L.A. Law

American television has always held a deep and enduring fascination with the legal profession, but few series have captured the complexities of courtroom drama and office politics with the sophistication and flair of L.A. Law. Created by Steven Bochco, the man behind Hill Street Blues, and former Deputy D.A. turned television writer Terry Louise Fisher (notable for her work on Cagney and Lacey), L.A. Law marked a high-water mark for legal drama on US screens.

Debuting in 1986, the series offered viewers a glossy, character-rich portrayal of the inner workings of the fictional Los Angeles law firm McKenzie, Brackman, Chaney and Kuzak. Much like Hill Street Blues, L.A. Law adopted a multi-stranded narrative approach, weaving together the legal, romantic and moral entanglements of a large and talented ensemble cast. Each episode felt like a perfectly calibrated balancing act between high-stakes litigation, human drama, and the kind of moral grey zones that would become a hallmark of prestige television in the decades to come.

At the heart of the firm was senior partner Leland McKenzie, brought to life with warmth and gravitas by veteran actor Richard Dysart. A calm and often paternal presence, McKenzie provided the moral compass of the show. Around him orbited a wide-ranging cast of characters, including the dashing and idealistic Michael Kuzak (Harry Hamlin), who looked as though he'd stepped straight out of central casting for a modern TV lawyer; Susan Dey as Grace Van Owen, first a Deputy D.A. and later a judge; and Corbin Bernsen’s Arnie Becker, a womanising divorce lawyer whose charm and smarm often walked a fine line.

While the firm was clearly affluent—decked out in polished glass, designer suits, and lavish case files—episodes would occasionally include “pro bono” cases, reminding audiences that the show’s attorneys had a conscience as well as a paycheck. These forays into social justice provided a dose of humanity amid the sleek surfaces.

In 1986, the arrival of David E. Kelley as a writer (and later executive producer) added new dimensions to the series. Kelley would go on to create Picket Fences, The Practice, and Ally McBeal, all of which owe a clear stylistic debt to L.A. Law. Under his influence, the show began to flirt with storylines that were both deeply topical and wildly eccentric. Whether dealing with the “outing” of prominent figures or bizarre spectacles like dwarf tossing, L.A. Law deftly walked the tightrope between serious drama and surreal satire, often within the same episode.

Yet one of the show’s most lasting achievements was its sensitive portrayal of Benny Stulwicz, a mentally disabled office assistant played with grace and authenticity by Larry Drake. Benny was not only a rare example of a continuing disabled character on television at the time, but also a fully rounded presence whose emotional growth was treated with care and seriousness, rather than tokenism.

After eight seasons, L.A. Law drew to a close in May 1994, when Leland McKenzie announced his retirement. His departure served as a fitting bookend to the series, signalling the end of an era both for the fictional firm and for one of television’s most iconic legal dramas.

Slick, stylish, and consistently intelligent, L.A. Law was never afraid to challenge its audience, whether with its character-driven complexity or its reflections on contemporary issues. Its influence can be seen across a multitude of series that followed in its wake, from The Good Wife to Boston Legal. For all its occasional melodrama and courtroom theatrics, L.A. Law was television that respected both its characters and its viewers.

Verdict: A landmark of 1980s and early ’90s television—polished, provocative, and ahead of its time.
★★★★☆