Malaysia is gearing up for next year’s annual travel drive, Visit Malaysia Year 2026, by spotlighting its Chinese New Villages as cultural tourism highlights. These 613 villages, each with unique histories and cultural elements, are set to offer travelers an immersive experience in the nation’s rich tapestry.
The Malaysian Chinese New Village Secretariat, led by Chairman Khoo Poay Tiong, has announced plans to enhance infrastructure in these villages. The initiative aims to make them more appealing to tourists while stimulating local economies. Khoo emphasized that transforming these villages into tourist destinations would provide residents with opportunities to increase their income.
Historically, Chinese New Villages were established during the Malayan Emergency (1948–1960) by British colonial authorities as a countermeasure against communist insurgents. While initially serving as resettlement areas, over time, these villages have evolved into vibrant communities, each reflecting a blend of traditional Chinese culture and Malaysian influences, including the emergence of local coffee shops called kopitiams.
Malaysia’s Chinese New Villages are an important aspect of Chinese history in the Southeast Asian country. Image via Malaysiakini.
In recent years, there has been a growing appreciation for the cultural significance of these villages. For instance, initiatives like the Chinese New Year village decoration competition have been introduced to showcase the cultural vibrancy of these communities and encourage local pride in their heritage.
The government’s plan to promote these villages aligns with global trends in cultural tourism, where travelers seek authentic experiences that offer deeper insights into local traditions and lifestyles. By highlighting the unique aspects of Chinese New Villages, Malaysia aims to diversify its tourism offerings and attract a broader spectrum of visitors.
As Malaysia prepares for Visit Malaysia Year 2026, the focus on Chinese New Villages underscores a commitment to preserving cultural heritage while promoting sustainable tourism. This initiative not only offers tourists a glimpse into the nation’s multicultural fabric but also provides local communities with avenues for economic growth and cultural exchange.
Toys are an integral tool of stimulation for the developing mind. They’re also products of luxury made for entertainment. However you want to look at it, toys have been a part of human society since prehistoric days.
Archaeological excavations have found toys dating back to 4,000 BCE, made from natural materials like clay, wood, and stone. Ancient Egypt even had toys with movable limbs. These primitive playthings are strongly assumed to have been used by children, mainly due to signs of wear and tear that indicate recreational use.
4000-year-old “baby rattle” discovered in Kültepe Kaniş-Karum, Turkey. Image via archaeologynewsnetwork.
Without concrete evidence, however, who’s to say there wasn’t a prehistoric human with a carved-out shelf lined with prized toys, made by the tribe’s best artist? And when the kids came to the cave to play, this prehistoric human might have grunted, “Look, but don’t touch!”
Well, we certainly have the modern equivalent of that human. Enter designer toy collectors and enthusiasts (cue that scene from The 40-Year-Old Virgin).
Following RADII’s recent video explaining the designer toy movement, we wanted to take a deeper look at Hong Kong’s influence on a global scale and tap into some of its key players.
What Are Designer Toys?
For those unfamiliar with designer toys (aka “vinyl toys,” “art toys,” or “Sofubi”): it’s when art meets, well… toys. The movement started in the mid-’90s when Hong Kong artist Michael Lau applied the aesthetics of street culture to the whimsical canvas of a figurine, creating highly coveted collections of limited-edition “designer toys.”
Michael Lau’s crazysmiles: Run Dog (2009) vinyl. Image via eBayMichael Lau’s “Gardener” series. Image via Instagram: @michaellau.
Lau, often referred to as the “Godfather of Designer Toys,” birthed the “urban vinyl” style and broadened people’s perspectives on how toys are perceived. Traditionally low-cost, mass-produced, and casual, designer toys are instead handcrafted works of art just as precious as those featured in a gallery. The combination of “artwork” and “toy” allows audiences to appreciate more mature themes of art with something nostalgic.
Woaw Gallery showcase video of MAXX HEADROOM. Gif via Woaw Gallery.
Global Impact and Collaborations
Lau’s impact resonated with artists across the world. The scene began seeing the likes of KAWS and Takashi Murakami offering their street- and pop-centric sensibilities, creating a surge of interest in art toy collectibles on a much larger global scale.
KAWS’ COMPANION figures. Image via Lifestyle Asia, Courtesy of Matthew Hamilton/@thatsmrbio“Pom & Me” by Takashi Murakami x Instinctoy x Mighty Jaxx. Image via Vinyl Pulse.
And we all know what happens when there’s significant public interest: corporate heads start turning. There’s big money to be made from art collectors with fat wallets; thus, collaborations with corporate companies like Nike, Casio, and Coca-Cola became frequent.
Michael Lau’s crazychildren: The Pig (2002) collab with Nike. Image via Vintage Objects.
