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EspañolDAVID E. KELLEY
'David Edward Kelley' (born April 4, 1956) is a prolific multi-Emmy award winning American writer, executive producer, and creator of the well-known television series ''Picket Fences'', ''Chicago Hope'', ''The Practice'', ''Ally McBeal'', ''Boston Public'', and ''Boston Legal''. He has also written several film scripts. Kelley's shows are renowned for their whimsical, occasionally surreal comedic touches, as well as moments of seriousness.
Early life
Born in Waterville, Maine, raised in Belmont, Massachusetts and attended the Belmont Hill School. Kelley was the son of a hockey coachKelley's father, Jack Kelley, was the coach of the Boston University hockey team from 1962 to 1972 and of the World Hockey Association's New England Whalers in their inaugural season of 1972-1973.[1] and played the game himself. He was captain of the team at Princeton University, from which he graduated in 1979 with a degree in politics. The Unintended Career Of TV's Prolific Writer; From Real Law Office to Two Fictional Ones Carter, Bill
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 as a poem. 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." Also while at Princeton, he was a member of the Princeton Triangle Club.[1]
He graduated with a law degree from Boston University where he wrote comedy sketches for the annual follies. He began working for a Boston law firm, 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. He's a Lawyer. He's a Writer. But Can He Type? Carter, Bill
Television work
''L.A. Law'' (1986–1994)
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. 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. For the first five seasons 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''
''Picket Fences'' (1992–1996)
By 1992, after co-creating ''Doogie Howser, M.D.'' with his mentor Bochco, Kelley formed his own production company, David E Kelley Productions, making a three-series deal with CBS.[3] Its first creation, ''Picket Fences'', airing in 1992 and influenced by ''Twin Peaks'' and ''Northern Exposure'',[4] focused on the police department in the quirky town of Rome, Wisconsin. Kelley took on the role of writing most of the episodes for the first three years.[5] The show was critically acclaimed but never found a sizable audience.[6] ''Picket Fences'' went on for four years, receiving a total of 14 Emmy awards including back-to-back Emmys for Outstanding Drama Series for its first and second seasons.[7]
In 1995, the fourth and final season, Kelley stopped writing episodes. "We had almost 10 writers try to come in and take over for this one man," said Holly Marie Combs who played a character on the show. "The quality was not nearly what it was."[8]
''Chicago Hope'' (1994–2000)
Under pressure from CBS to develop a second series even though Kelley didn't feel ready to produce the two shows simultaneously,[9] Kelley's medical drama, ''Chicago Hope'', starring Mandy Patinkin and Adam Arkin, premiered in 1994.[10] Airing at the same time as the season's other new medical drama, NBC's ''ER'', the ultimate ratings leader,[11] ''Chicago Hope'' plotted "upscale medicine in a high-tech world run by high-priced doctors."[12] During its six-year run, it won seven Emmys, generally high critical praise but only middling ratings.[13]
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. Towards the end of the fifth season in 1999, facing cancellation, Kelley fired all cast members added since he had left the show, brought back Mandy Patinkin and began writing episodes again.[14]
''The Practice'' (1997–2004)
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.[15] ''Ally McBeal'' on FOX and ''The Practice'' on ABC were the first two projects to come from this deal.[16]
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.6 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.[17] The New York Times described the show as "the profoundly realistic, unending battle between soul-searching and ambition".22
During the first two years of the series, Kelley was the sole full-time writer. He felt that, at first, the show creator can best flesh out the characters in a "voice-specific show." Later, the writing staff would grow to 10, most with law degrees.[18] By the fifth season, he worked on the final script and was generally not on the set during filming.James Spader for the role of Alan Shore,[19] who the New York Times described as "a lecherous, twisted antitrust lawyer with a breezy disregard for ethics."[20] The final episodes of ''The Practice'' were focused on introducing the new characters from his next show, ''Boston Legal''.
''Ally McBeal'' (1997–2002)
When ''Ally McBeal'', Kelley's first genuine and influential hit, 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.14 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." NOTICED; Ally, the Talk Around the Water Cooler Kimberly, Stevens In contrast to ''The Practice'' and its idealistic lawyers, the law firm in ''Ally McBeal'' was founded to make money.[21]
''The New York Times'' felt that the show uniquely emphasized "character and caricature."[22] 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.[23]
Parallel to ''The Practice'', Kelley penned all the scripts for the first season, then brought in other writers in subsequent years.
