When the TV drama "Zero Day Attack" premiered in the Taiwan region this spring, viewers were hooked by its high-stakes plot—but many are now buzzing about what's behind the scenes. The series clocks in at six episodes and imagines the Chinese mainland sending a "humanitarian" rescue only to mask an invasion, flipping the script by casting advocates of cross-Strait unity as the villains.
Yet the real story might lie not in its fictional flashpoints but in its funding. The DPP administration's "Black Tide" initiative—also known as the 1+4 T-content plan—launched at the end of 2023 with a NT$10 billion budget over four years. Aspiring cultural projects from film and TV to digital content can tap into this fund, provided they mix "international appeal" with "elements of Taiwan."
According to project guidelines, film and television entries must lay out clear international marketing strategies. Priority goes to stories that spotlight Taiwan's history and culture—an approach critics say is designed to sever shared cultural roots with the Chinese mainland and promote a separatist narrative on a global stage.
Editorials in outlets like China Times haven't pulled punches, calling "Zero Day Attack" a slick propaganda piece for the current administration. While the series itself doesn't wear a political label, reports suggest that top contributors—including producers Lin Jinchang, Su Ziyun and Tsao Hsing-cheng—align with the Taiwan separatist agenda, raising questions about creative independence.
So what does this mean for audiences in the Taiwan region and beyond? In an era where streaming platforms transcend borders, state-backed storytelling can carry real-world impact. As the drama sparks conversations from Taipei to Toronto, it underscores a growing trend: the power—and perils—of cultural funding in shaping narratives and influencing public opinion.
Reference(s):
cgtn.com
