After several seasons of doom and gloom, crime scenes and cadavers, TV executives are ready to dish out a little less harsh reality and a little more escapist bliss. Network brass are once again looking for "blue skies" programming. And as any producer working on the numerous TV pilots and reality shows cropping up in Hawaii lately will tell you -- the sky doesn't get any bluer than in the Aloha State.

Encouraged by the success of feature film productions, such as Sony's February release "50 First Dates" and Universal's 2002 offering "Blue Crush," which have used the tropical paradise as a colorful backdrop, TV executives are banking that there are similar spoils to be found for the small screen. This year, four network TV pilots have joined the assortment of reality shows recently set on the islands in the Pacific Ocean.

"It is not a coincidence that all these shows are trying to shoot here now," says Bert Salke, executive producer of the surf drama "North Shore," which will debut next month on Fox. "This is a fantastic place and a wildly film-friendly community. The state exists on tourism; the people are really proud of their islands and want to broadcast them to the world. We have found the people and businesses welcoming on a level like nothing I've ever seen. The whole world is going to want to shoot here soon."

The word has spread like wildfire in recent years as Hawaii has quietly morphed into a major player in the location game. The islands attracted nearly $100 million worth of production in 2003, highlighted by such features as "Crush" and "First Dates," scripted TV programs like NBC's "ER," reality series including the WB Network's "High School Reunion" and commercials and print-advertising campaigns for companies ranging from Victoria's Secret to Maytag.

"Everybody loves to come to Hawaii and always puts us near the top of their location list because if you have to be somewhere away from home, Hawaii is a great place to be," Hawaii Film Office manager Donne Dawson says. "We have a solid and responsive infrastructure and film-friendly partners that truly understand the importance of this industry. From the airlines to the hotels to the shipping companies ... they all want to make things work for productions that come here -- that cooperative effort really makes a difference."

The success of recent productions has begun to eradicate the perception that a Hawaiian shoot is a recipe for disaster.

"Up until the point where we had done 'Blue Crush,' Hawaii had a reputation as being a place where productions got in trouble and inevitably went over budget and schedule," says "Crush" writer-director John Stockwell, who has plans to return to the islands to executive produce the upcoming WB drama "Rocky Point." "Universal Pictures was very reluctant to let us shoot there, but ('Crush' producer) Brian Grazer really fought for it, and it turned out to be great. There is a magical quality to the place itself and its people that you can't find anywhere else."

That magical quality is one of the many factors that have attracted productions to the Aloha State.

"We decided to shoot (several episodes) there because it offered the jungle setting necessary to look like Africa, and it was within the United States -- which, given the current world situation, was a safer place to take the crew and actors," "ER" co-executive producer Richard Thorpe says. "And, who wouldn't like shooting in Hawaii?"

For several TV pilots recently shot in the state, the choice of location was as integral a decision as any of its characters or story lines.

"If you are going to shoot in Hawaii, the island has to be one of the characters," says Damon Lindelof, executive producer, along with "Alias" creator J.J. Abrams, of ABC's "Lost." "I think that part of the current wave of shows shooting there is that every network is looking for a show that looks really different these days. The idea of a cop, lawyer or doctor show set in New York, Los Angeles or Boston and shooting in Vancouver has just been overdone. The success of a show like (NBC's) 'Las Vegas' has really shown that there can be a lot of appeal for a show set in a unique location -- and a location like Hawaii is a great untapped resource."

While none of the recent spate of Hawaii-themed series have hit the airwaves yet, preliminary signs suggest audiences will be receptive to the new "it" locale.

"We went through the first round of studio testing of our pilot, and when test audiences were asked what they liked about the show, there was a huge percentage that mentioned the Hawaii setting," says Jeff Easton, executive producer of NBC's "Hawai'i." "It really adds a dimension to the show."

While the industry's creative minds have clearly been intrigued by the possibilities of setting productions in Hawaii, questions still remain about the financial feasibility of doing so. Although last year's production numbers were solid, the state's tally actually represented a dip from the previous year's efforts, which had set the state's all-time high mark. Thanks in part to such high-profile productions as "Crush" and MGM's James Bond film "Die Another Day" (2002), Hawaii had the most successful year in its history, generating $147 million worth of production, according to the Hawaii Film Office.

