Is Shang Chi Chinese?
Shang-Chi was born in Honan province, China, and is the son of Fu Manchu. His mother was a White American woman who was genetically selected by his father. Shang-Chi was trained from infancy in the martial arts by his father and his tutors. wikipedia.orgShang-Chi - Wikipedia
Is Shang Chi streaming on Disney plus?
Shang-Chi and the Legend of the Ten Rings hit theaters -- and only theaters -- Friday. Shang-Chi and the Legend of the Ten Rings is getting Marvel back to the pre-pandemic norm of releasing films only in theaters at first. ... CNETMarvel's Shang-Chi isn't streaming on Disney Plus for now, sorry
Where are the ten rings from?
Discovered by the Mandarin in China's “Valley of Spirits,” the Ten Rings of Power are actually the product of the dragon-like race Axonn-Karr (or Makluans) from the planet Maklu-IV. The Axonn-Karr utilized them mainly as the power source for their interstellar craft's engines. marvel.comMandarin's Rings (10 Rings of Power) History, Owners, & Powers
Sep 2, 2021 1:30 pm
A near-death experience has a way of changing perspectives, and all five roommates (four vampires, one “familiar”) came very close to forfeiting their immortality last season. “What We Do in the Shadows” Season 3 picks up one month after the events of the second season’s finale, when Guillermo (Harvey Guillén) sabotaged the Vampiric Council and saved Nandor (Kayvan Novak), Nadja (Natasia Demetriou), Laszlo (Matt Berry), and Colin Robinson (Mark Proksch) — by murdering every last vampire threatening them.
The gruesome culmination to a season-long arc that saw the obedient errand boy embrace his lineage as a vampire hunter is revisited right away, as Season 3 sees everyone up to their enticing, atypical shenanigans. New jobs are obtained. Kickball is played. A weekend getaway brings everyone closer together (kind of). But amid the power struggles, sexcapades, and bloviated bickering, this undead horde and their humble hanger-on also confront parts of themselves shaken to the forefront by their recent scare. “What We Do in the Shadows” is very much the same show it’s been for two excellent seasons — an imaginative glimpse at an imaginary way of living not too far removed from our own — it’s just now tinged with existential dread.
Take Nandor. After stringing along his familiar for years, promising to turn him into a vampire once he’d fulfilled his duties as a faithful servant, the 758-year-old blood-sucker sat in awe as Guillermo slayed an entire theater of fellow coffin dwellers. Not only was the vampire butler actually a (highly effective) vampire hunter, but the regularly unrecognized helper was now his unexpected savior. The first episode of Season 3 sees the house vampires debating whether to kill Guillermo as punishment for butchering their brethren, or praise him for saving their skin. While writer and showrunner Paul Simms has quite a bit of fun letting his indecisive leads debate the new Van Helsing’s fate — Nadja exquisitely sums up her side by saying, “Thank you for saving us, but you’re still our mortal enemy; you’ve got to die, babes!” — it’s Nandor’s confused yet instinctual defense that leads to hearty developments in subsequent episodes.
Guillermo, for his part, seems to know who he is even if it doesn’t make sense. “I should really just consider escaping, leaving, never coming back — especially because they’re considering killing me,” he says while awaiting his housemates’ decision. “I just wonder what would happen if I wasn’t here to help them out.” Guillermo may be a vampire hunter, but he cares for these vampires, and he likes them enough to risk his life getting them to acknowledge their own feelings for him. Is it a good idea? Probably not. Is it just the kind of guy he is? You betcha.
Mark Proksch in “What We Do in the Shadows”
Russ Martin / FX
Colin Robinson (or as a notable figure in the premiere calls him, Colin “Robinstein”) is the most easily coaxed into caring, though his own reaction to nearly dying is indifference. A few… strange traits emerge, which could be a delayed reaction, or they could be part of who Colin is — he’s the wild card in a group of wild cards, but he does spend extra time bonding with each member of the household, primarily Laszlo, so perhaps he was a bit shook after all.
