This article adds to the analysis of Hong Kong TV Wooden Car culture by investigating recent trends in television production.It demonstrates that the small screen has become a means of grappling with postcolonial Hong Kong identity, and that this is most noticeable in its reinvention of the genre of the financial crime thriller.This analysis must be considered against the background of Delivery-Fee two new developments in television: the growth of transnational collaborations intended to appeal to the Asian market and the advent of TV series that replicate the experimentation of American shows and dispense with the traditional episodic narrative.