''Boston Public'' (2000–2004)
In 2000, 20th Century Fox Television extended its arrangement with Kelley.first-look at his projects.FOX in 2000, ''Boston Public'', which follows the lives of teachers and administrators at a Boston high school, joined ''The Practice'' and ''Ally McBeal'' for the season meaning Kelley was responsible for writing or overseeing 67 episodes.17
The program 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.[24] However, the show lasted four seasons, garnering, though, only one minor Emmy.
''Boston Legal'' (2004–present)
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, 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 is a spin-off of his long-running legal drama ''The Practice''. It follows attorney Alan Shore (a character introduced during the last season of ''The Practice'', played by James Spader) to his new law firm, Crane, Poole & Schmidt. It also stars veteran television actors Candice Bergen and William Shatner. Critically popular with less than spectacular ratings (ranked 27th for the first season[25], 46th for the second[26]), the show has received four Emmys.
In 2007, ''Boston Legal'' began to see a rise of viewership as a result of it following ABC's extremely popular ''Dancing with the Stars'' series, mostly ranking either first or second most watched program of the evening in it's ten o'clock time period, beating out CBS and NBC's shows. The show's third season finale dominated other network's shows.[27]
Recent projects
His most recent new series, Wedding Bells, began airing at the beginning of 2007 and canceled after only seven episodes. Kelley is working on an Americanized version of the BBC show ''Life on Mars'' for the 2007-2008 season on ABC, an adaptation of Joseph Wambaugh's ''Hollywood Station'', and a single-camera comedy about a jury for FOX. David E. Kelley makes a big comeback Stack, Tim
Methods
Writing
Kelley, using a heavy metal Bic ballpoint and yellow legal pad, writes his first drafts longhand. He easily churns out scripts in two to four days, initially working without collaboration, finding it faster and easier than trying to explain what he wants to others.
Kelley was criticized 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."[28] Later, he became more comfortable bringing in writers for ideas and taking over the writing responsibilities.18 Kelley described this as a natural evolution:
Story elements
Kelley structures his episodes with multiple storylines. An episode may include a self-contained sub-plot plus other story arcs that either began in a previous episode or will continue subsequently -- some will continue the entire season. The viewer, thereby, is rarely sure whether what appears as a simple incident will blossom into a major plot point.[29]
Kelley seeds his plots with political, social and religious "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. Kelleyvision Millman, Joyce Another way is by undergirding the character's social interrelationships with serious explorations of (say) feminism, homosexuality or divorce. David E. Kelley Likes Stirring the Pot McNiff, Eamon; Cuomo, Chris Instead of lessons, Kelley strives to "raise moral and ethical questions without easy answers."[5] He avoids a didactic narrative by not losing sight of the audience's desire to be entertained.Orlik, ''Electronic Media Criticism: : Applied Perspectives'', p. 125 He states, Instead of taking clear stands on issues such as, say, sexual harassment, Kelley creates scenarios meant to challenge audience preconceptions. For instance, an episode of ''Ally McBeal'' dealt with a female employee suing for sexual harassment because she noticed that other, "prettier" women were being promoted. There was no clearly explicit point-of-view.
Using humor and the surreal, mixing tragedy and farce, Kelley described his strategy this way,
In ''Ally McBeal'', Kelley utilized two techniques: the voice-over, providing an interior monologue for the titular character and Walter Mitty-like fantasy sequences (ala ''Dream On'', as critics have noted) that gave humorous, often ironic portrayal of these thoughts.[31] Looks Like a Hit Carter, Bill You Want to Slap Ally McBeal, but Do You Like Her? Jefferson, Margo
Crossover episodes
Kelley frequently crossed the cast of different shows. One crossover program event (which uniquely 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).[32] This crossover was partially credited for raising the ratings for ''The Practice'' which it sustained.17
Subsequently, Kelley repeated this stunt with ''Boston Public'' and ''Ally McBeal''. Many other crossovers occurred including shows not created by Kelley.32
Casting
David E. Kelley's shows tend to be revolving door ensemble casts with no single principal character. Even on ''Ally McBeal'' there were episodes in which the title character had few lines or was even omitted. Every season (sometimes even more often) some of the old regular characters get written out and are replaced by new regular characters. As Kelley focuses on the newer characters, it can appear that he is neglecting to develop the older characters who've stayed. For example, the last season of ''The Practice'' was almost completely dominated by Alan Shore, to the point that the older regulars, Eugene Young and Jimmy Berlutti, appeared to have nothing to do except plot to fire Shore from the firm. On the first season of ''Boston Legal'', Shore and Denny Crane started to recede to the background as Shirley Schmidt was added. However, subsequent seasons have brought Shore and Denny Crane back to the forefront.
