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‘Big Sky’ Review: Tunnel Vision Clouds David E. Kelley’s Dim and Gritty Return to Broadcast TV

‘Big Sky’ Review: Tunnel Vision Clouds David E. Kelley’s Dim and Gritty Return to Broadcast TV

Having first conquered the ’90s-era TV procedural and then scaled the mountain of prestige TV, David E. Kelley is now back at broadcast. And despite what you may assume, his return isn’t at all related to the “Big Little Lies” and “Goliath” writer struggling to recapture whatever magic he once had, hoping to cash in on his elevated awards status by re-living those pre-Golden Age glory days of “The Practice,” “Boston Legal,” and “Doogie Howser, M.D.” His latest creative adaptation is simply a “passion project,” per ABC, and marketing for the hourlong drama series “Big Sky” has promised more than your typical broadcast series — this isn’t the old David E. Kelley, best known for casting Dylan McDermott and a dancing baby; this is the new David E. Kelley, who casts Oscar winners and wins Emmys.

But is it? Is it really?

Though nothing fully decisive can be gleaned from just two episodes,

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