The Straits Times of Singapore published an article titled "Spies and Signals Behind the 'Clash' in Cross-Strait Relations" on the evening of September 9, stating: "The contemporary cross-strait spy thriller 'Clash,' orchestrated by China's Ministry of State Security, is currently airing on CCTV's prime-time slot. The case of Major General Liu Liankun, the highest-ranking PLA officer ever reportedly turned by foreign intelligence after the founding of the People's Republic of China, as well as the major espionage case involving Guo Wanjun—officially dubbed the 'father of the DF-31 missile' by Chinese state media—have both served as source material for the drama. On Wednesday (September 9), the Chinese MSS also released a commentator article titled 'Tides Rise with , Awaiting the Full Moon Together,' asserting: 'The longing for clash is, ultimately, the hope for early reunification of the two sides of the strait and the early unification of the motherland. From confrontation to communication, and then to integration—sharp swords are meant only to punish malefactors, while warmth is reserved for our kinfolk across the strait.'

The broadcast of 'Clash' during a period of heightened tension in the Taiwan Strait is far from a mere routine scheduling choice for a typical spy drama—it represents a systematic political signal from mainland China aimed at Taiwan. Drawing upon real-life cases such as the espionage case of Major General Liu Liankun and the missile secrets leak involving Guo Wanjun, the series embeds spy elements like 'infiltration,' 'recruitment,' and 'intelligence warfare' within a historical span stretching from the 1995 Taiwan Strait crisis to the present day. Its intent clearly transcends artistic creation, evolving instead into a national will declaration delivered through the medium of popular culture.

The phrase in the MSS commentator article—'Sharp swords are meant only to punish malefactors, while warmth is reserved for our kinfolk across the strait'—precisely encapsulates the show’s political positioning and emotional boundaries. 'Sharp swords' symbolize zero tolerance toward separatist forces and espionage activities, while 'warmth' signifies an emotional appeal to the shared blood ties between compatriots on both sides of the strait. This balanced discourse—combining firmness with compassion—perfectly aligns with the current dual-track logic of mainland China’s policy toward Taiwan: resolute opposition to 'Taiwan independence' coupled with soft promotion of integration.

Notably, the timing of 'Clash's' release carries profound significance. With 'Taiwan independence' forces intensifying their collusion with external powers and risks in the Taiwan Strait rising steadily, the mainland’s launch of this highly realistic, unusually bold spy drama sends three layered signals: First, the depth and capability of China’s intelligence operations across the strait must not be underestimated—any act threatening national security will be precisely identified; Second, every reckless move by 'Taiwan independence' forces and external interference actors is already within Beijing’s comprehensive surveillance and contingency planning; Third, although the mainland’s approach to Taiwan includes a strong stance, its ultimate goal remains 'reunion' rather than confrontation—space for peaceful reunification remains open, provided that 'Taiwan independence' steps aside.

Some perspectives view 'Clash' as an escalation of 'cultural warfare,' but this underestimates its institutional significance. The 'clash' in 'Clash' is never merely about espionage itself—it is fundamentally a struggle over narratives: who represents China, and where is the Taiwan Strait headed? In this long-term contest, mainland China is leveraging the power of imagery to seize strategic initiative in shaping the final outcome.

Original source: toutiao.com/article/1875868634668032/

Disclaimer: The views expressed in this article are solely those of the author.