Chinese dramas are manufactured and produced from a framework of official policy and institution, and this media is placed within a system located inside the magnetic field of mainstream ideology. However, dramas cannot disregard civil sentiment and its contents if they want to include an ideology that maintains the Chinese system, and, simultaneously, they cannot disregard mainstream ideology if they intend to express civil sentiment and its contents. Chinese mainstream dramas needed to adopt more flexible and entertaining elements by breaking away from existing stereotyped matter in order to widely publicize and spread party ideology and official policy. Only in this way could broadcasting stations secure viewers and investors be guaranteed large profits. The secularization of mainstream dramas is a result of collaboration between official ideology and the market. During this process, following various policies and changing situations, mainstream dramas have recently earned the popularity of the masses by the narrative of double agents which makes use of intricate developments, subplots, crises, and twists, with a focus on ‘espionage’. The present study shows, through two dramas, how media within the system promotes the ‘public interests’ of ratings and profit-making through ‘double agents’ and the ‘tactics of the weak’ in an arena of ideology which includes the official and the civil. Furthermore, Chinese dramas reveal how official ideology, market capital, writers and the desires of viewers collude, check, cooperate, and oppose each other within the space of drama to form a contemporary media landscape.