Look's like we've got a regular McCoy on our hands. Monk and Hell on Wheels alum Virginia Madsen has joined NBC's Hatfields and McCoys series according to The Hollywood Reporter. Madsen will take on the role of Eloise McCoy, the surreptitious matriarch of the McCoys and a royal thorn in the Hatfield family's side.
The actress — who's played both funny and dramatic in her past roles — will join the production, which finds the age-old American tale of the feuding Hatfield and McCoy families fast-forwarded from the late 1800s, when most of the real-life drama went down, right into modern day Pittsburgh. The wealthy Hatfields are pitted against the McCoy family from the wrong side of the tracks, and of course, drama ensues — with Madsen in the middle of it all. Her character, Eloise, is set as the whispering voice in Patrick McCoy's ear, getting revenge for her husband's death by convincing Pat to take revenge on the Hatfields.
With the monumental success of History's Hatfields and McCoys miniseries, including a Golden Globe for star Kevin Costner, it's safe to say NBC's Charlize-Theron-produced drama has some dusty coattails to ride in on. But will audiences take to an updated version of the old Kentucky tale? Or will they simply be itching for the simpler times of the actual Hatfield-McCoy feud?
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[Photo Credit: Wenn]
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Just like every rose has its thorn — every Bachelorette has her jerk. And it seems like Emily Maynard has absolutely no regrets about her decision to send Kalon McMahon packing during Monday night's episode of The Bachelorette, after learning he was badmouthing her 6-year-old daughter, Ricki, to other contestants. And you can bet your bottom dollar that she won't be tuning in to watch him compete on Season 3 of Bachelor Pad.
The single mom took to Twitter on Thursday to vent her on-going frustration with her former suitor. "The fact Kalon will ever be on any TV [show] again makes me want to stab my eyeballs out with dull pencils," the 26-year-old wrote. "Too much?"
Of course, this remark seems rather tame compared to the furious rant she had on-air about the situation. "I want to go out there and rip his limbs off and beat him with them," Maynard fumed on-air. "I will never as long as I live let anyone speak ill of Ricki or any other kids I may have or husband I may have. I want to go West Virginia, hood rat, backwoods on his ass. That's how much I love my daughter."
To add insult to injury, Kalon refused to apologize for his remark, claiming that his remarks were taken out of context. However, Maynard was wise enough to see through his excuses. "If you'd asked me about Ricki you'd see that she's the furthest thing from baggage. Get the f—ck out!" Maynard seethed. "I'd love to hear you talk but not until I'm done. I got that line from you."
A word of caution, gentlemen: Never mess with a mother about her children.
[Photo credit: ABC]
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Based on Ian McEwan’s equally stirring novel we begin the story in 1935 on the cusp of WWII. Briony Tallis (Saoirse Ronan) a 13-year-old fledgling writer lives with her wealthy family in their enormous English country mansion and on one hot summer day she irrevocably changes the course of three lives including her own. It seems the housekeeper’s son Robbie Turner (James McAvoy) carries a torch for Briony’s older sister Cecilia (Keira Knightley). And on this warm day it becomes clear she feels the same way; their love ignites. Little Briony who harbors her own secret crush on Robbie witnesses the beginnings of this love affair and not understanding its meaning feels compelled to interfere going so far as accusing Robbie of a crime he did not commit. He is arrested and whisked away eventually forced into the British army but thankfully the two lovers have a moment before he goes to war to reconnect. Cecilia promises to wait for him urging him to “come back” to her once the madness he is about to become immersed in is over. Meanwhile Briony (played in adult years by Romola Garai and Vanessa Redgrave) has grown up regretting every single moment of that fateful day and in desperately trying to seek forgiveness finally finds a path to understanding the power of enduring love. The performances in Atonement are nothing less than captivating beginning with the young Irish rose Saoirse Ronan (who is also set to play the lead in Peter Jackson’s The Lovely Bones). Since it is primarily Briony’s story Ronan must make the first most indelible impression and set the tone for the rest of the movie--and she succeeds on every level. From the moment you see Ronan’s pale face clear-blue eyes and steadfast gait you immediately recognize Briony’s need and determination to make everything in her life just so. Indeed Briony is a strongly focused child and Ronan so embodies the character an Oscar nomination is almost a certainty. As the 18-year-old Briony Garai (Dirty Dancing 2) does the best she can following such a tough act as Ronan but can never quite match the same intensity. On the other hand Redgrave who comes in at the very end as the much older Briony nails it right away adding her own nuances to a character who has lived a full life. Of course Knightley and McAvoy are no slouches either vividly capturing the passion bubbling up between Cecilia and Robbie then turning around and showing the heartache as their love is ripped apart. McAvoy is particularly effecting as his Robbie must also witness some truly horrific wartime scenes. Actually Oscar nods should come fast and furious for everyone in Atonement. With Pride & Prejudice and now Atonement director Joe Wright may have just established himself as the new James Ivory (of Merchant/Ivory fame). Wright is a real visionary for the romantic period piece expertly delivering truly spectacular vistas. From set design to costumes to cinematography the look of Atonement is at once verdant welcoming and then startlingly grim. The first half of Atonement at the Tallis’ country home is certainly the film’s most defining peppered by an effective musical score which uses the sound of a typewriter like a metronome. Through a soft lens Wright displays the general idleness of summer day at a country home like a sunny floral motif that belies an undercurrent of sweating bodies wilting flowers stagnant pools--and an imminent tragic event. Then once Wright moves with Robbie into WWII he actually paints an even more grim view of war then maybe seen before. The one continuous shot of the historical Dunkirk--a French beach on which thousands of British soldiers were forced by the Germans and then waited to be evacuated--is absolutely stunning and surreal. Atonement does drag ever-so-slightly in the middle especially as Briony trains to be a nurse in London but overall this is a film Academy voters eat up with a silver spoon. Expect to be hearing about it in the months to come.