Three twisted fairy tales where love becomes a trap and faces are never what they seem.
Season 1 • Episode 20
LatestThere is a sandstorm in the desert. The Crown Prince gets lost and he fails to find his subordinates. KING HEI asks FUNG-SAM to rescue the Crown Prince but FUNG-SAM is captured by WANYAN MIN's younger brother WANYAU SIU. The Crown Prince carries the statue of LAT KA while walking in the hot desert. He is suddenly surrounded by some bubbles. On the other hand, CHEUNG CHUN tries to carry out the request of Guanyin by bringing the Carp across the desert to find the oasis. However, the trip is too harsh and he falls down exhaustedly. FUNG-SAM, DRY THUNDER and YAT PAN-HEUNG find the oasis but SONG LIT plays trick to cover up the oasis. DRY THUNDER knows that the only alternative is to find the oasis at Exotic Heavenly Cave. FUNG-SAM finds the Crown Prince eventually. CHEUNG CHUN and WANYAN SIU arrive as well. When everybody think that they are going to survive, SONG LIT suddenly arrive to attack them. FUNG-SAM and the others try to run away……
The drama is told in three separate folklore stories about love, lust, vanity, greed and selfishness. {Changing Pins} - Male and female fraternal twins fall in love with different men with the same appearance. The older male twin has an homosexual affair with a Prince of the Liao Kingdom, while the female twin falls in love with a poor scholar. {Judge Lu} - A poor scholar has an affair with a courtesan that resembles his wife. {Chasing Fish} - A scholar becomes the object of affection to a fish spirit and human girl with the face.
Production
Sumptuous period costumes that practically drip with repressed longing.
Writing
Interlocking folk tales that weaponize fairy-tale logic against their characters.
Acting
Wayne Lai's controlled devastation in the twin storyline.
Trivia, insights & behind the scenes
The three tales adapt classical Chinese 'strange stories' (志怪) traditions, particularly Pu Songling's *Liaozhai Zhiyi*, where supernatural encounters expose human hypocrisy.
The shared-face motif across all three stories critiques a historical Chinese beauty ideal where individual identity was subordinate to harmonious, interchangeable features.
HK
