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Varun Dhawan: As I returned to work in the pandemic era I have contracted Covid-19

Murtuza Iqbal

Varun Dhawan, Kiara Advani, Neetu Kapoor, and Anil Kapoor were shooting for Jug Jugg Jeeyo in Chandigarh, India. A few days ago, there were reports that Varun, Neetu, and filmmaker Raj Mehta have been tested positive for Covid-19. But none of them had confirmed the news.


Now, today Varun has posted on Instagram about it. He shared a picture of a video call with his friends and captioned it as, “VITAMIN FRIENDS? So as I returned to work in the pandemic era I have contracted covid-19. All precautions were taken by the production but still nothing is certain in life especially not covid-19. So please be extra careful I believe I could have been more careful. I see the get well soon messages and my spirits are high taking each day at a time ?? thank u.”

Earlier, there were reports that Anil Kapoor has also been tested positive for Covid-19. However, the actor took to Twitter to clarify that he has been tested negative. He had posted, “In the interest of putting any rumours to rest, I have tested negative for COVID-19. Thank you all for your concern and good wishes Folded handsSmiling face with smiling eyes.”

While Varun and Raj have decided to quarantine themselves in Chandigarh, it is said that Neetu Kapoor has returned to Mumbai in an air ambulance. As the shooting of the film has been halted, Anil Kapoor has also returned to Mumbai a couple of days ago.

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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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