The Good Wife and Lie To Me star Monica Raymund has opened up about her bisexuality. The actress has been 'out' for 10 years, but she announced the news publicly on Sunday (09Feb14), after linking to an article about a Norwegian artist's protest against Russia's anti-gay propaganda laws on Twitter.com.
She wrote, "so proud to be Bi and excited about this movement during Olympics..."
In 2011, Raymund married writer Neil Patrick Stewart.
Actress Monica Raymund saw off stiff competition from Selena Gomez and Once Upon A Time's Lana Parrilla to scoop a top prize at the 2013 Imagen Awards on Friday (16Aug13). Raymund was named Best TV Actress for her role as paramedic Gabriela Dawson in Chicago Fire at the 28th annual prizegiving, which recognises Latinos in the entertainment industry.
Castle star Jon Huertas was crowned Best TV Actor, triumphing over fellow nominees including Benjamin Bratt (Private Practice), Guillermo Diaz (Scandal) and Danny Pino (Law & Order: SVU).
Constance Marie landed Best Supporting TV Actress for U.S. sitcom Switched at Birth, while Carlos Gomez took home the male equivalent for The Glades.
In the film categories, the 2013 drama Bless Me, Ultima, was the big winner, scooping Best Feature Film, Best Actress for Miriam Colon and Best Actor for Luke Ganalon.
Actresses Eva Mendes, Selena Gomez and Jordana Brewster have landed nominations for the 2013 Imagen Awards, which recognises Latinos in the entertainment industry. Mendes has been honoured for her work in The Place Beyond the Pines, and will be up against Patricia Rae (The Big Wedding) in the film actress category, while Gomez is set to go head to head with Lana Parrilla (Once Upon a Time) and Monica Raymund (Chicago Fire) for the title of Best TV Actress.
Dallas beauty Brewster and Parks and Recreation's Aubrey Plaza are vying for Best Supporting TV Actress, and competing for the male equivalent are Kevin Alejandro (Golden Boy), Nestor Carbonell (Bates Motel) and Jon Seda (Treme).
Other nominees include Benjamin Bratt (Private Practice), Victoria Justice (Victorious) and George Lopez (George Lopez: It's Not Me, It's You).
The winners will be announced during a special Los Angeles ceremony on 16 August (13).
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
When the premiere episode of NBC’s new drama Chicago Fire came to a close, I can’t say that I wasn’t disappointed — disappointed because I actually found myself not hating the show. Let me explain: it’s not that I was truly rooting against it, it’s just that I had already come up with a handful of negative review headlines too fantastic to pass up:“Chicago Fire Will Make You Stop, Drop, and Roll Your Eyes”
“Chicago Fire Is All Smoke and Mirrors”
“Chicago Fire — Give It the Axe, NBC”
“Chicago Fire — Hose It Down, NBC”
“Chicago Fire — The Cubs of Television Shows”Such a missed opportunity. Still, it’s not as though the series doesn’t have its kinks. Set in some major North American city (I wanna say Sheboygan?), the pilot introduces us to the beehive that is the focal firehouse, complete with a team that makes it highly evident that the setting has a pulse.
The atmosphere of the firehouse is palpably alive, thanks to the range of characters and relationships found within. At the center of the series are devoted, cares-too-much paramedic Gabriela (Monica Raymund), eager newbie Peter Mills (Charlie Barnett), and feuding colleagues Casey (Jesse Spencer) and Kelly (Taylor Kinney), both torn up over the recent loss of a fellow firefighter. Individually, Casey and Kelly deal with their own respective problems (marital separation and some undisclosed illness), but are driven to keep one another aware of the ever present animosity shared all throughout the episode.
Other major characters include a stoic Batallion Chief Wallace Boden (Eamonn Walker), grappling with a decision to play out the rest of his career in the quiet, apparently “fire-free” community of Deerfield, but seems unprepared to leave his cherished professional family behind — especially in light of at least two divorces weighing him down emotionally. Also in management, the compassionate District Chief Lynn Fitori (Merle Dandridge), enveloped in an ostensibly secret affair with one of her subordinates.
The rest of the team consists of acerbic paramedic Leslie (Laurie German), whose homosexuality is introduced via a prank at the expense of newcomer Mills, plus hard-on-his-luck griper Herrmann (David Eigenberg), firehouse shlamazel Otis (Yuri Sardarov), motor mouth Cruz (Joe Minoso), and losing-his-edge Mouch (Christian Stolte). And that’s the team.
