Lukas Reiter

Lukas Reiter is a television executive and former lawyer. As a law student he was a mock trial competitor, and he later became the writer for The Practice. He has also written for television shows such as Boston Legal, Close to Home, Outlaw and The Forgotten. He has also served as a producer for shows such as Law & Order, and The Firm.

Lukas Reiter
OccupationTelevision producer, writer, attorney
Spouse(s)
(
m. after 2005)

Early law career

Reiter was a cum laude of the Temple University Beasley School of Law and is a Northwestern University alumnus with a bachelor of science degree in speech.[1] He won the mock trial championship at the 1995 National Trial Competition with Robert E. Kelly.[2] He won the George A. Spiegelberg Award for Best Oral Advocate at the 1995 American College of Trial Lawyers National Trial Competition.[3] Reiter felt he would become a trial lawyer.[4] After obtaining his Juris Doctor, he became an Assistant District Attorney in Queens County, New York for the Homicide Investigations Bureau.[1] He worked under Richard Brown.[4]

Television executive career

Reiter's first script, which was about his professional experiences up to that date caught the attention of Creative Artists Agency agent Peter Micelli, who has continued to be his agent.[4] He first became a writer for David E. Kelley on The Practice and later for Boston Legal, serving both as supervising producer.[1] In 2002, Reiter was nominated for the Edgar Award in the Best Television Episode category for The Practice's "Killing Time" episode (September 30, 2001) in which he co-wrote the teleplay with Teleplay by Jonathan Shapiro, Peter Blake & David E. Kelley.[5] That year, he won a Humanitas Prize when The Practice's "Honor Code" episode (November 18, 2001) which he co-wrote with Kelly tied with Aaron Sorkin's "Two Cathedrals" episode of The West Wing.[6]

Having been a fan of both the movie version and the book of The Firm, Reiter sought out their creator, John Grisham, to explain his own curiosity about what happened to the characters beyond the endings of those parts of the franchise.[4] Later, Reiter worked with Jerry Bruckheimer on the series The Forgotten and Close to Home and then served as an executive producer for The Firm.[1] Reiter was the creator for The Firm.[7]

In 2013, Reiter joined the writing staff of NBC's The Blacklist, serving as a Consulting Producer, and later as a Co-Executive Producer in the show's first season, and eventually rising to the role of Executive Producer through the show's first seven seasons.

Notes

  1. "Bios". NBC. Retrieved February 19, 2013.
  2. "National Trial Competition - National Champions, 1975 - present". Texas Young Lawyers Association. Archived from the original on April 30, 2013. Retrieved February 19, 2013.
  3. "National Trial Competition: Record of Winners 1978-2012" (PDF). American College of Trial Lawyers. Retrieved February 19, 2013.
  4. Gray, Ellen (January 12, 2012). "Ellen Gray: 'Firm' producer learned the law at Temple". Philly.com. Retrieved February 21, 2013.
  5. "2002 Edgar Award Nominees Announced". Write News. February 19, 2002. Retrieved February 19, 2013.
  6. "2002 Humanitas Prize Winners Announced". Writers Guild of America. July 2, 2002. Archived from the original on February 18, 2012. Retrieved February 19, 2013.
  7. Gilbert, Sophie (January 6, 2012). "Lukas Reiter Discusses Making "The Firm," NBC's New Washington-Based Show". The Washingtonian. Retrieved February 19, 2013.
gollark: Instead of the AI managing everything we should just have me.
gollark: This might be fixable if you have some kind of zero-knowledge voting thing and/or ways for smaller groups of people to decide to produce stuff.
gollark: If you require everyone/a majority to say "yes, let us make the thing" publicly, then you probably won't get any of the thing - if you say "yes, let us make the thing" then someone will probably go "wow, you are a bad/shameful person for supporting the thing".
gollark: Say most/many people like a thing, but the unfathomable mechanisms of culture™ have decided that it's bad/shameful/whatever. In our society, as long as it isn't something which a plurality of people *really* dislike, you can probably get it anyway since you don't need everyone's buy-in. And over time the thing might become more widely accepted by unfathomable mechanisms of culture™.
gollark: I also think that if you decide what to produce via social things instead of the current financial mechanisms, you would probably have less innovation (if you have a cool new thing™, you have to convince a lot of people it's a good idea, rather than just convincing a few specialized people that it's good enough to get some investment) and could get stuck in weird signalling loops.
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