She seems so sweet, doesn’t she? So open-hearted, so fresh-faced, so butter- wouldn’t-melt?

Anyone who has seen US comedy soap Ugly Betty on TV2 will know what I’m talking about. You look at actress America Ferrera, who plays Betty, and you think: that girl’s not acting! She is that person. As soon as the camera zooms in on those earnest little eyes, you know that this woman has a kind heart. She couldn’t possibly be one of those horrible tantrum-throwing Hollywood bitches, could she?

Let’s hope not, because her good manners and professionalism are about to be sorely tested. America Ferrera – ascending TV star, Latina role model, Golden Globe winner – is about to find herself at the centre of a swirling vortex of stench.

Let me explain. I’m in Hollywood, California, backstage on the eye- popping orange and white set where Ugly Betty is made. And I am not alone. Also interviewing Ferrera today are three guys from Auckland radio network More FM. Now, how can I put this? These guys stink. I mean, really pong, to the extent that it almost defoliates your nostril hair.

It transpires they spent last night in a Beverly Hills restaurant named The Stinking Rose, eating garlic bread, garlic mash, garlic shrimps, garlic steak and, alarmingly, garlic ice cream. They amble onto the Ugly Betty set cloaked in a cloud of garlic stench so thick, you can almost see it.

Fortunately, Californians are known for their almost pathological levels of politeness. Between shots, various actors and production staff wander backstage and are introduced to the More FM contingent. You see a faint twitch of their facial muscles as the vicious aroma registers, but there’s no "Jesus! What’s that terrible smell?" They just chat away through slightly clenched teeth, then move on.

Eventually a publicist brings a wee poppet over to meet me. She looks about 12 years old, with long dark hair, perfect skin and bright little eyes. The tiny girl extends a tiny hand. She smiles and says "Hi, I’m America". After stifling a childish urge to reply "Hi, I’m New Zealand", I take a closer look at her. Is someone playing a prank? Of course, she wears thick lumpy clothes, platform shoes, a wig, bushy eyebrows, fake dental braces and so on in Ugly Betty, but underneath it all, you imagine Ferrera is far bigger than this. And she was certainly much chubbier in her 2002 movie Real Women Have Curves.

It’s as if someone has failed to read the Delicate: Cold Wash Only label on America Ferrera and jammed her into a hot wash instead, shrinking her to a fraction of her former size.

But this is her, all right, and she’s every bit as sweet and earnest as I’d imagined. And she’s straight in there, promoting the show, analysing its success, magnifying its social value, speaking in sentences that are longer than she is.

"From the time (executive producer) Salma Hayek came and pitched this character to me, I had a feeling in the pit of my stomach that this was going to be a story that really resounded with people and might even help change what faces and bodies on television looked like," she says quietly.

"It felt like American audiences were ready for something new, rather than just a whole lot more pretty stick figures telling the same old stories."

Ferrera resembles one of those solemn, intense kids current affairs TV shows sometimes drag out of the fourth form to get a "youth perspective" on drunk driving or global warming. She speaks with a slight frown on her face, and seldom smiles.

"My character of Betty Suarez will be familiar to anybody who’s ever felt out of place. The show’s not about being ugly; it’s about being different, and standing up for who you really are in a world that encourages you to lose your core values and just fit in. It’s hard to be yourself when there’s intense pressure to conform. I think we all struggle with that on a day-to-day basis. I know I did when I was growing up."

The daughter of Honduran immigrants, Ferrera grew up in the Woodland Hills area of Los Angeles, the same neighbourhood that spawned actors Kim Basinger, Alec Baldwin, and Lisa Kudrow from Friends. It’s a predominantly white middle-class enclave, which Ferrera reckons has helped her with the role of Betty because she "already knew how it felt to be an outsider".

The youngest of six siblings, Ferrera’s childhood was not especially happy. Friction between her parents encouraged her to retreat into her imagination; she once told a reporter she’d "spend hours in my room, blocking out my parents’ screams by acting out plays in my head". Her parents divorced when she was seven and her mother then raised the kids alone while working as a manager of housekeeping staff at a hotel.

