Solid ratings and a handful of Emmy nominations—including a win for Outstanding Drama Series—undoubtedly had the writer’s and producers of LA. Law going into the series’ sophomore season on a high. Yet, despite the success, the show was still in the creation process, adding some key characters that would further enrich the show: Blair Underwood as impetuous, young attorney Jonathan Rollins, and Larry Drake as Benny Stulwicz, an intellectually-challenged adult who gets a job as the firm’s messenger. They are of course joined by smart, womanizing divorce lawyer Arnie Becker (Corbin Bernsen); tax lawyer Stuart Markowitz (Michael Tucker); do-gooder attorney Ann Kelsey (Jill Eikenberry); Abby Perkins (Michele Greene) Ann’s young protégé; fiery associate Victor Sifuentes (Jimmy Smits) and attorney Michael Kuzak (Harry Hamlin). Coraling all these folks are founding partner Leland McKenzie (Richard Dysart), and Douglas Brackman Jr. (Alan Rachins), his late partner’s son. Also along for the ride is Grace van Owen (Susan Dey), assistant DA and Kuzak’s main squeeze.

While the series was created by the talented Steven Bochco and Terry Louise Fisher, It was really David E. Kelley who helped LA. Law reach its creative peak. A practicing attorney who got Bochco’s attention with his script for the Judd Nelson courtroom thriller, From the Hip, Kelley started off as story editor, becoming a co-producer in the second season, and executive producer when Bochco stepped away from the series before the third season. While Kelley had quite found the voice that would lead to later hits including Picket Fences, and Ally McBeal, his expertise at writing courtroom dialogue is on display.

The man writes courtroom dialogue like nobody else—passionate and polished, with nary an unnecessary word. He really gives actors they can sink their teeth into, and I’m willing to bet that more than a few of Kelley’s courtroom speeches made it on to the Emmy consideration reels for LA. Law when he was there. Watch Jimmy Smits’ Victor Sifuentes as he cross examines a legendary but aging attorney (Ralph Bellamy), and you’ll see how great writing can elevate an actor’s performance.

Some of the key storylines during season two include the ongoing relationship, and planned nuptials of Ann Kelsey and Stuart Markowitz, which always added some interesting perspectives and tension to various situations; Victor’s relationship with an intelligent woman with a sordid past, leads to complications for all involved and Douglas Brackman Jr. discovers a different side of his deceased father, and discovers a brother he never knew existed.

This season also offers up several notable guest stars: Dan Castellaneta (Homer Simpson!) as an actor who has continued to play a superhero at malls long after his series has been cancelled, and James Earl Jones as a defense attorney who plays the race card whenever and wherever possible—not because he is a racist, but because he believes it gives his clients a better chance at being acquitted. Christian Slater turns up as a petty thief on trial for murder.

The performances could be over the top at times—Alan Rachins’ Douglas Brackman seemed to be called on to do that a lot—but in general, LA. Law offered timely, complex storylines, and really seemed to find its voice—with a lot of help from David E. Kelley—during the second season.

Little, if any, restoration work has been done to these standard def 1.33:1 full frame transfers. While there isn’t much in the way of print damage, compression is obvious, and it looks only slightly better than the videotape it was originally edited on.

The Dolby Digital 2.0 audio is certainly nothing special. Dialogue is clear, but a bit on the weak side. Since dialogue is the most important aspect of this series, this tract would have to be considered acceptable.

There are no subtitles included.

There are no extras available.