Becker represents Mason Paine, an aging country music singer who tries to fight a divorce action brought by his rising star wife. Meanwhile, Gwen gives her law tutor a second chance not to come on to...
Reunion movie from the popular TV series reunites most of the original cast from the Los Angeles law firm of McKenzie-Brackman. In the eight years since the series ended, the founding ... See full summary »
Hope and Michael are a married couple in their thirties, living in Philadelphia, and struggling with everyday adult angst. Michael runs an ad agency with his friend Elliot, whose marriage ... See full summary »
Detective Sergeant Rick Hunter and his partner, Sergeant Dee Dee McCall, are homicide investigators with the Los Angeles Police Department. Often they must go undercover to catch a variety ... See full summary »
The saga of a wealthy Denver family in the oil business: Blake Carrington, the patriarch; Krystle, his former secretary and wife; his children: Adam, lost in childhood after a kidnapping; ... See full summary »
This popular TV drama depicted life in a large Los Angeles law firm. The plots were strongly character-based and dealt with both the personal lives and professional activities of the partners, associates, and staff. Scenes centered around the courtroom and the law offices. Often, an episode would open with a surprising twist, which would then be played out during the rest of the show. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
In early 1991, a Season 5 episode had two female characters, Abby, played by Michele Greene and the newcomer C.J., played by Amanda Donohoe kissing each other. The scene was recognized as the first kiss between two women in a prime time American series and was considered quite controversial. See more »
Don't underestimate me, I'm amazing with mums. When I was at High School all of them had crushes on me, it was the daughters I had trouble with.
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The previous post was less than favorable to this incredible show ("great actors, flawed writing"), so I just had to weigh in. For a moment, forget that "L.A. Law" presented some of the most compelling and unusual legal cases as drama (some of them so unusual, in fact, showrunner David E. Kelley would revisit them in his own "Picket Fences," "The Practice," and even "Ally McBeal").
"L.A. Law" brought black comedy back to television and presented sexuality and sensuality that actually advanced its storylines. The latter were core character traits of Corbin Bernsen's Arnold Becker and Jill Eikenberry's and Michael Tucker's Ann Kelsey and Stuart Markowicz, respectively. You can argue the tastefulness of these scenes and others, but you couldn't make a case for their gratuity.
The writing, of course, enabled the other collaborators on this show to perform at the peaks of their abilities. The show explored some of the more difficult issues of its time through our legal adversarial process. Whether surgeons should be obligated to operate on AIDS patients, the right for the terminally ill to die, the lives of the mentally challenged, sexual dysfunctions, the pressures and responsibilities of the police -- these and other episodes paved the way for the shows we're watching today. "L.A. Law" stood on the shoulders of giants, yes, but it became a giant in its own right.
Arguably the show created by Stephen Bochco and Terry Louise Fisher suffered with the departure of David. E. Kelley in its fifth season. The guys who used to run "St. Elsewhere" had a brief stint as showrunners, and viewers began tuning out when the show became less about L.A. lawyers and more about various medical maladies.
That fifth season was especially dramatic, too, as several cast members also were leaving, which freed the writers from some of the constraints of series television -- namely, that characters could not change significantly from week to week.
To dismiss "L.A. Law" as a show about yuppie lawyers is to misjudge a deep, poignant, and important book by its slick, glossy cover. Check it out.
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