K-dramas have long been part of Malaysia’s entertainment scene, but Chinese dramas are attracting more attention from local viewers. Rather than asking which one is becoming more popular, perhaps a more interesting question is how changing viewing habits are shaping the demand for streaming content in Malaysia?
Why Chinese Dramas Are Finding New Audiences
Accessibility is part of the story. In April 2026, iQIYI reported that Chinese dramas were its fastest-growing genre in Malaysia, with viewership of Malay-subtitled content doubling. This suggests that language is becoming less of a barrier for viewers who want to explore stories from another culture.
Chinese costume dramas also offer something different from the modern romances and workplace stories often associated with K-dramas. Palace rivalries, family secrets, political schemes and complicated relationships give viewers plenty to follow. For some, the appeal lies in the elaborate costumes and historical settings. For others, it is simply a good story that keeps them coming back for the next episode.
But enjoying one genre does not mean giving up another. The same viewer might watch a light-hearted Korean romance during the week and follow a Chinese historical series over the weekend. What matters is having something worth watching, rather than being loyal to just one type of content.
Streaming Platforms Are Changing the Game
As viewing choices expand, streaming platforms face a bigger challenge: keeping audiences subscribed. The growing competition for streaming content in Malaysia is not just about attracting new viewers, but giving them enough reasons to stay.
In October 2026, Viu and iQIYI introduced a bundled subscription in Malaysia, allowing viewers to access both platforms through one purchase. The introductory price was RM19.90 for the first 30 days, followed by a monthly renewal price of RM29.90. The partnership brings together two catalogues with different strengths, offering Korean dramas, Chinese costume dramas and original productions in one package.
For viewers, this means more choices at a single price. However, a wider catalogue does not guarantee long-term subscriptions. A promotional offer may attract new users, but keeping them will depend on whether platforms can consistently provide stories worth coming back for.
Could Malaysia Create Its Own Hit?
The growing appetite for different kinds of Asian entertainment also raises a question for Malaysia’s own drama industry. If audiences are willing to explore stories beyond their usual preferences, there may be room for local productions to reach a wider audience.
Malaysian producers do not necessarily need to copy Korean romances or recreate the grand settings of Chinese costume dramas. They could draw on the country’s history, cultural diversity and everyday experiences to tell stories that feel closer to home.
Of course, an interesting concept alone is not enough. Good writing, production quality, distribution and accessible subtitles all matter if a local series hopes to attract viewers beyond Malaysia.
In the end, the competition is not simply between Chinese and Korean dramas. It is about keeping audiences interested in a market where they have more choices than ever. As streaming content in Malaysia continues to expand, platforms will need more than attractive subscription deals to keep viewers coming back. They need stories that audiences genuinely look forward to watching.