Ferrera’s mother did not consider acting a valid career choice for her daughter, and refused to drive her to auditions, but Ferrera was determined. She took the bus. In 2002 she landed her first major role as an ambitious writer in Real Women Have Curves, and has since played a range of film and TV roles, most notably a skateboarding groupie in Lords of Dogtown and a shy but volatile young woman in The Sisterhood of the Travelling Pants (both 2005).

But the project that has made her rich, famous and dog-tired is Ugly Betty, the American remake of a typical "poor girl in a rich world" Colombian telenovela about a frumpy Latino who lands a job at a high-end fashion mag. It’s a huge hit stateside – each episode pulls in more than 16 million viewers – but I have to admit, I didn’t warm to Ugly Betty at first: the characters all seemed like camp caricatures, the plot lines were ridiculous and much of the comedy fell flat as a tortilla.

"You’ve got to give the show time, I think," she says. "Initially some of the other characters aren’t very likeable, but as the show goes on you see reasons for why they are the way they are. And if you work in this industry, some of our plot lines aren’t as far- fetched as they seem. A lot of people in the film and television industry treat their assistants even worse than in this show! People can be horrible in Hollywood, really."

Hollywood has been kind to Ferrera, however. She won this year’s Golden Globe for best actress in a comedy or musical (Ugly Betty also won best comedy) and earlier was named as one of Time magazine’s 100 most influential people in the world, citing her as a positive role model for young women.

"I was thrilled by that, actually. I get a lot of letters from young girls who really appreciate having a TV role model who makes them feel that they have something to offer. So many of the female images we’re fed don’t match what anybody looks like in real life, and Hollywood has a lot to answer for there.

"It’s ironic, because if you hang around with many actors you discover that most of them don’t look that great either. It takes hours of make-up to make these people look the way they do. So it makes me feel good when young girls write in that Betty makes them feel beautiful, or their mothers write to say that Betty has really helped their daughters feel good."

Her brow crinkles into an even deeper frown. "It’s tough being a young girl. I remember that myself. I felt very out of place growing up. I knew that succeeding in this industry would be very difficult, because there’s a huge pressure in Hollywood to conform to that stereotypical notion of what beauty is. It’s hard to get people to see your talent if you don’t fit the tall, lean, traditionally beautiful mould."

In her teens Ferrera feared she wasn’t attractive enough to ever become a star. She’d sit in front of her mirror and cry because she thought she was too short and too fat. She is short for an actress, around 155cm, but over the past year it seems her weight has been steadily declining in inverse proportion to her fame.

Many of America’s trashier gossip mags have slammed her for this, implying that all her previous talk about promoting realistic body images for women was disingenuous because as soon as she could afford a personal trainer she started dumping the kilos just like every other young starlet.

"People love to obsess about their weight, or other people’s," she sighs. "But there are more important things in life. I hope that Ugly Betty reinforces for girls that they have a lot to offer the world other than how they look. They can be talented and smart, and a good person, no matter what the world thinks about how they look. It’s what’s on the inside that matters most."

Yes, I know, that last line is the kind of glib platitude you might find in a Hallmark card, but Ferrera strikes me as entirely sincere.

"I am. Absolutely. I can’t do anything if I don’t believe in it, and I really believe in this show. You know what I do outside work these days? Nothing. This show has swallowed my life. I work all the time, either on set or doing interviews like this, or dodging photographers outside my house."

She shares this house with Texan boyfriend Ryan Piers Williams, an aspiring director who currently works for Steven Soderbergh. The happy couple dote on a frisky fur-ball named Buddy.

"He’s a golden retriever, and he’s like our baby. I take him for walks when I can. I listen to music, too, but I wouldn’t know who the up-and-coming underground people are; I just listen to whatever’s on the radio. And I dream about making more movies. My ultimate fun movie would be directed by Steven Spielberg, starring me and Tom Hanks. God, I sound so nerdy, don’t I?"

