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We need to normalise obsessive work culture: Kangana Ranaut

In her post, Ranaut wrote the concept of weekends was nothing but “western brainwashing”.

We need to normalise obsessive work culture: Kangana Ranaut

Stressing the need to "normalise obsessive work culture", actress and BJP MP Kangana Ranaut on Tuesday said Indians can't afford to be lazy as the country is yet to become a developed nation.

Ranaut shared her thoughts in an Instagram Story, in which she posted a video clip of Prime Minister Narendra Modi's address to the staffers of the Prime Minister's Office (PMO) after he began his third term on Monday.


"My every moment is for the country," Modi had said, asserting that he has promised to work round the clock to achieve the goal of India becoming a developed country by 2047.

In her post, Ranaut wrote the concept of weekends was nothing but "western brainwashing".

"We need to normalise obsessive work culture and stop with waiting for the weekends and complaining about Mondays memes. That's all western brainwashing; we are not a developed nation yet, and we can't afford to be bored and lazy at all," she captioned her post.

Ranaut, a popular face from Bollywood and a long-time Modi supporter, was elected from Mandi in Himachal Pradesh, her home state, in her first poll.

She defeated Vikramaditya Singh, the son of six-time chief minister Virbhadra Singh and state Congress chief Pratibha Singh.

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

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  • 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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