Florida is once again having a main character moment. Three major series recently utilized the region’s distinct environs: ABC’s “R.J. Decker,” Peacock’s “M.I.A.” and Apple TV’s Season 1 of “Bad Monkey.” HBO’s comedy series “It’s Florida, Man” is currently prepping for a third season. All these projects were produced without state-sponsored incentives, along with Spanish-language content from Miami’s Telemundo Studios, commercials and independent films such as “Baton,” from writer-director-star Danny Ramirez, repped by Manifest Pictures at Cannes. To bridge the gap, several counties have created robust regional rebates to entice producers back to the Sunshine State.
Creatives are charmed by Florida’s vibrant, diverse cultures, cinematic locations and only-in-Florida scenarios. Source material from Carl Hiaasen, the bestselling Florida-based novelist, influenced location-based production for both “R.J. Decker” (based on his book “Double Whammy”) and “Bad Monkey.” “I think on the visual side that it’s impossible to shoot anywhere but Florida, if the story is set in Florida, at least the exteriors,” says Hiaasen.
Sandy Lighterman, Film Florida’s president and Broward County’s film commissioner (Film Lauderdale), agrees. “Florida is not that easy to replicate,” she says, pointing to the locale’s ability to become a character integral to the narrative.
“To be able to go to the place where you don’t have to hide anything is a big asset,” says Rob Doherty, “R.J. Decker’s” executive producer, series creator and showrunner. While principal photography lensed in Wilmington, N.C., the series shot on location in and around Fort Lauderdale, capturing iconic exteriors. “The mileage we get out of them is huge,” he explains. “It felt like an absolute must when you’re in Carl’s world. At times it dictated or influenced what we would try to accomplish story-wise,” adds Doherty, citing the “terrific” local crews and “seamless” location days.
Rob Ortiz, MRC Entertainment’s executive VP, head of TV physical production, explains the first location scout for “M.I.A.” led to the decision to film the entire season in South Florida, utilizing highly skilled, local crew. The experience was positive creatively and budget-wise. “Filming the series entirely in Miami allowed the filmmakers to help capture the vibe that you can’t really do anywhere else,” he notes. “M.I.A” was written for Miami and shot in the scenic neighborhoods of Little Havana, Little Haiti, South Beach, Wynwood, Coconut Grove, Coral Gables and Brickell.
The advantages of shooting in Florida were authenticity and the ability to ground the story through place, offers “Baton” director and star Ramirez. “ ‘Baton’ is a deeply personal film, and I needed every location to carry emotional truth — not just visual appeal,” he says.
“Yes, we are film-friendly and yes, we are cost-effective,” adds Lighterman. Broward County offers a menu of incentives for qualifying productions based on budget and type of production. For example, a partial high-impact film/TV project can qualify for a 20% rebate (capped at $500,000) by filming for a minimum of five days in Broward County, spending $1.5 million locally and hiring a 20% local-resident crew.
Florida does offer a sales tax exemption (up to 7.5%) on certain production-related rentals and purchases.
Other local efforts include Orange County’s five-year, $25 million production rebate program for eligible features, TV series, streaming and commercial productions. The central Florida county’s requirements include direct spends ($400,000 for TV and film) in the county — the Orlando Film Commission, under new topper Brooke Hill, is set up to facilitate the production process.
The Miami Film Festival, long a champion of local work via its Made in MIA section (inspired by “Moonlight’s” success), incentivizes local filmmakers via two film funds, one for documentaries and another that provides post-production grants.
The 2026 “Made in MIA” section unspooled 12 feature films, including writer-director Jing Ai Ng’s “Forge,” set for a May release from Utopia’s Circle Collection. “While there isn’t state funding, Florida has done a really good job in the film community of finding ways to create incentives,” notes Lauren Cohen, the Miami Film Festival’s director of programming.
On the horizon is a deal to build new soundstages in central Fort Lauderdale.
Florida appears to have an endless supply of characters and storylines. “It’s an incredibly diverse place: everything from the geography to the politics,” finds Hiaasen, adding, “It’s such a bright collision of cultures and the stresses that go with that.”
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