Not really, no. She sounds young, sweet, ambitious, hard-working. At 23, Ferrera comes across as a seasoned professional, so it’s no surprise when she politely reminds me that I need to wrap things up so she can talk to the "New Zealand radio guys" who are just outside, filling the Mode Magazine reception area with toxic vapours.

How will Ferrera cope with the eye- stinging clouds of garlic pong? I have no idea. As soon as our interview is over I’m escorted to the exit and emerge, blinking like a bat, into the brutal Californian sunshine. A few minutes later I’m hurtling through Burbank in a cab, chuckling to myself as I imagine Ferrera back at the studio doing what needs to be done: answering thoughtfully and smiling sweetly, even as she holds her breath.

America Ferrara was so sad about filming the finale of the first season of Ugly Betty, she burst into tears.

Ferrera’s on-screen boss Eric Mabius – who plays Daniel Meade, the womanising editor-in-chief of fashion magazine Mode – admits the cast are so close, the show’s leading lady couldn’t bear the thought of their season break.

He says, "She is emotional but not in a neurotic way. She was genuinely moved to tears any time she thought of the first season ending, which was wonderful."

LOS ANGELES — America Ferrera hesitates at the door of the studio commissary, peering inside. The cafe is invitingly cool, but dark. She retreats instead to a patio table in the bright afternoon sunshine.

Of course. Why should a young actress basking in the glow of freshman TV hit "Ugly Betty” settle for the shadows? This is her moment, and Ferrera, who turned 23 last month, is making the most of it.

"What’s happened with the show is everything that we hoped for,” she said. "It’s insane. I can’t explain it. I don’t know what kind of special stars or elements have to align for something to get everything it deserves.”

The same could be said for the talented Ferrera. Since her eye-catching film debut in "Real Women Have Curves” in 2002, she’s moved swiftly to award-winning TV star, novice movie producer and, as fans tells her, a role model for girls and Hispanics.

Add in her spot on Time magazine’s list of the world’s 100 most influential people (she was one of fewer than two-dozen artists and entertainers to make the cut), and her rise is more impressive.

It’s also reassuring in this era of instant and empty fame, as is Ferrera’s reaction to it.

In a recent interview, she thoughtfully discussed where she is, how she got there and where she wants to go from here. Her destination: far — and reached by following her own path. Not so different, it turns out, than fictional Betty Suarez.

"I am incredibly, incredibly fortunate about the opportunities I’ve had. But at the same time, I’ve had plenty of opportunities to screw it up, too,” she said. "Sometimes the most powerful thing you can say is ‘No’ … and not feel the need to do everything. It’s about doing what rings true to me.”

"Real Women Have Curves,” in which she played a Mexican-American teenager balancing family tradition with her dreams of education, helped set the standard.

"Early in my career, I was really spoiled with a beautiful project. I got such a good start that I thought, ‘Why would I ever take a step back?’ Why would I take on something that wasn’t meaningful — to me, if nobody else — and powerful and groundbreaking?”

She found such a project in ABC’s "Ugly Betty.” Based on a Colombian telenovela that has been successfully adapted worldwide, the comedy-drama centers on a dowdy young Latina with a blazing spirit who intends to make her mark on the world.

Whatever her personal future holds, her professional one seems boundless after winning Golden Globe and Screen Actors Guild awards for "Ugly Betty.”

Ferrera is keeping her hand in movies as well as TV, returning in the sequel to "Sisterhood of the Traveling Pants,” due out next year, and starring in "Hacia la Oscuridad” ("Towards Darkness”), a film about Colombian kidnappings that showed at the Tribeca Film Festival.

Ferrera also was an executive producer for the drama, directed and written by Antonio Negret. It’s based on a short film Negret made with Ferrera while at the University of Southern California, where Ferrera studied international relations (she’s one semester shy of the bachelor’s degree she intends to get.)

The manic delights of "Ugly Betty" ended in a high-speed cliffhanger Thursday night with Daniel and Alexis careening in a car with no brakes, Claire Meade busting out of jail, Amanda discovering that she might be Fey Sommers’ daughter, and Betty chasing down Henry just as Charlie spirited him away to Tucson by telling him she was pregnant. As usual, the twists and turns in the road were less important than the sum total of the ride, a bouncy, rollicking trip in a colorful, cartoon double-decker bus.

