David E. Kelley
Template:Short description Template:Use mdy dates Template:Infobox person David Edward Kelley (born April 4, 1956) is an American television writer, producer, and former attorney. He has created and/or produced a number of television series including Doogie Howser, M.D., Picket Fences, Chicago Hope, The Practice and its spin-off Boston Legal, Ally McBeal, Boston Public, Goliath, Big Little Lies, and Big Sky. Kelley is one of very few screenwriters to have created shows that have aired on all four top commercial American television networks (ABC, CBS, Fox, and NBC) as well as cable giant HBO.
Early lifeEdit
David Edward Kelley was born on April 4, 1956 in Waterville, Maine, raised in Belmont, Massachusetts, and attended the Belmont Hill School. His father is Jack Kelley, a member of the United States Ice Hockey Hall of Fame. Kelley was a stick boy for the New England Whalers of the World Hockey Association in their inaugural season of 1972–1973 when his father coached the team.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=REBEL>Template:Cite book</ref> Kelley was captain of the Princeton Tigers men's ice hockey team at Princeton University, where he graduated in 1979 with a bachelor's degree in political science.<ref name=NYT110298>Template:Cite news</ref>
Demonstrating early on a creative and quirky bent, in his junior year at Princeton, Kelley submitted a paper for a political science class about John F. Kennedy's plot to kill Fidel Castro, written as a poem.<ref name="WP022298" /> For his senior thesis, he turned the Bill of Rights into a play. "I made each amendment into a character", he said. "The First Amendment is a loudmouth guy who won't shut up. The Second Amendment guy, all he wanted to talk about was his gun collection. Then the 10th Amendment, the one where they say leave the rest for the states to decide, he was a guy with no self-esteem."<ref name="NYT110298" /> Also while at Princeton, he was a member of the Princeton Triangle Club.<ref>Template:Cite news</ref>
Kelley received his Juris Doctor (J.D.) from Boston University School of Law, where he wrote for the Legal Follies,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> a sketch comedy group composed of Boston University law students which still holds annual performances. He began working for a Boston law firm,Template:Which mostly dealing with real estate and minor criminal cases.
In 1983, while considering it only a hobby, Kelley began writing a screenplay, a legal thriller, which was optioned in 1986 and later became the Judd Nelson feature film From the Hip in 1987.<ref name="NYT110298" /><ref name=NYT020790>Template:Cite news</ref>
Television workEdit
L.A. Law (1986–1994)Edit
In 1986, Steven Bochco was searching for writers with a law background for his new NBC legal series, L.A. Law. His agent sent him Kelley's movie script for From the Hip. Enthusiastic, Bochco made him a writer and story editor for the show. During this first year, Kelley kept his law office in Boston as a hedge. However, his involvement in the show only expanded. In the second year, he became executive story editor and co-producer. Finally, in 1989, Bochco stepped away from the series, making Kelley the executive producer.<ref name="NYT020790" /> While executive producer, Kelley received two Emmys for Outstanding Writing in a Dramatic Series and the show received the award for Outstanding Drama Series for both years.<ref name=EMMYS /> For the first five seasons that he was involved with the show, he wrote or co-wrote two out of three episodes. Kelley left after the fifth season in 1991 and ratings began to fall. As Newsday's TV critic wrote, "The difference between good and bad L.A. Law ... was David Kelley."<ref>Levine, David E. Kelley: The Man Behind Ally McBeal. p. 24</ref> Midway through the sixth season, both Bochco and Kelley were brought in as creative consultants after the show received bad press about its decline in quality.<ref name=NYT013092>Template:Cite news</ref>
Picket Fences (1992–1996)Edit
In 1992, after co-creating Doogie Howser, M.D. with his mentor Steven Bochco, Kelley formed his own production company, David E. Kelley Productions, making a three-series deal with CBS.<ref>Levine, David E. Kelley: The Man Behind Ally McBeal. p. 28</ref> Its first creation, Picket Fences, airing in 1992 and influenced by Twin Peaks and Northern Exposure,<ref name="Levine, David E p. 27">Levine, David E. Kelley: The Man Behind Ally McBeal. p. 27</ref> focused on the police department in the fictional quirky town of Rome, Wisconsin. Kelley wrote most of the episodes for the first three years.<ref name="Levine, David E p. 31">Levine, David E. Kelley: The Man Behind Ally McBeal. p. 31</ref> The show was critically acclaimed but never found a sizable audience.<ref name="Variety050301-4">Template:Cite news</ref> Picket Fences went on for four years, receiving a total of 14 Emmy awards including consecutive Emmys for Outstanding Drama Series for its first and second seasons.<ref name="EMMYS">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In 1995, the fourth and final season, Kelley wrote only two episodes. "We had almost 10 writers try to come in and take over for this one man", said Picket Fences actress Holly Marie Combs. "The quality was not nearly what it was."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Chicago Hope (1994–2000)Edit
