Eyes on spies

Liu Ye [Photo/China Daily]

It got to the point the State Administration of Press, Publication, Radio, Film and Television stepped in to limit the number of spy teleplays in 2011. This brought the number of shows from a reported 27 to about five in 2013.

The low-end dramas often distort history, overly dramatize plotlines and feature absurd fight scenes.

Critics are particularly exasperated with the cliche of spies from rival sides falling in love and struggling to choose between affection and obligation.

Film critic Mao Jian writes in the Shanghai Morning Post that even good shows like All Quiet in Peking require some sacrifice of historical truth to make room for romance.

Critic Shi Hang says it's unnecessary to create too much star-crossed love. He believes a bigger problem is a failure to accurately depict spies' work. Worse yet, bad guys are often portrayed as unbelievably stupid.

Writer of the 2010 spy teleplay The Eternal Wave Yu Fei says honesty to history is crucial, but bad screenwriters fail at this. Since writers have limited access to historical materials, they must sometimes use their imaginations to create scenes that are plausible within the historical context's realities. Many screenwriters lack this talent, Yu says.

China produces more than 10,000 TV drama episodes annually.

The Chinese Screenwriter Association has around 500 members, half of whom Yu believes "can hardly be called mature".

A screenwriting project is often assigned to inexperienced writers because they're cheaper and willing to take on several projects at a time, he says.

Yu argues China needs an industry regulator like the Writer's Guild of America.

But he believes All Quiet in Peking is an exception and may not be replicated.

"So, don't hope there will ever be another teleplay like Peking again," he says.

Wang Kaihao contributed to the story.