In its first season on the air, ABC’s "Ugly Betty," the American version of a telenovela that’s popular in seemingly every single country on the planet, never disappointed. Whether or not you particularly cared whether Daniel (Eric Mabius) and Sophia (played by executive producer Salma Hayek) would end up together or what would happen to Ignacio (Tony Plana) in his quest for citizenship or who Fey Sommers really was, each episode was packed with sly jokes, rapid-fire references, absurd digressions, vibrant, larger-than-life sets and a parade of funny, ridiculous characters. In a fall lineup full of self-serious suspense serials, "Ugly Betty" was like an extravagantly dressed, wisecracking eccentric aunt in a roomful of drab killjoys in sensible shoes.

And unlike the other dreary shows that expected you to invest half a season just to uncover a few big revelations, you could start off any episode of "Ugly Betty" completely uninvested, only to get caught up in the farcical fun by the end of the hour. Whether it was the indefatigable sweetness of Betty (America Ferrera), the catty joys of Marc (Michael Urie) and Amanda (Becki Newton) or the campy schemes of tireless villainess Wilhelmina (Vanessa Williams), there was always something to suck you into the show’s sugary charms.

On Thursday night, the most entertaining diversion in a season finale packed with entertaining diversions may have been Wilhelmina and Marc, who discovered that Flavia, one of the magazine’s top advertisers (a parody of Donatella Versace played with disturbed genius by Gina Gershon), has booked St. Patrick’s Cathedral for her wedding, on the very same day Wilhelmina had planned to marry Bradford Meade (Alan Dale) there.

Wilhelmina: Flavia? That little Euro wench is getting married?!!

Marc: And she got Elton John to sing for the wedding. He’s rewritten "Candle in the Wind" for her.

Wilhelmina: What? He was rewriting "Candle in the Wind" for me!

Marc: Give that queen 20 bucks and she’ll rewrite it for anybody.

Soon Wilhelmina has sold Marc into assistant slavery to Flavia in exchange for her reservation of St. Patrick’s. Marc becomes a part of Flavia’s posse, clad in black from head to toe, and he’s forced to smoke, eat pasta and clean up after her little dog. Flavia has big ideas for her upcoming spread in the magazine: "And for this layout, Flavia have vision. All of the models should look like they’re suffering from sickness of radiation, like Chernobyl. But this time, it is my makeup that makes them glow!" Ah, the absurdity of the fashion industry, laid bare in a few lines.

In another excellent twist, Christina (Ashley Jensen) stumbles on the secret room at the Mode magazine offices, where Amanda is getting drunk by herself.

Christina: Oooh my God! It’s Faye’s love dungeon! It’s real!

Amanda: (Angry) And now my special place is ruined!

Christina: Oh please, your special place was ruined years ago.

Christina and Amanda get trapped in the secret room, but open a safe that reveals Amanda just might be Fey’s best-kept secret. Meanwhile, Betty finally confesses her true feelings to Henry (Christopher Gorham), only to discover that his recently dumped girlfriend, Charlie, is pregnant. But then Betty discovers that Charlie may be having a secret affair with Betty’s orthodontist! She has to stop Henry from leaving with Charlie! But is it too late?

Even with the fantastical, weightless frivolity of it all, even with references galore (the finale alone included nods to prison drama "Oz," ’70s TV comedy "That Girl," children’s book "Dora the Explorer" and Broadway hit musical "Sweeney Todd"), the show still features scenes that pack an emotional punch. When Daniel unravels in a pill-addled haze and confesses to his long-lost brother, reimagineered as a woman named Alexis (Rebecca Romijn), that he has missed him all these years, the scene is genuinely sweet and sad.

But nothing quite tops the last hair-raising sequence, in which Henry and Charlie board a plane to Tucson, Alexis and Daniel crash, and Hilda’s (Ana Ortiz) fiancé (and Justin’s [Mark Indelicato] dad) is shot by a thief holding up his corner store. As Justin sings the last heartbreaking song in his school musical, "West Side Story," Hilda discovers that Santos has been shot.