Hawaii's top film brass chalk up the 2003 production dip mainly to increased competition from mainland locales that have stepped up their own efforts to combat runaway production.

"The competition for production dollars is really heating up," Dawson says. "We've seen a lot of jurisdictions trying to be more competitive and carve out a piece for themselves. As a result, I think everyone is getting a lot more aggressive."

But faced with increased competition, the state provides some attractive financial incentives to lure filmmakers.

Hawaii currently offers a tax-incentive program designed specifically to attract productions. The incentive program essentially breaks down into two categories -- the Refundable Production Tax Credit and the Investment Tax Credit under Act 221, with the RPTC more applicable to one-off productions and designed specifically to reward productions that use Hawaii locations to shoot material actually set in the state.

"As it stands now, that rebate is good for 4% of everything you spend in Hawaii -- from purchases to payroll and hotel room taxes," Dawson says.

Producers have up to a year after shooting to collect the rebate. However, in order to qualify for the full credit, productions have to shoot Hawaii as Hawaii. Productions that shoot in Hawaii but are set elsewhere can only receive 75% of the rebate.

This year, there was a strong attempt to pass new legislation that would have eliminated the restrictions placed on productions that shoot Hawaii for other locales and would have increased the rebate from 4% to as high as 15%.

"Unfortunately, the measure failed," Dawson says. "But now more than ever, I think our government leaders recognize that in order for us to grow in this industry, we are going to have to be a lot more competitive."

Dawson is working with the tax department to find relief in other ways. "They have given our office a certain amount of latitude regarding the question of qualifying for 100% of the credit," she says. "If Hawaii is being showcased in a certain way and the state is receiving onscreen credit as a location, there has been some flexibility allowed."

While production incentives and financial breaks are sure to sway some productions to the islands, Hawaii's main selling point remains its unique geographical features.

Whether it be Oahu -- home to the Hawaii Film Studio and the bulk of the state's production business -- or any of the five surrounding islands, Hawaii has an uncanny ability to double for many other locales, such as Venezuela, United Kingdom and even the planet Mars.

"Our tag line is that the Hawaiian Islands are as close as faraway gets, and that really says it all," Dawson says. "In Hawaii, you can go to a place that has the benefits of being part of the United States. You can drink the water, use the same currency; your family can fly out for the weekend; you don't have to worry about political unrest or safety issues that you would somewhere else -- and yet you still have the look of just about anywhere in the world."

In particular, reality TV producers have flocked to the islands, shooting series such as NBC's "Average Joe: Hawaii," CBS' "The Amazing Race" and ABC's "Celebrity Mole: Hawaii."

"When taping the second installment of 'Average Joe,' we were looking for a location that would take us a little bit out of the public eye," executive producer Stuart Krasnow says. "We also felt that an exotic location would make the second version of the show look different, and we wanted a romantic setting. I am not sure there is a place more romantic than Hawaii."

Dawson agrees, citing the way her state's scenic locations and tropical climate meet the needs of many reality TV productions.

"Over the past couple years, reality television has been very good for us, so I certainly can't complain about its popularity," she says. "Television has always been our Holy Grail because it gives sustainability and stability to our industry and helps build our work force. A show like 'Average Joe' makes Hawaii look gorgeous as well, which is an added bonus."

From the look of things, the coming year promises to keep Dawson smiling. In addition to the possibility of having four network TV series shooting in the state simultaneously, the groundwork is currently being laid for another major feature production to arrive in the coming year -- a big-screen version of the Hawaiian-set TV series "Magnum P.I.," produced by Universal and Academy Award winner Grazer.

"Shooting in Hawaii was a surreal experience," Krasnow says. "The pressures of any production are extremely taxing. But when you suddenly see a dolphin jump out of the purest blue water you have ever seen, or a sea turtle brushes your leg when you are standing on the shore talking to a castmember -- even the most stressful moments can turn magical."