I was watching White Collar. Neil says "I am on Tillary Street, by the park." (A location fairly near where I live in Brooklyn, one with which I am familiar.) I'm looking at the scenery, thinking "That is not Tillary Street." Then two street signs are visible over Neil's shoulder. He is in the financial district in Manhattan!
And there was no plot requirement that he name the street he was on at all. The plot would have worked just as well if he had said, "I'm just a couple of blocks away."
Now, this program films in Brooklyn all the time. The place they were actually shooting is just a quick ride across the Brooklyn Bridge from where they claimed to be. So why not either leave out the specific street name, or actually go shoot where the character claims to be? The very specific street name is only going to be meaningful to people who know the area: the very people who are going to be thrown by the mention of the name, since they can see that is not where the character is.
James Joyce set Ulysses in Dublin on June 16, 1904. At the time he was writing it, he was living in Paris. But he would write to his brother in Dublin with questions such as, "What ships entered Dublin harbor on June 16, 1904?" or "Would it be possible for a not particularly athletic man to climb down to the lower level window of 7 Eccles Street?" (The phrasing of the questions here is mine, but Joyce really asked both of these things.) So when a character sees a ship entering Dublin harbor, that ship really entered the harbor on the day of the events in question. When Leopold Bloom, who has forgotten his keys, breaks into his house through the lower-level window, Joyce made sure that was really possible at that particular address.
I think the producers of modern TV shows could learn a bit concerning caring about the product you put out from Joyce.
Take place in human diners, and show one omelette after another being cooked and devoured.
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