On a more niche scale, the scene started bringing in street culture imprints like A Bathing Ape, Bounty Hunter (which played a pivotal role in the growth of Japan’s urban vinyl scene), and Be@rbricks, among others. During the late ‘90s and 2000s, Japan’s impact on the streetwear landscape helped cement the designer toy movement even further into contemporary culture.
MEDICOM TOYS’ BE@RBRICKs. Image via Lifestyle Asia, Courtesy of Alex Haney/@alexhaney
From Fragment Design to Undercover to Atmos, the heyday of urban vinyl was ripe with crossovers from streetwear labels, consumer goods corporations, and artists. Starting as “urban vinyl,” these global collaborations led to the movement’s evolution that introduced other styles and genres of contemporary art.
Hong Kong’s Local Toy Scene
Bringing things back to Hong Kong, Lau wasn’t alone in this paradigm shift. Other local artists like Eric So, Winson Ma, and Prodip from Hong Kong rap group Lazy Mutha Fucka started gaining attention. Each brought their flavor to the then-burgeoning scene.
So’s distinctive designs — particularly his Bruce Lee figurines — introduced more household names, while Winson Ma and Prodip further enriched the movement’s already established cult following. Together these Hong Kong artists added diversity and appeal to the global market.
Through the strength of these individuals, the designer toy landscape continued to grow, and newer generations of artists emerged. As such, spaces started opening up to help house the increasing number of art toys. Retailers like Amaz by Lokianno offer a unique platform that merges exhibition space with an art toy store — or “Exhibitshop,” as they call it.
By making the movement more accessible, Amaz expanded the designer toy industry from hardcore enthusiasts to a more mainstream audience. From aficionados to newbies, anyone interested in the scene had a haven for all things designer toys — a siren call felt not just in Hong Kong, but across shores.
Inside the Amaz by Lokianno store in Hong Kong. Images via Timeout, courtesy of Amaz by Lokianno
It’s no surprise then, that they started Asia’s longest-running designer toy fair, Toysoul. Although that chapter has closed after hitting its tenth year, the team already operates its new iteration: Amazing Toy Show, which launched in December 2024. While still best-known within Asia, globally-recognized conventions like DesignerCon can attribute their success to Hong Kong’s influence.
Then, there are the scene’s major manufacturers, many of which also come from Hong Kong. Unbox and How2work are arguably two of the biggest players, having produced toys for artists around the world while influencing a slew of other names in the game: Kidrobot, Mighty Jaxx, Superplastic, and Tokidoki, to name a few.
The Future of Designer Toys
As for the movement’s future, we’re already witnessing its reach into today’s pop culture fads like blind boxes. Take Hong Kong artist Kasing Lung’s series The Monsters and its product partnership with fellow Hong Kong company Pop Mart. You’ll be hard-pressed not to find the series’ mascot, Labubu, hanging from the bags of everyone and their mom. Pop power names like Blackpink’s Lisa are credited for Labubu’s global dominance as a sought-after collectible on a mainstream level.
Blackpink’s Lisa and her Labubus. Image via marie claire.
Beyond the current craze, the movement shows no signs of slowing down. Whether you’re forking out thousands for a one-of-one by your favorite artist or ripping into a case of blind boxes for that chase piece, designer toys have changed how we view both art and toys forever. Perhaps seen as just another canvas for artistic expression or a flex gift for your friend’s kid, it goes without saying that there will always be room for nostalgic totems of creativity on your shelf.
Archive of designer toys over the years. Image via artoyz.
Traversing the Silk Road, indie instrumental band P.H.0 found themselves in New York City, bringing with them a unique sound mixture of nü-metal, electronica, and erhu.
Originally from Taiwan and China, P.H.0’s members met while studying in New York, together exploring the city’s music scene. The band was born at the tail end of the pandemic, with their debut album, KARMA 業, coming in 2023.
KARMA 業 incorporates Buddhist and Daoist elements, and draws from metal and post-rock without belonging to either genre. It resists conformity, challenging how we think about the clash of Eastern and Western culture, and what that might sound like.
P.H.0 played their first show of 2025 in late January at Our Wicked Lady in Brooklyn. On stage, Chi Chi’s erhu — an electric version of the traditional Chinese two-stringed bowed instrument — is the centerpiece, blending the historical sounds of the Silk Road with an imagined cyberpunk future. It’s difficult to fit P.H.0 into any subgenre or label, and it’s evident that they themselves refuse to be tagged.
RADII met with P.H.0 in their small Brooklyn studio for a conversation about cultural identity, authenticity, and what it means to be “Silkpunk.”
RADII: Can you first introduce yourselves? What are your backgrounds and what brought you guys together?