While his long-term partner, Nadja, remains the ferocious embodiment of “zero fucks,” Laszlo is a touch angrier than usual. Perhaps I’m reading too much into Berry’s brilliant performance, but the vampire we see here seems too hardened to become the regular human bartender who fell in love with a high school volleyball team last year. Early on, Laszlo sums up his (long) life’s mission bluntly: “I became a vampire to suck blood and fuck forever.” But a lack of both isn’t what ails him. Like so many one- (or, in this case, two-)note ideologues out there, Laszlo spins out a bit when confronted with the end. Sure, he had a good run, sucking and… loving his way through centuries of partners, but what does the sum total of so many consumed bodies really mean?
All this isn’t to say that the FX series has transitioned into some kind of high-brow pseudo-comedy; it approaches these questions with outlandish physical humor, a surprising number of poop jokes, and an extra helping of vulgarity. (There are way more f-bombs in these first four episodes than the previous two seasons.) The show is just also very sharp about building believable characters within its unbelievable premise; if you were a centuries-old vampire living in Staten Island, wouldn’t you face similar frustrations? Wouldn’t you ponder the nature of existence after existing for so long? Wouldn’t you rebel? Wouldn’t you wonder if there was a bit more, and go seeking a companion for comfort?
Like the human camerapeople sharing this mockumentary with us, “What We Do in the Shadows” has always felt like a world next door; as though with one knock, we could meet these maniacal neighbors (and probably perish in doing so). The vampires’ relationship to humanity is part of what makes them endearing, just as their exotic laws and supernatural abilities make them captivating. Together, they form a recognizable yet wholly unique TV tale.
To say it’s about friendship would ignore Nadja and Laszlo’s fierce opposition to such affections. Far simpler would be to call it an office comedy, where the roommates are really coworkers who, instead of choosing to stay out of devotion to each other, have to get along for their greater good (or due to co-dependency, as Guillermo acknowledges). But Simms, along with creator Jemaine Clement and executive producers Taika Waititi and Stefani Robinson, pushes each lead down their own path, refusing to let the whip-smart comedy fit too snugly within any one genre. Of the many charms present each half-hour — from the sterling cast to the magnificent costumes and exemplary set design — experiencing this existence through these characters is compulsive entertainment. Few shows make it feel like anything can happen, yet “What We Do in the Shadows” just keeps opening doors to fascinating new personal voyages and inventive world-building. Life, as they say, is about the journey, and here’s hoping this one lasts as long as its immortal subjects will allow.
Interviews with leading film and TV creators about their process and craft.
These cookies may be set through our site by our advertising partners. They may be used by those companies to build a profile of your interests and show you relevant adverts on other sites. They do not store directly personal information, but are based on uniquely identifying your browser and internet device. If you do not allow these cookies, you will experience less targeted advertising.
These cookies are necessary for the website to function and cannot be switched off in our systems. They are usually only set in response to actions made by you which amount to a request for services, such as setting your privacy preferences, logging in or filling in forms. You can set your browser to block or alert you about these cookies, but some parts of the site will not then work. These cookies do not store any personally identifiable information.
These cookies enable the website to provide enhanced functionality and personalisation. They may be set by us or by third party providers whose services we have added to our pages. If you do not allow these cookies then some or all of these services may not function properly.
Read full article at Deadline
03 September, 2021 - 01:30pm
News Corp is a network of leading companies in the worlds of diversified media, news, education, and information services.
IT was speculated whether Matt James will join Kenya Moore and Amanda Kloots on Dancing with the Stars season 30.
The new season of the dancing fan-favorite show will air September 20.
It was announced on September 1 by Us Weekly that Bachelor star Matt James is set to appear on Dancing With the Stars.
The athlete is one of many Bachelor Nation stars to compete on the competition show. Trista Sutter, Melissa Rycroft, Jake Pavelka, Sean Lowe, Chris Soules, Nick Viall, Joe Amabile, Hannah Brown and Kaitlyn Bristowe all appeared on DWTS over the years.
During season 25, Kirkconnell came under fire after past racist actions surfaced, including her attendance at a Antebellum-themed fraternity formal while in college.
During The Bachelor's After the Final Rose special, James said that they couldn't "be in a relationship" because Kirkconnell had to "put in that work to understand how her past behavior was wrong.
Following their public breakup, the couple reconnected and started pursuing a relationship again.
At the 2021 ESPY Awards on Saturday July 10, 2021, the couple told PEOPLE correspondent Sandra Vergara about the obstacles they've worked through since deciding to pursue a relationship.