Under pressure from CBS to develop a second series even though he didn't feel ready to produce two shows simultaneously,<ref>Levine, David E. Kelley: The Man Behind Ally McBeal. p. 35</ref> Kelley launched the medical drama Chicago Hope, starring Mandy Patinkin and Adam Arkin, which premiered in 1994.<ref name="NYT091994">Template:Cite news</ref> Airing at the same time as the season's other new medical drama, NBC's ER, the ultimate ratings leader,<ref>For the six seasons, ER ranked in the top four, Chicago Hope's highest ranking was 23rd.[1]</ref> Chicago Hope plotted "upscale medicine in a high-tech world run by high-priced doctors".<ref name="NYT102399">Template:Cite news</ref> During its six-year run, it won seven Emmys<ref name=EMMYS /> and generally high critical praise, but only middling ratings.<ref>Levine, David E. Kelley: The Man Behind Ally McBeal. p. 37</ref>
Originally intending to write only the first several episodes in order to return full-time to Picket Fences, Kelley eventually wrote most of the material for both shows, a total of roughly 40 scripts. Expressing a desire to focus more on his production company and upcoming projects, Kelley ceased day-to-day involvement with both series in 1995, allowing others to write and produce.<ref name="BANDC061295" /> Towards the end of the fifth season in 1999, facing cancellation, Kelley fired most of the cast members added since he had left the show, brought back Mandy Patinkin and began writing episodes again.<ref name="NYT051299">Template:Cite news</ref>
The Practice (1997–2004)Edit
In 1995, Kelley entered into a five-year deal with 20th Century Fox Television to produce shows for both the ABC and FOX television networks, each agreeing to take two series. If one network passed on a project, the other got first refusal. Kelley retained full creative control.<ref>Caves, Switching Channels: Organization and Change in TV Broadcasting. p. 26</ref> Ally McBeal on FOX and The Practice on ABC were the first two projects to come from this deal.<ref>The other two projects were Ally, a short-lived 30 minute edit of Ally McBeal on FOX and the quickly cancelled Snoops on ABC.</ref>
Premiering as a midseason replacement for the 1996–1997 season, The Practice was Kelley's chance to write another courtroom drama but one focusing on the less-glamorous realities of a small law firm.<ref name="Variety050301-4" /> The Practice would be the first of four successful series by Kelley that were set in Boston, proximal to his hometown of Belmont, Massachusetts. Receiving critical applause (along with two Emmys for Outstanding Drama Series) but low ratings in its starting seasons, it eventually became a popular top 10 program.<ref name="Variety0503015">Template:Cite news</ref> The New York Times described the show as "the profoundly realistic, unending battle between soul-searching and ambition".<ref name="NYT042798" /> Full-time writers on the first season of The Practice included David Shore, later the creator of House, Stephen Gaghan, a future Oscar winner for Traffic, Michael R. Perry, the creator of the 2011–12 series The River, and Ed Redlich, co-creator of the 2011–12 series Unforgettable. Later the writing staff would grow to 10, most with law degrees.<ref name="Variety050301">Template:Cite news</ref> By the fifth season, he would usually only edit the final script and was generally not on the set during filming.<ref name="Variety050301-03">Template:Cite news</ref>
In 2003, due to sagging ratings, ABC cut Kelley's budget in half for the eighth and final season. He responded by firing most of the cast and hiring James Spader for the role of Alan Shore,<ref name="TVGUIDE091703">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> whom The New York Times described as "a lecherous, twisted antitrust lawyer with a breezy disregard for ethics."<ref name="NYT092703">Template:Cite news</ref> The final episodes of The Practice were focused on introducing the new characters from his next show, Boston Legal.
Ally McBeal (1997–2002)Edit
When Ally McBeal premiered in 1997 on FOX, Kelley was also shepherding his other two shows, Chicago Hope and The Practice, although he was not actively participating in Chicago Hope at the time.<ref name="NYT051299" /> The title character Ally is a young, attractive, impulsive, Harvard-educated lawyer described by a New York Times journalist as "stylish, sexy, smart, opinionated, and an emotional wreck."<ref name=NYT112397>Template:Cite news</ref> In contrast to The Practice and its idealistic lawyers, the law firm in Ally McBeal was founded only to make money.<ref>Levine, David E. Kelley: The Man Behind Ally McBeal. p. 8</ref>