Pi Pi: I play the drums. Howard and I met during school. We all did music on the side and got to know each other at shows. Post-pandemic, we were all in NYC and thought, “Hey, why not form a band?” Howard and I worked on our first EP together. Jun joined later.
Chi Chi: I write and play the erhu. I moved here from China in 2019 to get my Master’s in arts management. I’ve been playing traditional Chinese instruments since I was a kid, but my main focus was on the erhu. I’ve always thought that erhu shouldn’t be limited to traditional music — we should use it in all kinds of music.
Howard: I play the guitar. We found Chi Chi through an erhu school and contacted her.
Jun: I play the guitar as well, and I also do sound engineering. In college, I played in an ambient post-rock band. I really enjoy music that’s emotional and takes up a lot of space. In P.H.0, my biggest contribution comes in the shape of ambient music.
RADII: Did you plan to have an erhu player from the beginning or was it an afterthought?
H: Yes, from the beginning. We had a modular synth player in the very beginning, it’s a very futuristic sound. We already had something avant-garde — now we needed something traditional.
CC: I was surprised at first. When he [Howard] sent me demos, I thought it wouldn’t be possible. I’ve never tried anything like this before. Then I played a few parts, and it all turned out pretty well.
RADII: There are guitars, the drum, the synthesizer, and then the erhu. Would you say your music is a clash of Eastern and Western cultures?
PP: You can’t really define it as a clash. This is the culture I grew up with, this is what I know, so this is what I will use in my music. I’ve not thought about culture at all. That line [between the East and West] doesn’t exist anyway. The world should be viewed as a whole, it’s meaningless to think of it as a clash of yin and yang. Cultural influences from our childhood live in our subconscious. They’re internalized and form an organic connection with our music.
H: Culture clashes happen organically; people tend to take what they need from each culture. We take the music we’ve heard growing up and mash it together. Chi Chi comes from a classical Chinese music background, Pi Pi listens to metal and math rock, I like metal, electronic, and jazz, and Jun has a post-rock background. We are not trying to force Eastern and Western cultures together, it just happened naturally.
RADII: Do you have a lot of Asian fans showing up to your shows? As an all-Asian band that incorporates a lot of Chinese elements in your songs and your visuals, have you ever felt like the audience comes from a place of fetishization?
PP: Yeah, there’s a lot of Asian people. A lot of non-Asian people come to our shows as well, but they come for different reasons. Our music is very exotic to non-Asians and can also serve as an entry point to understanding Asian culture. We like to call New York the New Silk Road because it’s a very tolerant place. For instance, we had a year of the dragon ritual [performance last year] and people were very happy to join in. But we’ve gotten bad vibes in the past, it’s a mixture of racism, fetishization, and toxicity.
J: We might not survive in another city, but in New York, you can feel that people appreciate your authentic self. Being yourself is good enough.
H: The non-Asian audience mostly comes from a perspective of appreciation. But there’s such a thin line between fetishization and appreciation. It’s all about the intention, you have to read the room and read the vibe.
We like to call New York the New Silk Road because it’s a very tolerant place.
— Pi Pi, P.H.0
RADII: I know there are a few other bands in NYC that incorporate traditional Chinese instruments. What are your thoughts on that?
CC: Hang Him to the Scales’ pipa player is great. There’s also the EITHER, but they’ve moved to Shanghai. This type of [Asian influenced] music emerges more frequently now, which is definitely a good thing for our cultural environment.
PP: But we don’t want to be tied to this label of “an all-Asian band that uses traditional instruments,” either. We want that organic and chaotic emergence of self, to mix everything together organically. We are also not the “others,” and this is not “new music.”
H: We’re not trying to go into that “we’re so ancient” vibe like other folk metal bands. I think we can make Chinese culture look trendy and slick. We don’t want to be labeled as “traditional” or “futuristic,” we are just our organic selves. When we had our first band meeting, I said something along the lines of, “For the distant future, if I may dream ambitiously, I want our music to no longer be called Chinese music, but just music.” But you kind of have to walk the walk and be labeled, in order to not be labeled in the future.
J: We also want to be accessible and spread the idea that we’re not that different. We can take other people’s culture into our music and other people can take our culture into their music. We are a part of this grand scheme of music.
RADII: We’re very curious about the term “Silkpunk” — what does it mean to be Silkpunk?
H: Silk, like on the Silk Road cultures are supposed to mingle, assemble, and reshape organically. And punk, we try to answer the question, “How can punk be silky?” We want to challenge the definition of punk. Punk doesn’t have to be violent, it can be soft.
One of the most important aspects of Silkpunk is that we want to look at the East and the West through a lens of cultural appreciation. Because we are very confident in our culture. Eastern culture has so many historical roots and legacies, it’s not so easily appropriated. But if you [a non-Asian person] have mastered the erhu, and play it better than us, then we will welcome you to the team.
