HONG KONG — Two new Chinese historical dramas, showcasing dramatically contrasting styles, have successfully captivated regional audiences, demonstrating the enduring popularity of both grand imperial romance and innovative adaptation. The series, Phoenix Stage and Return to the Palace (also known as Huan Zhu), recently premiered on the Viu platform, quickly dominating viewership charts with their distinct narrative approaches.

Phoenix Stage, a sprawling court drama combining political intrigue with tragic love, immediately soared to the top of the ratings, leveraging its high production value and compelling “strong-couple” dynamic. Concurrently, the short-form series Return to the Palace achieved massive online traction by blending the beloved classic My Fair Princess (Huan Zhu Ge Ge) with a modern time-travel trope, offering a fresh, comedic take on familiar characters.

Imperial Intrigue Meets the Martial Arts World

Adapted from Xie Lounan’s novel My Empress, Phoenix Stage intricately weaves together themes of imperial politics, martial arts heroism, and an anguished relationship between a monarch and his queen. The storyline follows young Emperor Xiao Huan, portrayed by Ren Jialun, who, driven by a desire to understand his people, ventures into the Jianghu (martial arts world) under the alias “Bai Chifan.” During his travels, he encounters Ling Cangcang (Peng Xiaoran), the resourceful leader of Fenglai Pavilion, and they bond while fighting injustice.

The central conflict arises when Xiao Huan discovers that Ling Cangcang is, in fact, the Chief Minister’s daughter—and his intended empress. This dual identity serves as the drama’s primary hook. Ren Jialun’s portrayal of Emperor Xiao Huan has been lauded for its nuanced complexity; he initially appears frail and scholarly but hides profound strategic cunning. Reports highlighted the actor’s dedication, including shedding weight before filming and enduring extremely cold conditions, once filming a rain scene for seven hours straight despite a high fever.

Peng Xiaoran’s character, Ling Cangcang, undergoes a significant transformation from a free-spirited martial artist to a reluctant empress. Praised for her layered performance, her character’s fiery red wardrobe has been affectionately termed an “advanced 2.0” version of her memorable role as Xiaofeng in the popular drama Goodbye My Princess. The show’s stunt coordinator confirmed that Peng underwent intense, three-month martial arts training, reportedly practicing complex acrobatics for hours daily.

The relationship between the leads is marked by intense emotional turmoil, moving from effortless camaraderie to fierce political antagonism post-marriage. The tension of court power struggles and martial arts feuds elevates the narrative beyond simple romance, grounding the personal drama within a broader epic context. Within four days of its release, Phoenix Stage surpassed several concurrent hit series to claim the top viewing spot, cementing the appeal of its tormented power couple.

Modern Twist Revitalizes Classic Comedy

In sharp contrast, Return to the Palace adopts a playful, meta-narrative structure. The short-form series introduces Lin Suisui (Hu Lianxin), a modern-day celebrity who accidentally transmigrates into the fictional world of the classic novel My Fair Princess—a world that has inexplicably begun to deviate from its original storyline.

Trapped in the role of a palace maid, Lin Suisui must collaborate with the mysterious, cold-natured Prince Jing Yuan (Luo Yizhou) to restore the plot back to its canonical path before she can return to her own time. This premise allows for humorous cultural clashes, such as Lin Suisui teaching ancient characters to use the word “OK,” preparing modern birthday cakes, and introducing “Lin’s Bubble Tea.”

The series successfully navigates the nostalgia of the original intellectual property (IP) while infusing modern sensibilities, turning the constrained ancient setting into a source of fast-paced comedy. This lighter, often farcical tone resonated strongly with modern viewers seeking escapist entertainment. Leveraging its quick wit and accessible format, Return to the Palace rapidly accumulated over 600 million views and frequently topped short-drama ranking lists, proving that effective genre blending can breathe new life into well-known historical narratives.

Hong Kong music icon Yin Kwong, frequently dubbed the territory’s “Original Rapper,” has defied the conventional trajectory of entertainment careers, transforming from a displaced Vietnamese scion into a record-breaking concert veteran. At 81, the singer recently claimed the top spot on a major music chart, underscoring a continuous reinvention that began with a meager HK$7 performance fee and ultimately led to sold-out concerts at the illustrious Hong Kong Coliseum. His enduring relevance stems from a blend of humble self-reliance, a relentless work ethic, and an unwavering commitment to bridging generational divides in music.

Born in Vietnam to a wealthy, prominent family overseeing various businesses, including cinemas, Kwong enjoyed a privileged youth steeped in traditional opera training. However, the turbulence of the 1970s forced him to flee to Hong Kong, arriving with only a small amount of gold and the immediate necessity to earn a living. This abrupt shift from affluence to penury instilled the powerful life philosophy imparted by his disciplined father: “Seek fame and fortune relying only on yourself, ask nothing of others.”

Perseverance and The Path to Stardom

Kwong initially struggled, performing Cantonese opera for minimal pay in venues like the old Kai Tak Amusement Park. He recalled the punishing early years, often performing two songs for just seven dollars before rushing to nightclubs after midnight. The landscape shifted in the mid-1970s with the rise of Cantonese pop music, granting him broader opportunities. Within a year, he released his first recording, “The Fourteen-Seater,” followed by nearly a hundred subsequent albums.