Kelley often uses regular actors from older shows in newer shows, and vice versa. For example, Anthony Heald and Rene 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).
Critiques
Legal profession
''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.[33] Stuart Levine of Variety said, "[The Practice] isn't afraid to paint the firm's clients as the dregs of society."6 Kelley said,
Other aspects of the legal profession in Kelley's shows have been criticized as unrealistic. Attorneys 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,
★ His shows overplayed prosecutorial and law enforcement misconduct, and
★ Many of the cases would never have made it to trial.33
Women
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. Quoting Dyan Cannon in the article, "This man understands the way a woman thinks, ... the complex ways we've found to hide our fears."
A New York Times writer used the character as an example of a strong television woman's role, Strong Women in TV? They'd Sure Better Be; Progress, but Slowly, on Camera and Off Sterngold, James another saw herself, at times, in the character's portrayal of self-absorption and reflection, her crafted neuroses, her vulnerabilities.
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 heroes) on the cover.[34] In the article, Ginia Bellafante used the McBeal character as a modern exemplar proving that "[M]uch of feminism has devolved into the silly." It's All About Me! Bellafante, Ginia In response, the 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.[35]
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's treated his female characters "sadistically" in general, beginning all the way back to ''L.A. Law'', saving only ''The Practice'' for positive remarks.
What can't be denied is that 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. Quoting 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." Liberties; She-TV, Me-TV Dowd, Maureen
Public education
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 (ofttimes antipathetic) student body and the bureaucratic struggles. He lambasted Kelley, though, for pandering to stereotypes of teachers and students and of failing to show successful teaching strategies. A Report Card for 'Boston Public': A's and F's Freedman, Samuel G.
Medicine
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?"[36] The show has been criticized for presenting a one-sided view of managed care, portraying HMOs as dramatically evil glossing over the complexities. Doctors are too often shown as selfless patient advocates ready to battle whatever the financial cost.[37]
Catholicism
Kelley has incorporated religious subject matter from the beginning, including issues involving Protestantism, Judaism and Catholicism.[4] With the widespread media coverage of child sexual abuse cases in the Roman Catholic Church during the mid-to-late 90s, Kelley naturally 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 conservative Catholic League didn't have an issue with this episode, A Catholic Writer Brings His Anger to 'The Practice' Carter, Bill they frequently complained of anti-Catholic bias in Kelley's shows because of his references to this subject.
[39][40]
Feature films
Besides his first film, ''From the Hip'' which received poor reviews,[41] 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.[42] In 1999, came two films: Lake Placid, a unique 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. Neither movie did well with either the critics or the audience.
