12 New K-Dramas To Check Out In October 2026

KUALA LUMPUR, 1 OCTOBER 2026 —

A slate of twelve Korean dramas will debut across streaming platforms and broadcast channels in October 2026, offering Malaysian and regional audiences a mix of romance, thriller and culinary competition as the country’s appetite for Korean entertainment continues to grow.

“Your Personal Taxi” (Korean title “개인적인 택시”) opens the month on 1 October, with all episodes released simultaneously at 8 p.m. KST on Netflix. The series follows taxi driver Go Myung Seok, played by Cha Tae Hyun, who transports passengers whose ordinary lives conceal extraordinary stories, each ride accompanied by a song of the passenger’s choosing.

“Between Steps”, broadcast on ENA on Mondays and Tuesdays at 10 p.m. KST, tells the love story of former swimmer Park Min Jae (Choo Young Woo), who lost his right leg to illness, and graduate student Im Yoo Jin (Kim So Hyun), who seeks a new direction after losing her way. “Take Charge of My Heart” will be released on Netflix with all episodes available at 4 p.m.

KST, featuring Baek Ho Rang (Kim Young Kwang), a man whose artificial heart is running out of battery, and Na Bo Bae (Chae Soo Bin), a woman with the unique power to recharge him.

SBS will air “Doctor X” on Fridays and Saturdays at 9:50 p.m. KST. Based on a hit Japanese series, the medical noir drama stars Kim Ji Won as genius surgeon Gye Soo Jung, who demonstrates the true meaning of a doctor through pure skill while confronting a corruption‑ridden establishment. tvN will broadcast “100 Days of Deception” on Thursdays at 8 p.m.

KST, available on Viu, as a period spy romance about top pickpocket Lee Ga Kyeong (Kim You Jung) who becomes an undercover spy for the independence movement and intertwines with interpreter Kim Tae Woong (Park Jinyoung), also known as Sato Hideo.

“Make Me Tingle”, a chaotic romantic comedy, will air on tvN on Mondays and Tuesdays at 8:50 p.m. KST, starring Nam Ji Hyun as Gong Yeon Su, a woman still defining love, and Kim Jae Yeong as Dokgo Dal, a sex‑toy startup CEO who introduces her to a new world. JTBC’s “Love in Disguise” will run on Saturdays and Sundays at 10:40 p.m.

KST, featuring Yim Si Wan as arrogant chaebol heir Yoon Yi Jun, a murder suspect, and Seol In Ah as former special forces officer Kang Jae Hee, who goes undercover as his personal secretary.

Lifetime will present “Final Table” on Saturdays and Sundays at 10:50 p.m. KST, a culinary competition that follows Korean chefs worldwide as they vie for the title of “The Table: K‑Chef 2026”. The series includes head chef Kang Han (Ahn Hyo Seop) and floor manager Choi Song Yi (Hong Hwa Yeon). “Oh My Guard”, also on Lifetime and available on Viu, will air on Mondays and Tuesdays at 10:50 p.m.

KST, pairing Jung Yong Hwa as top male actor Uhm Tae Bong, who has a fatal flaw, with Hong Seung Hee as mysterious woman Oh Hae Ra, who believes she is the female lead of his drama “The Prince’s Bodyguard”.

MBC will broadcast “Dead‑End Job” on Fridays and Saturdays at 9:50 p.m. KST, a mystery‑horror fantasy starring Lee Jae Wook as Hyeok Jun, who encounters a strange employment agency offering “perfect” part‑time jobs that pay fifty times the usual hourly wage, only to be thrust into a terrifying workplace.

The psychological thriller “The Perfect Lie”, also on MBC, follows cardiac surgeon Min Joon Ho (Yoo Yeon Seok) and school librarian Kang Ji Sun (Seo Hyun Jin) as they present opposite accounts of the same memory, clashing in their search for truth.

The October lineup also includes “Summer Vacation”, a coming‑of‑age story about 18‑year‑old Kim Ha Yeon (Cho Yi Hyun) who experiences a mysterious event at Upo Village and meets Jo Yu Gyeom (Jin Young), the son of the village landowner. The series will be broadcast on an unspecified channel.

These releases arrive as Korean dramas maintain strong viewership in Malaysia, where streaming services report sustained subscriber growth and local advertisers increasingly target K‑drama audiences. The varied broadcast slots and platform distribution suggest a coordinated effort by Korean producers to capture both prime‑time television viewers and on‑demand streaming users across the region.