The New York Times felt that the show uniquely emphasised "character and caricature".<ref name="NYT042798">Template:Cite news</ref> The show lasted five seasons, seven Emmys (one for Outstanding Comedy Series for its second season), mostly positive reviews and a barrage of criticism for its portrayal of women, with many journalists saying that the character Ally was a giant step backwards.<ref>Levine, David E. Kelley: The Man Behind Ally McBeal. pp. 62–63</ref>
Parallel to The Practice, Kelley penned all the scripts for the first season, then brought in other writers in subsequent years, although he continued to write many episodes himself.<ref name=Variety050301 />
Portrayal of the Ally McBeal characterEdit
When the program Ally McBeal first ran, many women lauded its portrayal of the lead character. Sharon Waxman, writing for The Washington Post, commented that Kelley had a keen insight into the human nature of both men and women. She quoted Dyan Cannon: "This man understands the way a woman thinks, ... the complex ways we've found to hide our fears."<ref name=WP022298>Template:Cite news</ref> A New York Times writer used the character as an example of a strong television woman's role,<ref name=NYT128197>Template:Cite news</ref> another saw herself, at times, in the character's portrayal of self-absorption and reflection, her crafted neuroses, her vulnerabilities.<ref name="NYT031898" />
Later, however, much press coverage was spent on the controversial nature of women in Ally McBeal. Time featured a cover story about the decline of feminism with a picture of Ally (among a pantheon of feminist heroines) on the cover.<ref>Template:Cite magazine</ref> In the article, Ginia Bellafante used the McBeal character as a modern exemplar proving that "[M]uch of feminism has devolved into the silly."<ref name=TIME062998>Template:Cite magazine</ref> In response, author Erica Jong felt that the Time journalist diminished her argument by using only pop-cultural references and ignoring the majority of real-world women who have made significant progress.<ref>Template:Cite news</ref>
Writing in Salon.com, Joyce Millman disputed that Ally McBeal should even be described as a "women's show"—that its representations of women were, in fact, a male fantasy. She felt that Kelley treated his female characters "sadistically" in general, beginning all the way back to L.A. Law, saving only The Practice for positive remarks.<ref name="salon" />
Kelley's Ally McBeal was hugely successful in attracting the 18-to-34-year-old women audience demographic. The New York Times columnist, Maureen Dowd, quoted two young, professional women saying they liked shows with female characters like themselves, single, even obsessed. Dowd quoted the executive producer of Law & Order, Dick Wolf, "I think there is a wish-fulfillment factor when you put an attractive woman in a situation where she is doing real, adult stuff."<ref name=NYT072298>Template:Cite news</ref>
Boston Public (2000–2004)Edit
In 2000, 20th Century Fox Television extended its arrangement with Kelley.<ref name="NYT011200">Template:Cite news</ref> The deal, which ran for six years, reportedly made Kelley the highest-paid producer in TV history—up to $40 million a year—in return for a first-look at his projects.<ref name="WSJ011200">Template:Cite news</ref>
Premiering on FOX in 2000, Boston Public, which follows the lives of teachers and administrators at a Boston inner-city high school, joined The Practice and Ally McBeal for the season, meaning Kelley was responsible for writing or overseeing 67 episodes.<ref name="Variety0503015" />
The program was initially considered a modest hit but received less than glowing reviews. The previous season, Kelley stumbled with both the short-lived Snoops, his first attempt at delegating most of the responsibilities to others, and with Ally, the experiment with 30-minute shortened episodes of Ally McBeal. The TV critic from the Fort Worth Star-Telegram opined that these failures and the weaknesses he saw in Boston Public were a sign that Kelley had lost the Midas touch.<ref name="KRNS121300">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The show lasted four seasons, garnering one minor Emmy.
Boston Legal (2004–2008)Edit
In addition to Snoops, Kelley continued to have a string of unsuccessful series: Girls Club in 2002, The Brotherhood of Poland, New Hampshire in 2003 and the reality show The Law Firm in 2005. All the while, he continued overseeing Boston Public and The Practice.
Boston Legal on ABC, premiering in 2004, gave continuity and success to the Kelley franchise. It was a spin-off of his long-running legal drama The Practice, and followed attorney Alan Shore (a character who became the star of The Practice in its final season, played by James Spader) to his new law firm, Crane, Poole & Schmidt. It also starred veteran television actors Candice Bergen and William Shatner. Critically popular with less than spectacular ratings (ranked 27th for the first season,<ref name="HR0405">Template:Cite news</ref> 46th for the second),<ref name="HR0506">Template:Cite news</ref> the show was an "Emmy darling" during its run, winning seven times and being nominated over 25 times. The show won the Peabody Award in 2005 for its signature political commentaries.