"I will say that, you know, of course it was difficult in the moment, but just being able to step back and work on our relationship to assess," Kirkconnell said.
"Taking a moment away from the spotlight's been really good for us. It's been a lot better."
James added in, "I'm following the lead of everybody else."
"You know, I think that I look to people who have been where I'm trying to get to. Rachael's parents have been in a relationship for a long time. They've been married for probably about as long as I've been alive, so you know, relationships that are prospering are what I kind of fix my eyes on and hope to emulate."
As of March 2021, James' net worth is an estimated $250,000.
James reportedly made $100,000 from his time on The Bachelor and the rest of his net worth comes from his jobs with CBRE Group and ABC Food Tours.
Jojo Siwa is making history after being named as one of the 15 stars joining the upcoming season of Dancing With The Stars.
The bubbly 18-year-old YouTube personality along with 18-year-old Olympic gymnast Suni Lee were named as two of the contenders vying for the mirrorball.
The other 13 stars competing in the dance competition will be revealed on Good Morning America, with Jojo and Suni as guests, on September 8, TV Line reports.
Do you have a story for The US Sun team?
03 September, 2021 - 01:30pm
2021’s summer movie season comes to a close this weekend.
It’s been a wild ride for the film industry and theatrical exhibition, one that will forever have an asterisk next to it. The unusual nature of the movie season will fittingly be capped with a first-of-its-kind tentpole release across North America over Labor Day weekend, Shang-Chi and the Legend of the Ten Rings. The latest Marvel Cinematic Universe installment will be exclusive to theaters for 45 days, the first pure window for a Marvel title since Spider-Man: Far from Home in July 2019 (and Disney’s first, outside of 20th Century Studio releases, since early 2020).
The anticipated Marvel Studios film is ignoring all past precedents by opening over the end-of-summer holiday weekend, a frame previously avoided by major studios in the pre-pandemic years and mostly reserved for movies with low-to-middling risk and/or commercial potential. It’s a time when audiences have largely taken the week off from going to theaters in favor of one last hurrah before the fall season.
Unprecedented times call for unprecedented release plans, though. Granted, Warner Bros. gave the industry and willing moviegoers Tenet around this time frame last year, but that was with a bare bones exhibition landscape that had only just begun attempting to reopen. When it came to movie theaters at the time, there was no Los Angeles, no New York, and no vaccines. That translated into a stunted first attempt at box office recovery.
Things are quite different now, though still far from normal. This spring and summer have offered numerous bright spots with the performances of Godzilla vs. Kong, A Quiet Place Part II, F9, Black Widow, Jungle Cruise, Free Guy, Candyman, and various others.
The rising number of hospitalizations among unvaccinated people has recently caused a slight decline in moviegoer sentiment from previous pandemic highs early in the summer, but some stabilization has occurred leading into September. Various industry sources report that NRG’s latest survey yielded around 67 percent of moviegoers as comfortable to visit cinemas right now. That’s on par with early-to-mid August polls.
Schools are already back in session throughout more than three-quarters of the domestic market right now, which is actively playing a part in the rising number of virus cases as children under 12 aren’t eligible to receive them yet and vaccine hesitancy remains in play among some adults. The unfortunate reality is that’s a point of concern for parents considering taking their kids anywhere in public right now, including a Marvel movie in theaters.
Still, that sentiment isn’t shared by all, as evidenced by PAW Patrol: The Movie‘s ability to beat conservative expectations in its debut two weeks ago. For as many parents are concerned, there are others throughout many regions of the country who have already resumed some pre-pandemic habits.
That audience will be important for Shang-Chi, but the film ultimately is geared to all demographics — especially men in the 15-40 age range. That segment has played a major role in this year’s most notable box office rebounds, and pre-release tracking indicates they plan to show up for the newest Marvel pic.
As discussed in our long range forecast last month, this film’s historic relevance will also be important to box office prowess and any potential to break out. As the first Asian-American-led superhero film from a major studio, interest and awareness are quite high — even if the character himself is relatively anonymous to the general public compared to the more broadly known names like Wonder Woman and Black Panther before their phenomenal record runs in recent years.
