Derek Tsang, the filmmaker behind Netflix’s ‘3 Body Problem’ and ‘Better Days,’ is set to direct and executive produce ‘Group 41,’ a forthcoming true-crime drama series that tells the largely forgotten story of the DEA’s pioneering Asian-American agents. The project, produced by Jonah Greenberg’s Salty Pictures, centers on a scrappy underdog team that became the first squad to pursue major heroin trafficking operations flowing into the United States during the 1980s.
‘Group 41’ comprises 10 episodes of 45 minutes each and opens in New York during 1986. The narrative follows an ensemble of Asian-American DEA agents who partner with an Irish prosecutor known as “The Dragon Lady” to form an unconventional unit. Their mission: to dismantle a heroin pipeline running from Southeast Asia into American cities, a campaign that unfolded largely in the shadows of more publicized law enforcement efforts of the era.
An Overlooked War on Drugs
The series examines a critical gap in how American law enforcement and media approached organized crime during the 1980s. While popular culture focused on Italian Mafia cases and cocaine trafficking through Miami—immortalized in shows like ‘Miami Vice’—the emerging threat of Asian heroin networks remained deprioritized. According to producer Greenberg, neither mainstream media attention nor DEA resources heavily emphasized these cases at the time. This oversight meant that the agents who dismantled significant trafficking operations received minimal recognition, despite their effectiveness in disrupting major narcotics flows.
The Real Adversaries Behind the Investigation
Over its decade-long arc, the underfunded Group 41 evolved into what the series portrays as an elite international task force. The agents pursued several high-level targets across continents: Johnny Kon, described as a Hong Kong triad boss whose criminal organization spanned five continents; Johnny “Onionhead” Eng, a Chinatown-based gangster; and Khun Sa, a warlord operating in the Golden Triangle region with a military-scale narco-army numbering 20,000 fighters. Greenberg has indicated that Khun Sa functions as a Colonel Kurtz-like figure looming over the entire narrative arc, positioning the storyline for potential multi-season development with what he describes as a “save the best for last” structure.
Why This Story Resonates Now
Producer Greenberg emphasizes that undercover work during the 1980s involved genuine personal risk. Unlike contemporary law enforcement, which benefits from advanced surveillance technology, agents working deep undercover in that era faced direct physical danger from armed criminals and informants. The decision to dramatize this period reflects a broader cultural interest in stories about purposeful action against systemic indifference. Greenberg has cited ‘Serpico’ as a foundational influence, highlighting narratives where protagonists operate by principle despite institutional resistance or public apathy.
The drama draws its foundation from a nonfiction book examining the history of Asian heroin trafficking and the DEA unit that confronted it. Greenberg co-authored the source material with Marc Iserlis and Aidan Swift, and the production team has secured cooperation from the real people involved in these events, lending historical authenticity to the dramatized account.
Development Timeline and Production Strategy
After seven years in development, the project is now in an active production-readiness phase. The team is currently seeking a writer-showrunner and exploring casting options before pitching to streaming platforms. A notable strategic element involves leveraging Taiwan’s production incentives and regional distribution opportunities. Each Other Films, co-founded by co-producer Tiffany Yu-chia Chen, serves as co-production partner, while former CAA TV executive Adam Berkowitz contributes as executive producer. This approach reflects an effort to coordinate production financing, regional incentives, and distribution arrangements across Asia before approaching U.S. platforms, a model gaining traction for international prestige television.
The project’s presentation at the Taiwan Creative Content Fest in November 2026 underscores this regional development strategy, positioning the series within broader East Asian entertainment production networks while maintaining creative leadership rooted in Hong Kong filmmaking talent.
