CASTAIC, Calif. — It was mid-scene, and the writers of the “Party of Five” reboot were huddled between takes in the parking lot of a stucco and rock clad-motel outside Los Angeles. The low-lying hills surrounding the location, chosen to resemble a town in northern Mexico, glowed in the amber afternoon sunlight. The writers were stuck on a word.

In Mexico, was it pronounced why-figh or wee-fee?

“In Spain,” one explained, “you say wee-fee.”

After some murmuring another called out, “But we’re not in Spain!”

The show’s writers draw from diverse and divergent backgrounds — with roots in Spanish-speaking countries stretching from Colombia to Mexico — and no one on set could settle on the correct pronunciation. With little time to spare, they made a decision: They would shoot the word both ways, guaranteeing themselves, if nothing else, at least one authentic option.

It’s the kind of nuance the original “Party of Five,” about a white family of five brothers and sisters forced to raise themselves after the death of their parents, might have innocently skated over when it debuted in 1994. Back then, American TV shone with a veneer of peak optimism. The era’s most popular shows centered on mysteriously affluent — and mostly white — urban dwellers drinking bottomless cups of coffee. And like most mainstream art of the time, it was essentially devoid of politics.