It seems imperative to mention the lot of them — even those whose roles in the pilot are far from extensive — since it is the character of the firehouse community that keeps the episode afloat. The action sequences — fire rescues and attendance to injured parties — might have somewhat of an edge over a lot of what we see on police procedurals, but aren’t unique enough to sustain a program. The individual relationships — Casey’s and Kelly’s stubborn enmity or Casey’s strained marriage with wife Hallie (Teri Reeves) — might build over time, but also don’t offer a great deal of standout appeal. What makes Chicago Fire’s pilot work is the flavor of its bullpen.
The camaraderie, as evidenced by the low notes — the communal mourning of a recently deceased firefighter (whose widow also seems to be set up as a recurring character) and the entire team’s union in a hospital waiting room after another is injured on the job — as well as the high ones — the gang goofs on punching bag Otis, pranks newcomer Mills, dines on Casey’s home cooking, and travels together to watch Chief Boden take on the police officer who stole his ex-wife in a traditional firefighters versus cops boxing match — is vivid; enough to believe that these people work, play, and survive together.
Of course, the flaws of the pilot might only be for lack of opportunity to flesh them out adequately, as is the hazard of an introductory episode in nature. We might see more character imbued in the personal relationships, more impressive turns for the action sequences, and more remarkable depth drawn into the individual members of the squad overtime. But for now, the show does have one thing going for it, and it’s enough to encourage a return for at least the second episode.
And it’s such a shame, too. “Stop, Drop, and Roll Your Eyes” would have been hilarious.
[Photo Credit: Matt Dinerstein/NBC]
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Over the next few months, we’ll see new series soar, old series sour, and so much Jersey Shore madness, we’ll want to shower. Let’s face it: The Fall TV season is intimidating. With dozens of new and returning shows hitting our small screens, we know we have some big choices to make. So, to help you determine what to watch, we’re digging deep into the most notable series premiering this season. Where did each show leave off? Where is it headed? And who should you watch it with? Today, we're checking out Chicago Fire, which will involve audiences in the lives of firefighters (twist!) who live and work in Chicago (double-twist!).
Series Name: Chicago Fire
Premiere Date: Wednesday, October 10 at 10 PM on NBC
Number of seasons on air: This'll be the first
Cast: Lie to Me costar Monica Raymund, House alum Jesse Spencer, Oz vet Eamon Walker, and the horror genre's own Lauren German — not to mention a handful of other "Hey, it's that guy!" players. And David Eigenberg.
Synopsis: The day-to-day professional and personal lives of a team of Chicago firefighters, faced with the innate stresses of their high-stakes jobs, as well as in-house rivalries, romances, and other tensions. The show picks a month after the death of a universally beloved Chicago firefighter in the line of duty. We devoted paramedic Gabriela Dawson (Raymund), firehouse newbie Peter Mills (Charlie Barnett), feuding colleagues Matt (Spencer) and Kelly (Taylor Kinney), hard nosed paramedic Leslie (German), and no-nonsense seasoned officer Boden's (Walker), in the dawn of an unwanted reassignment to the quiet, fire-free county of Deerfield. And David Eigenberg.
You'll like it if: You like high-stakes scenarios, living vicariously through onscreen excitement, and ensemble affairs manufactured with every single line of dialogue and interpersonal interaction steeped in a thick gravy of dramatic tension.
You won't like it if: You're put off by scenes of people facing mortal danger, children especially, and melodramaticism.
Who to watch with: Your fellow emotionally-driven TV watchers. The gaspers, the weepers, the sort of people who can hop on board a shipping bandwagon with little more than a few meaningful glances.
Who not to watch with: Your retired, stonefaced fire chief uncle who'll lament all the horsing around that goes on between these hormonal goofballs.
What to yell at the TV: "Don't go into that building! For goodness sakes, it's on fire! Everything is on fire! Why does a city as cold as Chicago have so much fire?!"
What to eat while watching: Marshmallows, bananas foster, anything flambé, or a deep dish pizza.
What to drink while watching: A Flaming Moe, of course.
Best fashion tip: Sometimes, a Hazmat Suit can be pretty stylish.
Worth checking out: We've seen countless police and medical dramas, but Rescue Me has really had the market on firefighter series. Hopefully, Chicago Fire can add something new to the mix and keep the admirable occupation of keeping our citizens safe afloat on network television. After all, it does have David Eigenberg.
[Photo Credit: Matt Dinerstein/NBC]
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