His next film, ''Chasing Montana'', starring Pfeiffer, and written by Kelley, is a father-daughter drama to be released by Focus Features in 2008.[43]
Kelley will oversee the scripting of a new feature film based on the origins of the World Hockey Association (a league Kelley's father was involved with) and hockey player Gordie Howe. Trio put bucks on pucks McNary, Dave
Personal life
Kelley married actress Michelle Pfeiffer in 1993. They have two children, an adopted daughter and a biological son. Kelley is known for leaving work in time to be home in the evenings and weekends.[44] Sometimes assumed to be a Catholic because of his surname, Kelley is actually a Protestant. Corrections
Filmography
| Year | Title | Involvement | Notes |
|---|---|---|---|
| 2008 | ''Chasing Montana'' | Writer | pre-production |
| 1999 | ''Mystery, Alaska'' | Co-writer, producer | |
| ''Lake Placid'' | Writer, producer | ||
| 1996 | ''To Gillian on Her 37th Birthday'' | Screenplay, producer | |
| 1987 | ''From the Hip'' | Writer, story |
Television work
| Season[45] | Title | Network | Involvement | Status |
|---|---|---|---|---|
| 2007–2008 | ''Life on Mars'' | ABC | Creator, writer, executive producer | pre-production |
| 2006–2007 | ''The Wedding Bells'' | Fox | Creator, writer, executive producer | canceled after 7 episodes 'Bells' stop ringing after seven episodes |
| 2005–2006 | ''The Law Firm'' | NBC | Creator, writer, executive producer | canceled after 2 episodes[46] |
| 2004–2005 | ''Boston Legal'' | ABC | Creator, writer, executive producer | ongoing |
| 2003–2004 | ''The Brotherhood of Poland, New Hampshire'' | CBS | Creator, writer, executive producer | canceled after 5 episodes |
| 2002–2003 | ''girls club''[47] | Fox | Creator, writer, executive producer | canceled after 2 episodes |
| 2000–2001 | ''Boston Public'' | Fox | Creator, writer, executive producer, executive consultant | ended 2004[48] |
| 1999–2000 | ''Snoops'' | Fox | Creator, writer, executive producer, actor (uncredited) | canceled after 10 episodes[49] |
| ''Ally'' | Fox | Creator, writer, executive producer | canceled after 10 episodes | |
| 1997–1998 | ''Ally McBeal'' | Fox | Creator, writer, executive producer | ended 2002 |
| 1996–1997 | ''The Practice'' | ABC | Creator, writer, executive producer | ended 2004 |
| 1994–1995 | ''Chicago Hope'' | CBS | Creator, writer, executive producer, executive consultant | ended 2000 |
| 1992–1993 | ''Picket Fences'' | ABC | Creator, writer, executive producer | ended 1996 |
| 1989–1990 | ''Doogie Howser, M.D.'' | ABC | Co-creator (with Steven Bochco), writer, creative consultant | ended 1993 |
| 1986–1987 | ''L.A. Law'' | NBC | Writer, story editor, executive story editor, supervising producer, co-producer, executive producer, creative consultant | ended 1994 |
Awards
Emmy awards and nominations
| 'Year' | 'For' | 'Category' | 'Result' | 'Other notes' |
| 2007 | ''Boston Legal'' | Outstanding Drama Series | Nominated | |
| 2000 | ''The Practice'' | Outstanding Drama Series | Nominated | Shared with Bob Breech, Jeffrey Kramer, Christina Musrey, Gary M. Strangis, Pamela Wisne |
| 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 | ||
| 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 | ||
| ''The Practice'' | Outstanding Writing for a Dramatic Series | Nominated | ||
| 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 |
| 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 |
| 1994 | ''Picket Fences'' | Outstanding Drama Series | 'Awarded' | Shared with Robert Breech, Ann Donahue, Geoffrey Neigher, Jack Philbrick, Jonathan Pontell, Michael Pressman, Alice West |
| 1993 | ''Picket Fences'' | Outstanding Drama Series | 'Awarded' | Shared with Robert Breech, Mark B. Perry, Jonathan Pontell, Michael Pressman, Alice West |
| 1991 | ''L.A. Law'' | Outstanding Writing for a Dramatic Series | 'Awarded' | |
| 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 Dramatic Series | 'Awarded' | ||
| 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 Dramatic Series | Nominated | ||
| 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 Dramatic Series | Nominated | Shared with Terry Louise Fisher |
Notes
# Information from the Academy of Television Arts & Sciences online database7
# 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). The Kelley Curse Stevens, Dana
Emmy winning actors and actresses in Kelley's series
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, Hector Elizondo, Mandy Patinkin, Kathy Baker, Ray Walston, Paul Winfield, Richard Kiley, Fyvush Finkel, Leigh Taylor-Young, Tom Skerritt, Richard Dysart, Jimmy Smits, and Larry Drake.