In 2007, Boston Legal began to see a rise of viewership as a result of its following ABC's popular Dancing with the Stars series, mostly ranking either first or second most-watched program of the evening in its ten o'clock time period, beating out CBS and NBC's shows.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The fifth and final season began in 2008 with Kelley writing most of the episodes. The season only aired thirteen episodes, making a series run of 101 episodes. The two-hour series finale drew 11 million viewers. Still, the show drew over 15 million viewers much of its first season—and Kelley felt ABC's treatment of the show over the years ultimately killed it, saying to TV Guide that ABC always treated the show like its "bastard child". Boston Legal aired on four different nights (Sunday, Tuesday, Wednesday and Monday) in its five-season run, with the ratings slipping after each move. In the second-to-last episode of the series, Kelley blatantly wrote a show questioning the legitimacy of the Nielsen ratings and the network's treatment of the show by including a plot about a lawsuit against an unnamed television network.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref>
In 2007, Kelley received the Justice in the Arts Award from Death Penalty Focus, an organization dedicated to the abolition of the death penalty. He previously received an award from this organization in 2000 for his work on the show The Practice.<ref name="BostonLegalApril132007">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
2007–presentEdit
Kelley's The Wedding Bells premiered in fall 2007 and was canceled after seven episodes.<ref name="CNN040307">Template:Cite news Template:Dead linkTemplate:Cbignore</ref> Additionally, Kelley worked on an Americanized version of the BBC show Life on Mars for the 2007–2008 season on ABC and also worked on an adaptation of Joseph Wambaugh's Hollywood Station. He later handed production to another creative crew.<ref>Template:Cite news</ref><ref name="EW111706">Template:Cite magazine</ref>
In May 2008, Kelley signed a deal with Warner Bros. Television<ref>Template:Cite news</ref> and later penned a spec script for another legal drama entitled Legally Mad in a comic vein. NBC ultimately rejected the series. NBC would pay a two million dollar penalty to Warner Bros. for Kelley's scripts.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Kelley was the creator and executive producer of Harry's Law, which premiered on NBC on January 17, 2011. The series starred Kathy Bates in the titular role.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The show was cancelled in 2012 even though it was the network's second most-watched drama, because its audience skewed too old as the more desirable 18–49 demographic viewership was very low.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In 2011, Kelley wrote a script for the pilot episode of a new Wonder Woman TV series for Warner Bros. Television, but the pilot was rejected by NBC for its fall 2011 lineup.<ref>NBC rejects 'Wonder Woman' Entertainment Weekly 2011-05-12</ref>
A new medical series, Monday Mornings, co-created with Sanjay Gupta, premiered February 2013 on TNT, the cable television channel owned by Time Warner. Set in Portland, Oregon, the show stars Ving Rhames, Alfred Molina and Jamie Bamber.<ref name=CT051412>{{#invoke:citation/CS1|citation |CitationClass=web }} Template:Dead link</ref> In May 2013, the show was canceled by TNT.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
A new comedy series created by Kelley, The Crazy Ones, starring Robin Williams and Sarah Michelle Gellar, premiered on CBS on September 26, 2013. The show was cancelled after a season due to lukewarm reception.
In 2015, Kelley created the Amazon Studios series Goliath.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In 2017, Kelley spearheaded a new HBO series, Big Little Lies, which won the Primetime Emmy Award for Outstanding Limited Series.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He was also a showrunner on the TV adaptation of the Stephen King novel Mr. Mercedes.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In March 2018, it was announced that HBO had given a series order for The Undoing, a miniseries based on the 2014 novel You Should Have Known by Jean Hanff Korelitz. The series was written by Kelley, who also served as executive producer with Nicole Kidman (who starred alongside Hugh Grant and Donald Sutherland), Per Saari, and Bruna Papandrea. Susanne Bier directed the miniseries. It premiered in October 2020, and was the most-watched show on HBO that year.<ref name="The Undoing">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In June 2019, Kelley wrote a script for a CBS crime drama series, The Lincoln Lawyer, based from the 2005 novel of the same name by Michael Connelly.<ref name="LincolnLawyer">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On May 2, 2020, CBS announced that the pilot would not be moving forward.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> However, on January 11, 2021, the series was picked up by Netflix.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Kelley was announced as the writer and showrunner on the ABC crime drama series Big Sky, based on the book The Highway by C. J. Box.<ref name="BigSky">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Kelley served as writer, executive producer and showrunner on The Calling, an American adaptation of Israeli television series Missing File on Peacock.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
MethodsEdit
WritingEdit
Kelley writes his first drafts longhand using a Bic ballpoint and yellow legal pad. He typically writes scripts in two to four days, initially working without collaboration, finding it faster and easier than trying to explain what he wants to others.<ref name="WP022298" />
Kelley has been criticised for not delegating. A Picket Fences writer described his time on the show as "the most boring period of my life—you'd write a scene... [and Kelley would] rewrite it completely. Or he just cut you out completely—you learned nothing. Having a writing staff was a needless expense for the network."<ref>Tucker, Kissing Bill O'Reilly, Roasting Miss Piggy: 100 Things to Love And Hate About TV. p. 4</ref> Kelley gradually became more comfortable bringing in writers for ideas and taking over writing responsibilities.<ref name="Variety050301" /> Kelley described this as a natural evolution:
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Story elementsEdit
Kelley structures his episodes with multiple storylines. An episode may include a self-contained subplot plus other story arcs that either began in a previous episode or will continue subsequently—some will continue the entire season. The viewer is thereby rarely sure whether what appears as a simple incident will blossom into a major plot point.<ref>Ellis, Seeing Things: Television in an Age of Uncertainty p 123</ref>
Kelley seeds his plots with political and social "hot-button" issues. One method is by introducing provocative legal cases. Episodes have covered the gamut of contemporary issues from the culpability of tobacco companies and gun makers to assisted-suicide crusaders.<ref name=salon>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Another way is by undergirding the character's social interrelationships with serious explorations such as feminism, sexuality and divorce.<ref name=abc110306>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Instead of lessons, Kelley strives to "raise moral and ethical questions without easy answers."<ref name="Levine, David E p. 31"/> He avoids a didactic narrative by not losing sight of the audience's desire to be entertained.<ref name=ORLIK>Orlik, Electronic Media Criticism: : Applied Perspectives, p. 125</ref> He states:
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Instead of taking clear stands on issues, Kelley creates scenarios meant to challenge audience preconceptions. For example, an episode of Ally McBeal dealt with a female employee who sued for sexual harassment because she noticed that other prettier women were being promoted. There was deliberately no clear point of view.<ref name="WP022298" />
Kelley uses humor and the surreal and mixes tragedy with farce. He describes his strategy as follows:
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Often we try to seduce the audience at the beginning that this is going to be fun, a romp or a ride, and then once the ride has begun, to reveal some serious subject matter for them to think about.<ref>Levine, David E Kelley: The Man Behind Ally McBeal. p. 31</ref>{{#if:|{{#if:|}}
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In Ally McBeal, Kelley utilized two techniques: a voiceover providing an interior monologue for the title character, and Walter Mitty fantasy sequences (ala Dream On as critics have noted) giving a humorous and often deeply honest (but sometimes ironic) explanation of the character's inner thoughts.<ref name=NYT031898>Template:Cite news</ref><ref>Levine, David E Kelley: The Man Behind Ally McBeal. pp. 60–61</ref><ref name=NYT091097>Template:Cite news</ref>
Crossover episodesEdit
Kelley frequently crossed the cast of different shows. One crossover program event (which crossed networks also) involved characters from Kelley's Ally McBeal on the Fox network appearing on his ABC show, The Practice, and, in turn, The Practice characters appeared on Ally McBeal. This was done in spite of the two shows' different tones (one a comedy, the other a drama).<ref name="CALDWELL">Caldwell, Television After TV: Essays on a Medium in Transition, p. 64</ref> This crossover was partially credited for raising ratings for The Practice, which it sustained after those episodes.<ref name="Variety0503015" />
Kelley repeated this maneuver with his Boston Public, Ally McBeal, and Boston Legal shows. Thereafter, many other crossovers occurred including shows not created by Kelley.<ref name="CALDWELL" />
Kelley's most elaborate crossover was only partially successful. He sought to crossover an episode of his Picket Fences with Chris Carter's The X-Files. Both shows aired Friday nights, but on different networks. The intent was to begin the story on one show, then hope viewers would switch channels to watch the conclusion on another network. CBS balked, and both scripts were rewritten, with The X-Files' Fox Mulder no longer set to appear on Picket Fences. Yet, both episodes deal with Wisconsin and cows, with Fences referencing an FBI investigation in a neighboring town. CBS blurred the connection further by postponing the Fences episode by one week.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
CastingEdit
Kelley often uses regular actors from older shows in newer shows. For example, Anthony Heald and René Auberjonois both played judges on The Practice, and both went on to be regular cast members in later shows (Heald on Boston Public as a vice-principal and Auberjonois on Boston Legal as a partner at a law firm). Both Kathy Baker and Justin Shenkarow (Picket Fences) have been used in Boston Public. Kathy Baker as Meredith "The Hook Lady" Peters and Justin Shenkarow as the student Warren Dickson. In addition many actors who either had the main roles or major roles in Kelley's previous shows would make at least one guest appearance in Boston Legal.
After the HBO series Big Little Lies, Kelley started a working relationship with Academy Award-winning actress Nicole Kidman. The pair have collaborated on several shows together, including Big Little Lies, The Undoing and Nine Perfect Strangers.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Portrayal of real lifeEdit
Legal professionEdit
The Practice was considered more accurate in its portrayal of the law than L.A. Law or Ally McBeal . The importance of legal strategy, sometimes at the expense of the truth, rang true. One attorney said, "[I]t's really about the tactics and the mistakes that opposing counsel makes." Judges were represented as complex, less-than-perfect human beings, sometimes with emotional problems. Plots demonstrated how a defendant's personality would impact the adjudication of a case.<ref name="Variety050301-2">Template:Cite news</ref> Stuart Levine of Variety magazine said, "[The Practice] isn't afraid to paint the firm's clients as the dregs of society."<ref name="Variety050301-4" /> Kelley said,
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Other aspects of the legal profession in Kelley's shows have been criticized as unrealistic. Attorneys have complained that:
- Ex parte meetings (where lawyers meet in a judge's chambers without opposing counsel present) do not happen.
- Judges would not allow attorneys to badger or attack witnesses.
- Shows overplayed prosecutorial and law enforcement misconduct.
- Time required to select and empanel a jury is not shown or in the story's timeline.
