The Crucian

A ten-part hour-long series that follows the aftermath of a mass-shooting where all parties involved - the killer, the victims, the victims’ families, the media and the defense teams, whose fates are all intertwined.

“And they lived happily ever after” is an ending we are all too familiar with. On Marriage focuses on portraying all those struggles that couples encounter when they give up themselves to fulfill their marriage. In this anthology series, each individual episode explores varying meanings of marriage from five unique perspectives.

Hsu-Chuan, who works at a game company, accidentally brings home a broken clay doll from a haunted house while developing a new horror VR game. Unexpectedly, his pregnant wife, Mu-Hua, a cultural relic restorer, develops an obsession with the doll and relentlessly tries to repair it. As strange things begin to happen in the house, Mu-Hua's condition deteriorates, and Hsu-Chuan, at his wits' end, seeks help from a spiritual medium, Ah-Sheng. Meanwhile, the horrifying secret hidden behind the clay doll begins to surface.

Yu-lan came to Taipei from southern Taiwan. She has got a successful career as a dancer. When her foster mother gets dementia, she has no choice but to retire and go back home. However, the trial and tribulation of her new life have reminded her of her childhood memories. During an argument with her mother’s foreign caretaker, the cause of her foster brother’s death and the secrets about her biological mother are gradually being revealed... As a woman of the advanced maternal age, Yu-lan has found herself unexpectedly pregnant with a baby. Following her heart, she has entered the circle of destiny. Departure means coming back, and her starting point is also her finish line. Is birth adjacent to or far away from death? Maybe at last, you’ll see that the shadow you met will be also the light to guide your life.

This anthology series set during the pandemic follows 10 unique love stories of passion and heartache.

What haunts us is not only death, but aging. Pei-Hua is drawn like a blurred sketch—gray, undefined, embodying the quiet experience of a woman growing older.Mothers often remain fixed in place, becoming a point of reference for their daughters’ journeys. Each of us carries a “carry-on”—unfinished burdens or lessons meant to be faced in this life. When we finally leave, do these carry-ons remain? In the film, a fire becomes a ritual of release, a way of saying goodbye. Life is rarely pure joy or sorrow, and The Carry-On is no exception.