The founding partners of the esteemed law firm Del Shaw Moonves Tanaka Finkelstein Lezcano Bobb & Dang, established in 1989, have made a significant impact in the legal field, particularly in entertainment law. These trailblazing attorneys, including Nina Shaw, Ernie Del, and Jean Tanaka, aimed to create a boutique firm that would excel in talent representation while embodying a vision that prioritized diversity and inclusivity.

Nina Shaw, a pivotal founding partner, reflects the universal desire among new attorneys to carve out their own paths. “There’s always a drive to establish a firm where you can be the captain of your ship and shape your own future,” she explains. The founders envisioned their firm as part of a select group of boutique agencies that were already recognized as leaders in talent representation and entertainment law even back then.

From the beginning, the firm was dedicated to addressing the significant underrepresentation of women and people of color within the legal and entertainment industries. Shaw often found herself as the lone woman or person of color in various rooms, particularly as a Black woman. This realization led to a commitment to inclusivity that became ingrained in the firm’s ethos, ensuring that both its staff and clients reflect a diverse range of backgrounds.

Today, Del Shaw boasts an impressive 62.5% female staff and 57.5% individuals of color. The firm has a proud history of securing groundbreaking deals for a diverse clientele, which includes notable figures such as Cedric the Entertainer, Ayo Edebiri, Paul Reiser, Lena Waithe, and Oscar-winning actress Lupita Nyong’o. Their client roster also features industry leaders like Channing Dungey, the chair and CEO of Warner Bros. TV Group, and FX Networks chairman John Landgraf, showcasing the firm’s commitment to representing a wide array of talent.

When Gordon Bobb joined Del Shaw as an associate in 2000, he quickly recognized the stark contrast between the firm and his previous workplaces. Although he faced no overt hostility as a Black man, he noted that diversity was not prioritized. “What the firm learned at its inception in 1989—and what Hollywood has only recently begun to understand—is that incorporating a variety of perspectives allows for better service to clients,” Bobb states, emphasizing the advantages of a diverse approach in legal practice.

Nina Shaw’s passion for the arts was shaped by her upbringing in Harlem, where she immersed herself in various cultural experiences, from movies and theater to museums and ballet performances. “If it was free and happening in New York, my mother made sure we were there,” she recalls fondly. This rich cultural exposure laid the groundwork for her future career in law, where she would advocate for artists and creatives.

At the same time, Shaw harbored a long-held ambition to pursue a career in law, underscored by the “Future Lawyer” caption beneath her senior high school yearbook photo. After obtaining her JD from Columbia Law School in 1979, she moved to Los Angeles to work at the prestigious international firm O’Melveny & Myers. There, she represented clients like Norman Lear’s Tandem/T.A.T. Productions, known for its groundbreaking and diverse sitcoms, including “The Jeffersons.” In 1981, she transitioned to the boutique firm Dern, Mason, Swerdlow, and Floum, where she became a partner five years later. It was during this time that she secured her first major client, Robert Guillaume, the star of the beloved sitcom “Benson,” forging a strong professional bond with him and his wife.

The establishment of Del Shaw came about when a group of attorneys decided to break away from their previous firm to create a practice dedicated exclusively to transactional entertainment law. Initially named Del, Rubel, Shaw, Mason & Derin, the firm focused on serving the unique needs of clients in the entertainment industry.

Nina Shaw recalls the surprise some felt regarding Ernie Del’s decision to partner with her. “Many people questioned why Ernie would choose to work with me instead of a more conventional male partner from another boutique firm,” she explains. “It was astonishing to him that anyone would suggest such a thing—he recognized that our partnership was indeed the right choice.”

In those formative years, Shaw attracted several high-profile clients, including the legendary James Earl Jones. However, she also focused on nurturing emerging talent, signing promising individuals who were making significant creative and commercial strides, including writer/director/actress Kasi Lemmons and director F. Gary Gray, as well as former clients Jamie Foxx and Ice Cube.

“I often connected with individuals early in their careers, which was crucial for me to build my client base, as I lacked established connections,” Shaw admits. “Without agents or managers recommending me, I had to forge these relationships on my own, making my own path in the industry.”

One of Shaw’s notable successes was signing Laurence Fishburne just as he was achieving critical acclaim for his Oscar-nominated role as Ike Turner in the biopic “What’s Love Got to Do with It” (1993). This pivotal moment solidified Shaw’s reputation as a formidable advocate for talent at a critical juncture in their careers.

Fishburne shared his initial interest in Shaw, noting, “I was drawn to her first as a professional who came highly recommended by my manager [Helen Sugland]. However, being an African American woman, she inherently understood the unique challenges I faced in the industry.” This insight into the nuanced experiences of artists of color further solidified Shaw’s reputation as a trusted advisor.