Peabody awards
The following information is from the Peabody awards database.[50]
| 'Year' | 'For' | 'Producing Organizations' |
| 2005 | ''Boston Legal'' | David E. Kelley Productions in association with 20th Century Fox Television |
| 2002 | ''Boston Public'' | David E. Kelley Productions in association with 20th Century Fox Television |
| 1998 | ''The Practice'' | ABC and David E. Kelley Productions |
| ''Ally McBeal'' | FOX" and David E. Kelley Productions |
Footnotes and references
1. Princeton Triangle Club — About Us
2. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 24
3. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 28
4. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 27
5. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 31
6. Kelley acts as judge, jury for series quality Levine, Stuart
7. Advanced Primetime Awards Search
8. Outside those "Picket Fences" Urankar, Stan
9. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 35
10. Doctor Shows for the High-Tech 90's O'Connor, John J.
11. For the six seasons, ''ER'' ranked in the top four, Chicago Hope's highest ranking was 23rd.[2]
12. The Operation Was a Success: 'E.R.' Lives O'Connor, John J.
13. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 37
14. Calling Dr. Geiger Carter, Bill
15. Caves, ''Switching Channels: Organization and Change in TV Broadcasting''. p. 26
16. The other two projects were ''Ally'', a short-lived 30 minute edit of Ally McBeal on FOX and the quickly cancelled ''Snoops'' on ABC.
17. 'Practice's' good legal standing Kissel, Rick
18. As former lawyers, writers on same page Levine, Stuart
19. Kelley Defends The Practice
20. Same Old Law Firm, New Snake Stanley, Allesendra
21. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 8
22. Ally McBeal Teams Up With Less Flitty Lawyers James, Caryn
23. Levine, David E. Kelley: The Man Behind Ally McBeal. pp. 62-63
24. Prolific writer/producer David E. Kelley can't seem to sustain hits Perkins, Ken Parish
25. 2004-05 Final audience and ratings figures
26. 2005-06 primetime wrap
27. 'House' Finale Wins Tuesday for FOX
28. Tucker, ''Kissing Bill O'Reilly, Roasting Miss Piggy: 100 Things to Love And Hate About TV''. p. 4
29. Ellis, ''Seeing Things: Television in an Age of Uncertainty'', p. 123
30. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 31
31. Levine, David E. Kelley: The Man Behind Ally McBeal. pp. 60-61
32. Caldwell, ''Television After TV: Essays on a Medium in Transition'', p. 64
33. Attorneys quick to offer reality check Speier, Michael
34. Time cover of June 29, 1998 Time Magazine cover
35.
36. Who gets the liver transplant? Which one's the mother? When do you lie? (And those are the easy ones) Dreifus, Claudia
37. TV's Powerful Doctor Shows vs. the H.M.O. Bilger, Burkhard
38. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 27
39. David E. Kelley Lashes Out Again
40. Hollywood and ACLU vs. Catholicism
41. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 23
42. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 41
43. Pfeiffer drama circling Calgary area Williamson, Kevin
44. Levine, David E. Kelley: The Man Behind Ally McBeal. p. 34
45. Each U.S. network television season starts in late September and ends in late May, which coincides with the completion of May sweeps.
46. The remaining episodes were aired on Bravo.
47. Lower case letters in "girls club" are correct.
48. The last two episodes aired in 2005 in syndication on TV One.
49. Episodes 11 through 13 did air overseas.
50. The Peabody Awards winner's search
Bibliography
★ 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 ISBN 978-0822333937
★ Caves, Richard E.: ''Switching Channels: Organization and Change in TV Broadcasting''. Harvard University Press, 2005. ISBN 978-0674018785
★ Ellis, John: ''Seeing Things: Television in the Age of Uncertainty''. I. B. Tauris, 2000 ISBN 978-1860641251
★ Levine, Josh: ''David E. Kelley: The Man Behind Ally McBeal''. ECW Press, 1999 ISBN 978-1550223729
★ Orlik, Peter B.: ''Electronic Media Criticism: : Applied Perspectives''. LEA, Inc., 2000 ISBN 978-0805836417
★ Tucker, Ken: ''Kissing Bill O'Reilly, Roasting Miss Piggy: 100 Things to Love And Hate About TV''. St. Martin's Press, 2005 ISBN 978-0312330576
External links
★ Official site of David E. Kelley Productions
★
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