- Many of the cases would never have made it to trial.<ref name="Variety050301-2" />
Public educationEdit
Samuel G. Freedman, a professor of journalism at Columbia University, writing in The New York Times, praises Kelley's series Boston Public as an attempt to both reflect and change public opinion about public education, particularly the urban, overcrowded, underfinanced variety. He liked the realism of the setting, the mixed ethnicity of the faculty and (oftentimes antipathetic) student body and the bureaucratic struggles. He criticized Kelley, though, for pandering to stereotypes of teachers and students and for failing to show successful teaching strategies.<ref name=NYT121700>Template:Cite news</ref>
MedicineEdit
In The New York Times, Arthur Caplan, professor of bioethics at the University of Pennsylvania, felt that medical dramas such as Kelley's Chicago Hope do a good job of addressing bioethical issues such as who should receive a liver transplant or when should a patient be allowed to die. However, there is a lack of discussion concerning the primary money issue: "How do people pay for this?"<ref name="NYT121596">Template:Cite news</ref> The show has been criticized for presenting a one-sided view of managed care, portraying HMOs as dramatically evil while glossing over the complexities. Doctors are too often shown as selfless patient advocates ready to battle whatever the financial cost.<ref name="NYT122296">Template:Cite news</ref>
CatholicismEdit
Kelley has incorporated religious subject matter from the beginning, including issues involving Protestantism, Judaism, Scientology and Catholicism among others.<ref name="Levine, David E p. 27"/> With the widespread media coverage of child sexual abuse cases in the Roman Catholic Church during the mid-to-late 1990s, Kelley began to introduce this controversy into his scripts. For instance, the character Bobby Donnell on The Practice, a Catholic, became personally estranged from the Church over the issue of sexually abusive priests. While the Catholic League did not object to this episode,<ref name=NYT110702>Template:Cite news</ref> they frequently complained of anti-Catholic bias in Kelley's shows because of his references to this subject.<ref name=WP110698>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Feature filmsEdit
Besides his first film, From the Hip, which received poor reviews,<ref>Levine, David E. Kelley: The Man Behind Ally McBeal. p. 23</ref> Kelley wrote and produced three other films. 1996's To Gillian on Her 37th Birthday, a romance, co-starring his wife, Michelle Pfeiffer, received tepid critical and box office reception.<ref>Levine, David E. Kelley: The Man Behind Ally McBeal. p. 41</ref> In 1999, came two films: Lake Placid, a combination of suspense, horror and comedy, and Mystery, Alaska, about a fictional small-town ice hockey team that plays a game against the New York Rangers of the National Hockey League
Personal lifeEdit
Although he is sometimes assumed to be a Catholic because his programs address Catholic issues, Kelley was raised a Protestant.<ref name=NYT112502>Template:Cite news</ref>
In January 1993, Kelley was set up on a blind date with actress Michelle Pfeiffer; he took her to see Bram Stoker's Dracula the following week and they began dating seriously.
Pfeiffer had entered into private adoption proceedings before she met Kelley.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In March 1993, she adopted a newborn daughter Claudia Rose.<ref>Template:Cite news Template:Dead link</ref> They married on November 13, 1993, and christened Claudia the same day.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In August 1994, Pfeiffer gave birth to a son, John Henry.<ref name="WP022298" /><ref>Levine, David E. Kelley: The Man Behind Ally McBeal. p. 34</ref>
David's brother, Mark Kelley, is the former Director of Amateur Scouting for the Chicago Blackhawks.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
David was drafted in the tenth round of the WHA World Hockey Association draft by the Cincinnati Stingers in 1977.<ref>1977 WHA Amateur Draft Elite Prospects</ref>
FilmographyEdit
FilmEdit
| Year | Title | Writer | Producer |
|---|---|---|---|
| 1987 | From the Hip | Template:Yes | Template:No |
| 1996 | To Gillian on Her 37th Birthday | Template:Yes | Template:Yes |
| 1999 | Mystery, Alaska | Template:Yes | Template:Yes |
| Lake Placid | Template:Yes | Template:Yes |
TelevisionEdit
Miniseries
| Year | Title | Network | Creator | Writer | Executive Producer |
Showrunner | Ref. | |
|---|---|---|---|---|---|---|---|---|
| 2020 | The Undoing | HBO | Template:Yes | Template:Yes | Template:Yes | Template:Yes | ||
| 2022 | Anatomy of a Scandal | Netflix | Template:Yes | Template:Yes | Template:Yes | Template:Yes | ||
| 2023 | Love & Death | HBO Max/Max | Template:Yes | Template:Yes | Template:Yes | Template:Yes | citation | CitationClass=web
}}</ref> |