It’s sad — almost too sad — until you remind yourself that you’re still on that crazy double-decker bus, and it’ll get to some brand-new, gloriously silly location in due time. But that’s the sneaky little trick of "Ugly Betty." Like the title itself, you’re not really supposed to take it completely seriously, or get emotionally wrapped up in its characters — but you just might anyway.

BEVERLY HILLS – If America Ferrera wasn’t already America’s sweetheart, the Golden Globes sealed the deal.
The 22-year-old star of “Ugly Betty” won the Golden Globe for best actress in a comedy Monday, and her show was named best comedy. It was part of a sweep for ABC’s new Thursday night lineup, with “Grey’s Anatomy” winning best drama.
 
Ferrera portrays Betty Suarez, a clumsy, chunky girl in braces trying to make it at a stuffy fashion magazine. Fighting back tears as she accepted her award, Ferrera said she hears every day from girls whose self-esteem is boosted by seeing her on the show.
“I don’t really see Betty as ugly,” she said later backstage. “I see her as closer to the real girls I see in life. The title is about how we tend to call ourselves ugly if we don’t reach the expectations that are set. There are millions and millions of ugly Bettys in our own lives, and we need to stop using that word, especially to ourselves.”

The series is a remake of a popular telenovela, and initially ABC had little faith in the show. It was scheduled for the TV graveyard of Friday nights before the network, sensing a buzz, moved it to Thursday, where it has flourished.

Actress Selma Hayek, one of the show’s executive producers, said backstage that its makers played down the farcical elements of the telenovela to make the American show more inspiring.

Television awards tend to be overshadowed by the movie winners at the Golden Globes, but the Globes have a reputation for noticing newcomers’ work before their bigger-named rival, the Emmys, and often the public itself.

That was again the case this year. NBC’s comedy “30 Rock” doesn’t have a big audience, but Alec Baldwin’s role as a megalomaniac TV network executive has enthralled critics. The Globes honored him as best actor in a comedy.

“I’m glad this isn’t too heavy because I just had hernia surgery,” Baldwin said after grabbing his trophy.

Kyra Sedgwick of TNT’s “The Closer” was named best actress in a drama, despite being up against two of ABC’s most-featured players in top-10 shows – Ellen Pompeo of “Grey’s Anatomy” and Evangeline Lilly of “Lost.”

Sedgwick plays a detective specializing in coaxing confessions in “The Closer.” Her win was a coup for TNT, competing against broadcast networks and HBO, and seemed to leave Sedgwick genuinely moved as she rose from her seat beside her husband, Kevin Bacon.

“This show has been an amazing gift, an unexpected gift – the best kind,” she said.

Otherwise, it was a good night for British actors. Bill Nighy was a best-actor winner for a TV movie or miniseries for his role in a little-known BBC America film, “Gideon’s Daughter.” The title character role earned a supporting-actress award for Emily Blunt.

Best-drama actor winner Hugh Laurie of Fox’s “House” is well-known, but he had to navigate a formidable category with Dr. McDreamy – Patrick Dempsey of “Grey’s Anatomy” – and Kiefer Sutherland of “24.”

Laurie said he had no acceptance speech prepared, even though he won the same award last year for playing a brilliant but flawed doctor. He managed to wing it, with his thanks extending to the show’s “wonderful crew.” He quickly realized his awards-show cliche.

“Somebody somewhere is working with a crew of drunken thieves,” he said. “But it’s not me. They smell of newly mown grass.”

Helen Mirren won the Golden Globe for best actress in a miniseries or movie for her starring role in HBO’s “Elizabeth I.” Among her competitors for the award? Helen Mirren, for her work in “Prime Suspect: The Final Act.”

Jeremy Irons won a supporting actor award for his work in “Elizabeth I.”

“Why is it that the jobs that are the most fun are the ones that give you awards?” Iron said. “It’s like you don’t deserve them.”