His burgeoning career led to relentless scheduling, including up to nine nightly performances at various nightclubs and regular tours across the globe, quickly bringing financial success. Yet, newfound wealth proved a challenge due to a severe gambling addiction. Kwong recounted a pivotal turning point in 1979 in Australia, where he lost enough money in one night to purchase an apartment. The subsequent pressure forced him back to Hong Kong to perform more shows to cover the debt.

The singer credits a dramatic loss in 1982, shortly after his marriage, with finally breaking his addiction. Recognizing his responsibilities as a husband and soon-to-be father, Kwong made the life-altering decision to quit serious gambling, dedicating himself fully to his craft.

Enduring Legacy and Generational Crossover

Despite the challenges, Kwong maintains that good “singing fortune” has ensured his stage life never waned, even as older venues disappeared. He eventually performed his solo concerts at the Hong Kong Coliseum as early as 1991.

His career experienced a remarkable resurgence in 2023. Prompted by an online phenomenon featuring an AI-generated version of Yin Kwong, the veteran singer capitalized on the renewed attention from younger listeners. He released new material and returned to the Coliseum for a highly publicized concert at age 79. This modern success earned him a nomination as one of the top five finalists for the prestigious “My Favourite Male Singer” award.

Kwong actively rejects the notion of being an aging star resting on past laurels. He holds an honorary doctorate from a European university and consistently seeks to learn, particularly from contemporary hip-hop artists.

“I never consider myself old,” he stated, emphasizing the importance of maintaining an inquisitive mindset. “I will not retire as long as I have my voice.”

Kwong continues to serve as an active mentor, recently taking on a six-year-old student who performs his song, “Dear Myself,” illustrating his commitment to nurturing the next generation of Hong Kong musical talent. His journey—from losing everything to persistently building an enduring career—solidifies his place as a symbol of resilience and continuous adaptation in the competitive world of entertainment.

After a distinguished 37-year career primarily in acting, veteran performer Frankie Lam (譚耀文) is poised to make his long-awaited debut as a headlining concert artist. Lam’s first-ever solo concert, titled “In Full CHARACTER,” is scheduled for December 2nd at the Macpherson Stadium in Mong Kok, Hong Kong, with tickets already completely sold out.

Despite his extensive experience on stage and screen, Lam admitted to feeling a substantial blend of apprehension and excitement as the performance date approaches. To ensure a peak performance, the actor-singer has been rigorously rehearsing, memorizing lyrics, and practicing choreography daily. Lam also revealed the extreme measures he is taking to maintain his health amid recent widespread seasonal illnesses, particularly within his family and his daughter’s school.

“There are many people around falling ill right now,” Lam stated, explaining his rigorous approach to staying healthy. “I am trying to be extremely careful with my health.”

This precautionary stance has extended to intentionally distancing himself from family members. Lam disclosed that he has been careful about mutual meal times and has even been sleeping in a separate room from his wife for the past two nights to avoid potential infection and ensure his physical condition remains optimal for the highly anticipated show.

Mentoring New Talent and Surprise Guests

In a display of his commitment to nurturing emerging artists, Lam will share the stage with three promising talents he mentored during the reality singing competition, Sing Voice (聲秀). He praised contestants Phoebe Siu (蕭凱恩), Benson Po (布子殷), and Stephen Wu (胡港豐) for their potential, and the four were photographed together recently in a recording studio, intensely preparing for their joint performance.

Lam joked about the traditional aspect of mentorship, noting that while he has not yet formally taken on apprentices, he is looking forward to being treated to the ceremonial “master-apprentice banquet.” “I am waiting for them to treat me to a meal,” Lam quipped, adding that their busy schedules and the current lack of a stable income for the newcomers have postponed the celebratory dinner.

The forthcoming concert has been a deeply personal project for Lam, who provided input on everything from the costume design to the song selection. Expressing deep gratitude for the overwhelming support—including from close relatives and even his family physician—Lam likened the emotional impact of the sell-out success to “passing the imperial examination” (中科舉), a reference to the arduous, highly competitive historical civil service exam in Imperial China.

Fans can look forward to a significant surprise, as Lam confirmed the presence of a mystery female guest of considerable stature. The performer, described by Lam as a “heavenly queen” (天后級人馬), is a long-standing acquaintance who readily agreed to participate despite their infrequent interactions. “She is in a league of her own,” Lam assured, promising a memorable moment for the audience.

Future Plans and Regional Tour

The enthusiastic reception for the inaugural concert has already fueled discussions for a “Part 2.” However, before committing to a follow-up concert in Hong Kong, Lam is scheduled to embark on a regional tour. His initial foray into mainland China will begin with a performance in Guangzhou in late January 2026, with plans to finalize other Chinese cities afterward.

Lam’s transition to headlining musical act showcases the versatility of veteran artists in the entertainment industry. The dedication he has shown to preparation, health, and mentoring young artists sets a professional standard for performers crossing over into new ventures.