Ghetto Justice II

When his girlfriend dies, Dr. Albert Wong Fo Fun joins "Life Force", an international medical humanitarian organization, to carry out her unfulfilled wish of helping the less fortunate. He also sets up a medical centre in Hong Kong to help the poor. While working in Kenya and in Hong Kong, he meets a wealthy young doctor, an honest nurse, and a stubborn young volunteer. Together, they help each other redefine what it means to live a meaningful life.

Set against the complex tapestry of Hong Kong residents, a multifaceted group of women sets off a chain of life-altering events that leaves everyone navigating the intricate balance between blame and accountability.

Since relocation to Chek Lap Kok in 1998, passenger traffic at Hong Kong International Airport has increased threefold in twenty-five years. And Yeung Sheung-wai, who started out as a clerk, has been promoted to IAC Duty Manager. He is tasked with overseeing the operations of the airport. Sheung-wai also has a contingent of amicable partners, including his assistant-cum-admirer Fong Ho-yee, Lui Chi-shan – who handles airport passenger services – Chan Kit – who takes care of aviation security – and Lee Sing-cheung, who is responsible for apron services. They collaborate to assist in dealing with all kinds of incidents that take place at the airport. Sheung-wai keeps in touch with his ex-wife Cheung Yeuk-ling, Metro Harbour Airlines Airport Supervisor. Actually, they still think of each other after their divorce. The duo’s relationship is rekindled when airline captain Kwok Kai-kwong and flight attendant Ko Nga-man turn up.

Yellowthread Street is a 1990 ITV police procedural developed by Ranald Graham. Adapted from the novels by William Leonard Marshall, the thirteen episode series revolves around the Triad-busting cases of a group of Royal Hong Kong Police Force detectives, based in the colony’s Yellowthread precinct. Despite being a critical and ratings hit, Yellowthread Street never caught on, perhaps the result of the exotic setting and expensive production (it was shot on 35mm). It also seemed caught between two eras: conceived in the 1980s and produced at the turn of that decade, its philosophy and look seemed a little dated compared to other modern shows of the genre (i.e. The Bill).

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