Del Shaw continued to enhance its team by bringing in Jonathan Moonves, who transitioned from a successful litigation career specializing in the airline industry to join the firm in 1991. His move came after contemplating his career path and recognizing the opportunity to work alongside Ernie Del, who had long encouraged him to consider this transition.

One of Moonves’ earliest and most notable clients was Ray Romano, who signed with the firm shortly after achieving fame with his successful sitcom “Everybody Loves Raymond” in 1996. This partnership would prove vital for both Moonves and Romano as their careers flourished.

Ray Romano emphasizes the importance of transparency in his professional relationships, stating, “I expect honesty from everyone I deal with. If I ever felt that someone wasn’t living up to that expectation, I would walk away.” This principle underlines the integrity that defines Moonves’ approach to client representation.

Moonves’ integrity was put to the test when he negotiated Romano’s contract with CBS, a network run by his brother, Leslie Moonves. Despite concerns that this familial connection could jeopardize the negotiation, Romano found the experience to be beneficial. “People thought I might suffer by having him negotiate on my behalf with a family member, but it turned out to be quite the opposite,” Romano explains. In 2003, this led to a record-breaking deal of $1.8 million per episode for “Raymond.”

While the entertainment industry is often characterized as a “business of relationships,” the success of Del Shaw is not solely rooted in social interactions; it hinges on their ability to deliver exceptional results for their clients consistently. This commitment to excellence has solidified the firm’s reputation in the competitive landscape of entertainment law.

Ethan Cohan, who joined Del Shaw as an associate in 2014 after serving as VP of business affairs and production for chef Gordon Ramsay’s production company, recalls a pivotal moment early in his tenure. “A partner assigned me a task that seemed straightforward, but when I received feedback, it was filled with comments and revisions. That’s when I realized the high standards we uphold here,” Cohan reflects. This experience was a catalyst for his professional growth.

Now a partner leading Del Shaw’s unscripted and nonfiction entertainment practice group, Cohan manages a diverse roster of clients, including Vox Media Studios, Get Lifted by Mike Jackson and John Legend, and Soledad O’Brien Productions. This role allows him to navigate the complex landscape of nonfiction entertainment, ensuring that clients receive the best legal support.

Recently, Del Shaw has expanded its reach in the world of nonfiction, particularly in sports, representing organizations like the NFL, Major League Soccer, and the PGA Tour-affiliated Pro Shop. This growth aligns with the firm’s commitment to serve its diverse clientele, including both active and retired athletes, who may seek opportunities in hosting, commentary, or other media endeavors.

The nonfiction group at Del Shaw manages all legal aspects from development to delivery. This includes negotiating executive, talent, and distribution agreements, as well as ensuring compliance with legal standards, particularly in the realm of reality television.

“We strive to be an integral part of our clients’ operations, as if we’re sitting in the office next to you,” states Cohan, who is also an advocate for LGBTQ+ causes. “Our commitment to accessibility means we are available around the clock—call us, text us, or even knock on our windows if you need us; we’re here for you 24/7.”

While the firm is dedicated to achieving perfection in-house, its attorneys are equally careful to temper their competitive instincts during negotiations.

“We must advocate fiercely for our clients to secure the best possible deals,” explains partner Abel Lezcano, a first-generation Cuban American raised in Iowa. “However, we must balance this with the broader context of their careers, including their relationships with studios, producers, and directors, especially in the unscripted realm,” he adds, emphasizing the need for a holistic approach to client representation.

This measured approach proved essential when a lawsuit was filed against Quinta Brunson and ABC, claiming that her hit series “Abbott Elementary” was a “veritable knock-off” of a New York City schoolteacher’s script. Initially, Brunson felt overwhelmed by the situation.

“I was shocked and confused,” Brunson remembers. However, Shaw and partner Lily Tillers reassured her, saying, “Don’t worry, we know this isn’t true. Everything will be fine; we’ve got this.” Their confidence and expertise provided the support she needed during a challenging time.

Ultimately, their expertise proved successful: a judge dismissed the lawsuit in March. This outcome reinforced the firm’s strong track record in navigating complex legal challenges for its clients.

For showrunners Michelle and Robert King, creators of “The Good Wife,” one of the significant advantages of being a Del Shaw client is the ability to consult with Moonves as a technical advisor.

“We frequently produce legal-themed shows, and Jon is always available to answer our questions,” Michelle King shares. “If he doesn’t have the answer, he connects us with someone who does.” This collaborative spirit exemplifies the firm’s dedication to supporting its clients’ creative endeavors.

Lezcano agrees, stating, “The way we operate as a firm is truly collaborative; it’s all for one and one for all. We often step into different clients’ projects when we have a specific relationship or skill set that can benefit them.” This unified approach reinforces the firm’s commitment to client success.

Ultimately, the most significant asset for both clients and attorneys at a firm with a 35-year history is the extensive institutional knowledge that permeates its culture. Collectively, the attorneys have witnessed decades of industry changes, from the rise of home video in the early days of Shaw