| 2024 | A Man in Full | Netflix | Template:Yes | Template:Yes | Template:Yes | Template:Yes | citation | CitationClass=web
}}</ref> |
| TBA | Margo's Got Money Troubles | Apple TV+ | Template:Yes | Template:Yes | Template:Yes | Template:Yes | citation | CitationClass=web
}}</ref> |
TimelineEdit
<timeline> ImageSize = width:800 height:auto barincrement:20 PlotArea = left:25 right:150 top:10 bottom:30 TimeAxis = orientation:horizontal format:mm/dd/yyyy DateFormat = mm/dd/yyyy Period = from:01/01/1986 till:12/31/2021 Colors =
id:white value:white id:grid1 value:black id:grid2 value:gray(0.7) id:writer value:pink legend:Writer id:cocreator value:limegreen legend:Co-Creator/Writer id:creator value:skyblue legend:Creator/Writer
BackgroundColors = canvas:white AlignBars = justify ScaleMajor = start:01/01/1986 unit:year grid:grid1 increment:5 ScaleMinor = start:01/01/1986 unit:year grid:grid2 increment:1 BarData =
bar:LALaw bar:Howser bar:Picket bar:Chicago bar:Practice bar:McBeal bar:Snoops bar:Public bar:girls bar:Poland bar:Legal bar:Firm bar:Wedding bar:Harry bar:Monday bar:Crazy bar:Goliath bar:Lies bar:Mercedes bar:Undoing bar:BigSky bar:BigShot bar:NineStrangers
PlotData =
align:left anchor:from fontsize:M width:15 shift:(4,-6) textcolor:black bar:LALaw from:09/15/1986 till:05/21/1992 color:writer text:L.A. Law bar:Howser from:09/19/1989 till:03/24/1993 color:cocreator text:Doogie Howser, M.D. bar:Picket from:09/18/1992 till:06/26/1996 color:creator text:Picket Fences bar:Chicago from:09/18/1994 till:05/02/2000 color:creator text:Chicago Hope bar:Practice from:03/04/1997 till:05/16/2004 color:creator text:The Practice bar:McBeal from:09/08/1997 till:05/20/2002 color:creator text:Ally McBeal bar:Snoops from:09/26/1999 till:12/19/1999 color:creator text:Snoops bar:Public from:10/23/2000 till:01/30/2004 color:creator text:Boston Public bar:girls from:10/21/2002 till:10/28/2002 color:creator text:girls club bar:Poland from:09/24/2003 till:10/22/2003 color:creator text:The Brotherhood of Poland, NH bar:Legal from:10/03/2004 till:12/08/2008 color:creator text:Boston Legal bar:Firm from:07/28/2005 till:08/04/2005 color:creator text:The Law Firm bar:Wedding from:03/07/2007 till:04/06/2007 color:creator text:The Wedding Bells bar:Harry from:01/17/2011 till:06/01/2012 color:creator text:Harry's Law bar:Monday from:06/01/2013 till:08/31/2013 color:cocreator text:Monday Mornings bar:Crazy from:09/23/2013 till:02/27/2014 color:creator text:The Crazy Ones bar:Goliath from:10/13/2016 till:10/04/2019 color:cocreator text:Goliath bar:Lies from:02/19/2017 till:07/17/2019 color:creator text:Big Little Lies bar:Mercedes from:08/09/2017 till:11/12/2019 color:creator text:Mr. Mercedes bar:Undoing from:10/25/2020 till:11/30/2020 color:writer text:The Undoing bar:BigSky from:11/17/2020 till:12/31/2021 color:creator text:Big Sky bar:BigShot from:04/16/2021 till:12/31/2021 color:cocreator text:Big Shot bar:NineStrangers from:08/18/2021 till:09/22/2021 color:creator text:Nine Perfect Strangers
Legend = orientation:vertical position:right </timeline> Note: The above timeline does not include the three additional episodes of Snoops and the final two episodes of Boston Public broadcast in non-U.S. markets nor the short-lived Ally.
AwardsEdit
Emmy awards and nominationsEdit
| Year | For | Category | Result | Other notes |
|---|---|---|---|---|
| 1988 | L.A. Law | Outstanding Drama Series | Nominated | Shared with Steven Bochco, Terry Louise Fisher, Phillip M. Goldfarb, Scott Goldstein, Gregory Hoblit, Rick Wallace |
| L.A. Law | Outstanding Writing for a Drama Series | Nominated | Shared with Terry Louise Fisher | |
| 1989 | L.A. Law | Outstanding Drama Series | Awarded | Shared with Steven Bochco, William M. Finkelstein, Michele Gallery, Phillip M. Goldfarb, Scott Goldstein, Judith Parker, Rick Wallace, Alice West |
| L.A. Law | Outstanding Writing for a Drama Series | Nominated | ||
| 1990 | L.A. Law | Outstanding Drama Series | Awarded | Shared with Robert M. Breech, William M. Finkelstein, Elodie Keene, Michael M. Robin, Rick Wallace, Alice West |
| L.A. Law | Outstanding Writing for a Drama Series | Awarded | For the episode "Blood, Sweat & Fears" | |
| L.A. Law | Outstanding Writing for a Drama Series | Nominated | For the episode "Bang...Zoom...Zap". Shared with co-writer William M. Finklestein | |
| 1991 | L.A. Law | Outstanding Drama Series | Awarded | Shared with Rick Wallace, Patricia Green, John Hill, Robert Breech, James C. Hart, Elodie Keene, Alan Brennert, Alice West |
| L.A. Law | Outstanding Writing for a Drama Series | Awarded | For the episode "On The Toad Again" | |
| L.A. Law | Outstanding Writing for a Drama Series | Nominated | For the episode "Mutinies On The Banzai". Shared with co-writers Alan Brennert and Patricia Green. | |
| 1993 | Picket Fences | Outstanding Drama Series | Awarded | Shared with Robert Breech, Mark B. Perry, Jonathan Pontell, Michael Pressman, Alice West |
