Television
Ortiz starred in WAPA-TV's television show Los Angelitos at the age of seven. Los Angelitos, a children's comedy about a group of children in a school.
He moved to Miami, Florida with his family, which also include a brother and sister who are twins. There, he tried a career as a model. Later on, he would be signed by producer Emilio Estefan, husband of Gloria Estefan. With Estefan, Shalim was able to contact the William Morris Agency and Sony records.
In 2002, Ortiz was featured in one episode of The Lizzie McGuire Show. He was also featured as an egotistical Latin star who gets knocked out by S Club 7 in an episode of their series, Hollywood 7
In 2007, Ortiz starred as Miguel in the romantic, web-only series "Engaged" and also portrayed Alejandro Herrera on Heroes. His character was killed in the penultimate episode of the second season. He guest starred in an episode of Cory in the House as Bahavian singer Nanoosh. He also is featured in the Hallmark Channel movie Expecting a Miracle, which first premiered January 10, 2009.
Shalim has also guest-starred in mainstream series such as Cold Case (TV series) and CSI Miami.
He was also part of Maneater (2009 miniseries) for Lifetime (TV network) as Pablo.
in 2012 Shalim joined the cast of Una Maid en Manhattan for NBC-Telemundo as engineer Frank Varela who fought for the love of Marisa, played by Litzy
Read more about this topic: Shalim Ortiz
Famous quotes containing the word television:
“Cultural expectations shade and color the images that parents- to-be form. The baby product ads, showing a woman serenely holding her child, looking blissfully and mysteriously contented, or the television parents, wisely and humorously solving problems, influence parents-to-be.”
—Ellen Galinsky (20th century)
“In full view of his television audience, he preached a new religion—or a new form of Christianity—based on faith in financial miracles and in a Heaven here on earth with a water slide and luxury hotels. It was a religion of celebrity and showmanship and fun, which made a mockery of all puritanical standards and all canons of good taste. Its standard was excess, and its doctrines were tolerance and freedom from accountability.”
—New Yorker (April 23, 1990)