Plot
Betty Suarez is a quirky, 22-year-old Mexican American woman from Queens, New York who is sorely lacking in fashion sense. She is known to be bold, good-hearted, and slightly naïve. She is abruptly thrust into a different world when she lands a job at Mode, a trendy, high fashion magazine based in Manhattan that is part of the publishing empire of the wealthy Bradford Meade. Bradford's son Daniel has been installed as Editor-in-Chief of Mode following the death of Fey Sommers (Bradford's longtime mistress). Bradford hires the inexperienced Betty as his womanizing son's newest personal assistant to curb his habit of sleeping with his assistants. As time goes by, Betty and Daniel become friends and help each other navigate their individual professional and personal lives.
Life at Mode is made difficult for both Betty and Daniel by their co-workers. Their most serious threat comes from Creative Director Wilhelmina Slater, a vindictive schemer who devises numerous plots to steal Daniel's job and seize control of the Meade empire. In addition, Wilhelmina's loyal assistant Marc St. James and Mode receptionist Amanda Tanen continually mock and humiliate Betty for her lackluster physical appearance, awkward nature, and initial lack of taste in fashion, though they both ultimately warm to Betty in later seasons. However, not everyone at Mode is against Betty; she gains loyal friends in Scottish seamstress Christina McKinney and nerdy accountant Henry Grubstick. She also receives strong support from her father Ignacio, older sister Hilda, and nephew Justin.
Read more about this topic: Ugly Betty
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“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. The king died and then the queen died is a story. The king died, and then the queen died of grief is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
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“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no ones actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)