| 1994 | Picket Fences | Outstanding Drama Series | Awarded | Shared with Robert Breech, Ann Donahue, Geoffrey Neigher, Jack Philbrick, Jonathan Pontell, Michael Pressman, Alice West |
| 1995 | Chicago Hope | Outstanding Drama Series | Nominated | Shared with Michael Braverman, Dennis Cooper, Rob Corn, Michael Dinner, James C. Hart, John Heath, Michael Pressman, John Tinker |
| 1996 | Chicago Hope | Outstanding Drama Series | Nominated | Shared with Kevin Arkadie, Rob Corn, Bill D'Elia, Michael Dinner, Patricia Green, James C. Hart, John Heath, John Tinker |
| 1998 | The Practice | Outstanding Drama Series | Awarded | Shared with Bob Breech, Jeffrey Kramer, Christina Musrey, Jonathan Pontell, Ed Redlich, Gary M. Strangis, Pamela Wisne |
| Ally McBeal | Outstanding Comedy Series | Nominated | Shared with Jeffrey Kramer, Mike Listo, Jonathan Pontell, Steve Robin, Pamela Wisne | |
| Ally McBeal | Outstanding Writing for a Comedy Series | Nominated | For the episode "Theme of Life" | |
| The Practice | Outstanding Writing for a Drama Series | Nominated | For the episode "Betrayal" | |
| 1999 | The Practice | Outstanding Drama Series | Awarded | Shared with Bob Breech, Jeffrey Kramer, Christina Musrey, Gary M. Strangis, Pamela Wisne |
| Ally McBeal | Outstanding Comedy Series | Awarded | Shared with Peter Burrell, Jeffrey Kramer, Mike Listo, Jonathan Pontell, Steve Robin, Pamela Wisne | |
| Ally McBeal | Outstanding Writing for a Comedy Series | Nominated | For the episode "Sideshow" | |
| 2000 | The Practice | Outstanding Drama Series | Nominated | Shared with Bob Breech, Jeffrey Kramer, Christina Musrey, Gary M. Strangis, Pamela Wisne |
| 2007 | Boston Legal | Outstanding Drama Series | Nominated | |
| 2008 | Boston Legal | Outstanding Drama Series | Nominated | |
| 2017 | Big Little Lies | Outstanding Writing for a Limited Series, Movie, or Dramatic Special | Nominated | |
| Big Little Lies | Outstanding Limited Series | Awarded | ||
| 2024 | International Emmy Founders Award | Awarded |
NotesEdit
- Information from the Academy of Television Arts & Sciences online database<ref name="EMMYS" />
- Several shared writing nominations not included.
- In 1999, he was the first producer ever to take home Emmys for both Best Comedy Series (Ally McBeal) and Best Drama (The Practice).<ref name=slate>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref>
Emmy winning actors and actresses in Kelley's seriesEdit
Among the actors and actresses who have won Emmys for playing roles in Kelley's series are Peter MacNicol, Tracey Ullman, Sharon Stone, William Shatner, James Spader, Alfre Woodard, Charles S. Dutton, Michael Emerson, James Whitmore, Beah Richards, Edward Herrmann, Michael Badalucco, Holland Taylor, John Larroquette, Camryn Manheim, Christine Lahti, Héctor Elizondo, Mandy Patinkin, Kathy Baker, Ray Walston, Paul Winfield, Richard Kiley, Fyvush Finkel, Leigh Taylor-Young, Tom Skerritt, Richard Dysart, Paul McCrane, Christian Clemenson, Jimmy Smits, Larry Drake, Nicole Kidman, Alexander Skarsgård, and Laura Dern.
Peabody awardsEdit
The following information is from the Peabody Awards database.<ref>Peabody Awards for David E. Kelley Template:Webarchive, accessed September 2014.</ref>
| Year | For | Producing organizations |
|---|---|---|
| 1998 | The Practice | ABC and David E. Kelley Productions<ref>58th Annual Peabody Awards, May 1999.</ref> |
| Ally McBeal | Fox and David E. Kelley Productions<ref>58th Annual Peabody Awards, May 1999.</ref> | |
| 2002 | Boston Public | David E. Kelley Productions in association with 20th Century Fox Television<ref>62nd Annual Peabody Awards, May 2003.</ref> |
| 2005 | Boston Legal | David E. Kelley Productions in association with 20th Century Fox Television<ref>65th Annual Peabody Awards, May 2006.</ref> |
Television Hall of FameEdit
In 2014, David E. Kelley was inducted into the Television Hall of Fame.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
ReferencesEdit
BibliographyEdit
- Caldwell, John: "Convergence Television: Aggregating Form and Repurposing Content in the Culture of Conglomeration". Television after TV: Essays on a Medium in Transition. Ed. Lynn Spigel and Jan Olsson. Duke University Press, 2004 Template:ISBN.
- Caves, Richard E.: Switching Channels: Organization and Change in TV Broadcasting. Harvard University Press, 2005. Template:ISBN.
- Ellis, John: Seeing Things: Television in the Age of Uncertainty. I. B. Tauris, 2000 Template:ISBN.
- Levine, Josh: David E. Kelley: The Man Behind Ally McBeal. ECW Press, 1999 Template:ISBN.
- Orlik, Peter B.: Electronic Media Criticism: Applied Perspectives. LEA, Inc., 2000 Template:ISBN.
- Tucker, Ken: Kissing Bill O'Reilly, Roasting Miss Piggy: 100 Things to Love and Hate About TV. St. Martin's Press, 2005 Template:ISBN.
External linksEdit
- [https://www.imdb.com/{{#if: 0005082
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