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Psychological bridge and tunnel
When Mr. Horta adapted “Ugly Betty” from a Colombian telenovela, he very consciously placed the show’s protagonist, Betty Suarez, and her family in Jackson Heights to reinforce their humble immigrant roots and Betty’s grander aspirations of becoming a magazine writer.
“There’s that geographical and psychological bridge and tunnel linking her dreams to where she lives,” Mr. Horta said. “The contrast is so great.” But production costs, logistics and tradition dictated that the show would be made in Los Angeles.
Around the same time, the city and state of New York were initiating measures to encourage more film and television shoots. In September 2004, George E. Pataki, then the governor, signed into law a program offering a 10 percent tax credit to companies shooting 75 percent of their productions in the state; in January 2005, Mayor Michael R. Bloomberg approved a companion program that provided an additional 5 percent tax credit to productions in the city.
In April, after neighboring states like New Jersey, Pennsylvania and Connecticut created similar programs, offering tax credits as high as 25 or 30 percent, Gov. David A. Paterson signed a law increasing the New York State credit to 30 percent. New York City added free outdoor marketing, on the sides of buses, for example, and discounts with nearby vendors. More studio space was built in Brooklyn and Queens.