David E. Kelley is possibly one of the greatest television writer/producers of all time. Using his legal background and unparalleled imagination, he has blessed the viewing public with gems like “Picket Fences,” “Ally McBeal” and “The Practice.” His career has earned him nine Emmys, three Golden Globes and a lifetime-achievement award from the Producer’s Guild.

Yet, in spite of his incredible success, he has had his share of flops. The most recent and embarrassingly obvious of his errors in television judgment was this season’s short-lived drama “Girls Club,” which lasted two episodes before getting the cancellation axe from Fox.

After watching only one episode, it came as no surprise that the show was soon stricken from the schedule. It was a lackluster hybrid of Kelley’s “The Practice” and “Ally McBeal.” The concept sounded promising: three beautiful young lawyers trying to make it in a man’s world without losing their femininity or self-respect. It could have been entertaining.

The problem is, it wasn’t.

It lacked the dramatic twists, eccentric characters and bizarre comedy of Kelley’s previous work. “The Practice,” “Picket Fences” and “Boston Public” all thrive on stories rich in drama and intrigue. From “Fences”‘ severed-hand-in-the-pickle-jar episode to the stabbing nun of “The Practice,” Kelley has always stunned his viewers with the unbelievable and the unmentionable.

In “Ally McBeal,” his flair for comedy came to life and reinvented a new genre, the dramedy. This Fox hit proved to networks that audiences don’t need to keep their laughter and tears separate. Kelley has always understood and brilliantly illustrated that real life can be funny, sad and a little bizarre all at the same time.

“Girls Club” failed to capitalize on its creator’s talent. The main characters, Lynn, Jeannie and Sara, were stereotypical and annoying. Their lives weren’t much different.

It’s unfair to expect an audience to sympathize with three disgustingly gorgeous, successful and brilliant young women who constantly complain about the boss-man being too mean. Grow up. Trying to scale back the quirkiness of “Ally McBeal” and the melodrama of “The Practice,” Kelley struck a resounding chord of bland and boring in his latest attempt.

Perhaps if “Girls Club” hadn’t been a Kelley creation, it would have lasted a little longer. Maybe the high expectations killed it. The series was expected to be innovative and imaginative because of the name attached to it. Compared to earlier Kelly creations, it was obviously sub-par.

It is possible that the excellent reputation Kelley has created for himself and his work led to the demise of his most recent series. Nonetheless, it’s more likely that it was his reputation that got the show picked up in the first place.

Kelley certainly isn’t the first hotshot producer to lend his name to a flop. There are hundreds of examples of misguided creative energy spewed from typically trustworthy sources.

Steven Bochco is one of the more memorable examples. Producer of “Hill Street Blues” and “NYPD Blue,” this master of the cop drama is the Midas of TV land. It seems everything he touches turns to gold. Well, almost everything.

In 1990, Bochco was the driving force behind one of the most shameful moments in television history — “Cop Rock.” This cop-drama-meets-musical-theater series was doomed from the start. Detectives breaking into song. Choreographed dance numbers in the police precinct. Viewers everywhere covered their ears and yelled, “Please make it go away.”

The series was short-lived, thank God, but left a permanent stain on Bochco’s otherwise-impressive career.

John Wells, the genius behind “ER,” “The West Wing” and “Third Watch,” is also responsible for the medical, melodrama dribble most commonly known as “Presidio Med” on this season’s CBS line up.

Even Aaron Spelling, one of Hollywood’s most profitable producers, has hit career roadblocks. Everyone remembers “Charlie’s Angels,” “Melrose Place” and “Beverly Hills 90210.” They are all products of the Spelling magic.

But what about “Models, Inc.”? Ring any bells? If not, don’t feel bad. Mr. Spelling himself has blocked that television debacle from memory.

It seems no one is perfect — not even in Hollywood. Perhaps this glaring failure will be a jumpstart for Kelley’s recently lethargic career. “The Practice” is nearing its end, “Boston Public” is barely hanging on, and “Ally” has gone to TV heaven.

It’s simply time for Kelley to pour his surplus of creative energy into another brilliant new idea. The TV audience is eagerly waiting.