[Edaily Starin YUN GI BACK Reporter] Chinese dramas are rising beyond being mere “niche content” in the domestic online video streaming (OTT) market to become major hits. While K-dramas have recently been restructured around 8- to 12-episode series amid rising production costs and a decline in the number of titles, Chinese content—with its longer runtimes and diverse genres—is rapidly filling that void.

◇Shorter K-Dramas… Filled by 20–50-Episode Chinese Dramas
According to the content industry on the 14th, the Chinese drama “Zhao Chun Qing Lang,” released by Netflix last month, had climbed to No. 5 on the list of popular domestic series as of the 13th. It ranked second on Netflix’s global non-English show chart for the period August 31 to September 6. The romantic historical drama “In Search of Jade,” released last March, also remained in the domestic top 10 on Netflix for four consecutive weeks.
The trend is similar on domestic OTT platforms. As of the 13th, TVING featured △“Gauchun Castle” (No. 7) △“Beyond the Sun” (No. 9) △ “The Legend of Chan Yu” (No. 13) △ “The Genius Fox” (No. 17) △ “Ten Years in the Martial World” (No. 18) △ “Family Business” (No. 20)—all Chinese dramas—simultaneously entered the top 20 most-watched shows. TVING operates a separate section dedicated to Chinese dramas, while Wavve and Watcha are also making significant efforts to secure Asian content.
Viewer response has been enthusiastic. As the saying goes, “There may be people who have never watched a Chinese drama, but there’s no one who’s watched just one”—many viewers, after discovering one series, go on to binge-watch others in quick succession.
Lee Seon-ah, a woman in her 30s who enjoys Chinese dramas, said, “With diverse themes and a large cast of characters, there’s plenty to see within a single series.” She added, “Especially since the narratives are drawn out, I grow attached to the characters and become more deeply immersed in the evolving relationships. Once I finish one series, I naturally look for the next, and at some point, I’ve become so accustomed to Chinese dramas that Korean dramas feel relatively short by comparison.”
Analysts suggest that the rise of Chinese dramas is driven not only by improvements in content quality but also by changes in the domestic drama production environment. Recently, Korean dramas have clearly shifted toward shorter seasons of around 8 to 12 episodes and a focus on genres with high commercial potential, driven by rising production costs and a decrease in the number of series produced.
In contrast, Chinese dramas consistently offer long-form series ranging from 20 to 50 episodes across a variety of genres, including romance, fantasy, and historical dramas. As series such as “Two Two Zhang Bu Zhu,” “Mu Wu Yun Gan,” and “Shuang Gui” have enjoyed long-term popularity in Korea, a substantial audience base has emerged that watches Chinese dramas one after another.
A production company representative stated, “In Korea, as production costs have risen significantly, the number of productions has decreased, and there is a tendency to focus on genres with high commercial potential even at the planning stage.” They added, “In contrast, Chinese content consistently offers long-running series and a variety of genres, providing viewers with a wider range of choices.”

◇“Long-Form Content” Is Also Attractive to OTT Platforms
From an OTT perspective, Chinese dramas are highly versatile content. By acquiring overseas productions that have already been completed, platforms can quickly expand their libraries while reducing the financial burden compared to producing domestic originals.
In particular, the length of these series—ranging from 20 to 50 episodes—is advantageous for keeping users engaged on the platform for longer periods. If viewers binge-watch one series and then move on to another in a similar genre, the success of a single title could potentially drive interest in the entire genre.
An OTT official explained, “Chinese dramas are ideal for encouraging binge-watching due to their long episode counts and abundance of sequels,” adding, “From the platform’s perspective, the ability to secure a steady viewership demand amid a decline in the supply of new domestic productions is also an advantage.”
The growth of Chinese dramas is not limited to the domestic market. In regions such as Southeast Asia—where K-dramas have traditionally held a strong presence—Chinese dramas are expanding their influence by featuring romance, historical dramas, and fantasy genres. While they serve as a complementary source to fill content gaps on domestic OTT platforms, overseas they could become direct competitors vying for the same audience.
This is why it’s difficult to view the recent surge in Chinese dramas as merely a passing trend. A production company official stated, “As the number of productions and genre diversity decline, Chinese content is rapidly filling that gap,” adding, “The domestic production industry also needs to consider whether its current production model—focused on short seasons and specific genres—is sufficiently meeting viewers’ needs.”