
The political rupture that made The Long Watch imaginable began with the Chinese Civil War's outcome in 1949, when the Chinese Communist Party established the People's Republic of China on the mainland and the Nationalist government (Republic of China) relocated to Taiwan, creating the cross‑strait division that frames all subsequent intelligence competition.
The People's Republic of China created parallel institutions to manage external and internal threats across the following decades; the Ministry of State Security (MSS) was formally established in 1983 to consolidate foreign intelligence, counterintelligence and political security functions that earlier bodies had fragmented.
China’s Ministry of State Security has for the first time in recent years produced a 40-episode television drama, The Long Watch, and state broadcaster CCTV began airing the series on Sunday, where it immediately topped its time‑slot ratings (per scmp.com).
The Long Watch dramatizes espionage across the Taiwan Strait from 1998 to 2018 and, according to Xinhua, the production team conducted repeated immersive field visits with national security agencies to ground the scripts in real cases (per scmp.com).
The series explicitly places several real‑life intelligence cases and references — including comments by Lee Teng-hui — at the center of its narrative, a departure from the relative absence of contemporary cross‑strait spy stories in mainland television over the past decade (per scmp.com).
State media framing emphasizes the programme’s close cooperation with security agencies and presents it as an authorized, realistic portrayal of counter‑espionage work; scmp.com reports that the Ministry of State Security oversaw production and that Xinhua highlighted extensive field research (per scmp.com).
For audiences inside China, the combination of official backing, archival anchors from 1998–2018, and immediate high ratings means The Long Watch functions both as entertainment and as a public-facing depiction of national security priorities, while also filling a genre gap that mainland productions had largely left alone in recent years (per scmp.com).
The programme’s explicit engagement with cross‑strait intelligence incidents makes it notable: it signals a willingness by Beijing’s security apparatus to bring recent, politically sensitive intelligence disputes into mainstream televised drama, rather than confine them to historical or fictionalized accounts (per scmp.com).