bridgerton actor Ruby Barker discharged after hospitalisation due to mental health issues

Barker recently reprised her role as Marina in a guest appearance in Bridgerton 2, which premiered in March.

Bridgerton actor Ruby Barker discharged after hospitalisation due to mental health issues

Ruby Barker, best known for playing Marina Thompson in the hit Netflix series Bridgerton, said she has been discharged from the hospital following a mental health scare.

The 25-year-old actor last week shared a video on Instagram saying that she was “taking a little break” after she was hospitalised due to ill health.


In a new video shared Monday, Barker said she was out of the hospital and spending time at a nature retreat. She previously said she had become "really unwell" since starring on the period romance Bridgerton.

“I've been discharged from hospital! Thank you so much for the support, I can't wait for the future and I feel as if I've come out the other side. Thank you, everyone, have a blessed day, take care of yourselves, don't be afraid to check in with your loved ones and we're all in this together as they say in High School Musical. Big big love," she captioned the post.

The actor also expressed gratitude towards her friends, the Bridgerton team, the medical community of the NHS, as well as the media for reaching out to her.

“It made me feel so happy to be alive. I didn't expect so many people will reach out to me after watching the video. It made me feel less alone. A big shout-out to the NHS for taking care of me. I'm doing ok. If I have any advice for my younger self, I would just tell myself, 'Listen, it's not all doom and gloom, even when you hit rock bottom’,” she said in the video clip.

She said she has been in touch with her co-star Claudia Jessie (Eloise Bridgerton on the show), who told her to train the mind “to find the funny, the light and the positive” in life.

Barker recently reprised her role as Marina in a guest appearance in the second season of Bridgerton, which premiered in late March.

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