For additional metrics, research firm Movio reports that the United States pre-sale audience for Shang-Chi is comprised of 41 percent males under the age of 34, versus 29 percent for Black Panther back in February 2018.
Pre-sales for Shang-Chi are over-indexing in some regions, notably cities with a large community of Asian descent. With an exclusive theatrical window, there is also hope that the film’s walk-up sales will outpace those of Black Widow. The latter film controversially opened day-and-date in theaters and for a premium charge to Disney+ streaming subscribers, leading to considerable speculation that its at-home availability cannibalized theatrical attendance to some extent.
Shang-Chi ultimately isn’t as well known as Widow, though, and the market is somewhat different now even than it was almost two months ago thanks to the surging Delta variant of COVID-19. This film could be less front-loaded since Thursday is a school night, though, while Sunday should be inflated thanks to the Monday holiday when schools are out and many adults have the day off from work.
As the caveats necessarily pile up in any pre-release analysis, it’s also wide to remember that while the lowest Marvel openers in history are by the likes of 2008’s The Incredible Hulk ($55.4 million) and 2015’s Ant-Man ($57.2 million), again, those films had more instant recognition to casual audiences by way of character name and star power, respectively. Shang-Chi has neither, so to even come close to those figures — during a pandemic, no less — would be a big victory
On the conservative side of forecasting models, another factor to consider for Shang-Chi and all films at the box office over the long holiday weekend will be the flooding and subsequent impacts of former Hurricane Ida’s remnants up and down the eastern coast (including large metropolitan areas).
The long and short of it is that, once again, the industry is cautiously optimistic about a film that has no ideal comparisons by which to reliably gauge forecast models. Everything is an experiment in the current climate, but in Shang-Chi‘s case, it’s one that more closely resembles something once called “normalcy” as a Disney and Marvel movie that will only be in theaters for the next six weeks.
Nevertheless, the pandemic remains far from over, and that remains an external competition the industry is still grappling with. If Shang-Chi can live up to expectations and handily unseat 2007’s Halloween as the biggest Labor Day opener in box office history, it would be a significant feat under the circumstances. The comic book film only needs a $26.4 million three-day and $30.6 million four-day to achieve that — figures the film is tracking well ahead of. There is a considerable chance it will be only the third film of the pandemic era to exceed $20 million by the end of Friday alone, following F9 ($29.9 million) and Black Widow ($39.5 million).
Shang-Chi and the Legend of the Ten Rings opens in 4,300 locations this weekend, with Thursday previews beginning at 6pm. The theatrical footprint includes 400 IMAX auditoriums, 850-plus Premium Large Format screens, 1,500 3D locations, and 235 D-Box/4D screens.
The film previously held 25 fan screenings at IMAX locations throughout the United States and Canada on Wednesday, August 18, spurring strong early word of mouth across the social media sphere. That initial audience reception has been echoed by film critics, 147 of whom currently rate the film 91 percent fresh on Rotten Tomatoes.
Globally, the film is opening in most territories this week with the notable exception of China and areas such as southeast Asia, New Zealand, and Greece that have been impacted by recent COVID-related closures. Vaccine passports and restrictions are also considerations to varying degrees for Australia, Brazil, France, Italy, Germany, Japan, and Korea.
Boxoffice projects this weekend’s top ten films will increase between 35 and 55 percent from last weekend’s $57.6 million top ten aggregate.
Thanks in large part to Shang-Chi‘s release, the market overall could reach pre-pandemic norms for Labor Day weekend. Since the year 2000, four-day hauls for the top ten films during the holiday frame have averaged cumulative totals of $90.4 million. Boxoffice projects this weekend to exceed that figure.
Theater counts are updated as confirmed by studios.
Late summer has been known to deliver its share of hit debuts from the horror genre, and this weekend looks to continue that trend with the release of Nia DaCosta's Candyman.
The penultimate weekend of August arrives with a quartet of wide releases, but will any of them be able to challenge the second frame of Free Guy?
For the first time since Captain Marvel in March 2019, the Marvel Cinematic Universe will welcome a brand new leading character to the sprawling franchise when Shang-Chi and the Legend of the Ten Rings makes its debut over Labor Day...
A very atypical summer movie season is winding down as the final half of August arrives and a trio of theatrically exclusive wide releases hit movie theaters across North America.