PP: Like the TikTok refugee situation — so many people are moving to Xiaohongshu, I think that’s the most Silkpunk shit ever.
RADII: Is Silkpunk a sub-genre? Is that where you want to take Silkpunk?
PP: No, it’s more like a culture. We didn’t come up with the term. A reviewer took it from [sci-fi author and translator] Ken Liu and used it to describe us, and it was used with a hint of criticism. So, we decided to take that term and reshape it.
H: No, Silkpunk is not necessarily a term rooted in music.
Listen to P.H.0’s debut album, KARMA 業, on Spotify. They can also be found on Instagram and RedNote.All images courtesy of P.H.0.
The 2025 Sundance Film Festival, one of the world’s most prestigious independent film festivals, concluded on Sunday. Chinese films made a notable impression across various categories at this year’s fest, including LUZ, which emerged as a standout and garnered significant attention from festival-goers.
The deer is a critical metaphor in LUZ, symbolizing a bridge between cultures. Photo via Sundance.
LUZ stars a diverse international cast, including Isabelle Huppert, Sandrine Pinna, and Lu Huang. Originally filmed in 2018, it finally made its world premiere at Sundance, marking director and editor Flora Lau’s return to the global festival circuit after her 2013 film Bends. (Bends, starring Carina Lau and Chen Kun, was featured at the 2013 Cannes Film Festival.)
Set between two Chinese cities, LUZ weaves together two parallel narratives. One follows a man in Chongqing who becomes deeply attached to a virtual streamer. The other focuses on a young woman in Hong Kong navigating a strained relationship with her dying mother. Their lives ultimately intersect within the online game LUZ, sparking a thought-provoking discourse on reality, illusion, and the generational divide exacerbated by technology.
The three camp participants follow the dating coach to get a stylish haircut. Photo via Sundance.
Another noteworthy Sundance 2025 entry — documentary The Dating Game by Violet Du Feng — was included in the World Cinema Documentary Competition. Chongqing, a mountainous city in central China, is well known for its matchmaking parks, a phenomenon partly shaped by the country’s former one-child policy. With a male-to-female ratio imbalance, an increasing number of single men struggle to find partners.
The Dating Game follows dating coach Hao as he mentors three single men in a seven-day dating camp, teaching them not only courtship strategies but also self-confidence and social adaptability. More than just a guide to modern dating, The Dating Game delves into the personal struggles, insecurities, and self-acceptance of bachelorhood in contemporary China.
Katrina and her bunny in Bunnylovr. Photo via Sundance.
Chinese-American filmmaker Katarina Zhu also made an impact with her self-directed and self-performed film, Bunnylovr, which explores the complexities of digital relationships and personal reconciliation. The film tells the story of a young woman who makes a living as a camgirl and finds herself entangled in a toxic dynamic with a client who gifts her a pet bunny. Meanwhile, she is forced to confront the a relationship with her estranged, dying father.
Another Chinese-American director, Justin Lin — best known for his work on the Fast & Furious franchise — premiered his latest film Last Days at Sundance 2025. The film imagines a dystopian world where a global outbreak of agoraphobia traps humanity indoors, blending psychological horror with a critique of contemporary anxieties.
Two Chinese films stood out in this year’s Short Film Program: Hippopotami by Jianjie Lin and Death Education by Yuxuan Ethan Wu. Both films center on young protagonists and examine how everyday individuals in China navigate global cultural trends and social pressures.
Last but not least, one of the most intriguing selections of Sundance 2025 was a reimagining of Ang Lee classic The Wedding Banquet. More than 30 years after the original’s world premiere, Andrew Ahn has adapted the story through a more playful and contemporary lens. The film was included in Sundance’s Official Selection, though it did not compete in any competitive categories.
While none of these Chinese films received major awards at Sundance 2025, their presence underscores the increasing influence of a new generation of Chinese filmmakers on the global stage. As the festival season continues, their creative voices will undoubtedly continue to resonate in upcoming international events.
Actress and TV personality Barbie “Big S” Hsu passed away on Sunday at the age of 48. Born in Taipei, she was best known for her leading role in 2001 drama Meteor Garden and her energetic TV personality.
Hsu passed away while on a family vacation to Japan. Her tour guide revealed that she had flu-like symptoms for four days prior to Sunday, and was taken to an emergency room by ambulance on January 31. Hsu’s younger sister, Dee “Small S” Hsu, confirmed the passing in a statement to TVBS: “My dearest sister, Barbie, unfortunately left us after getting pneumonia, triggered by influenza. I’m grateful to be her sister in this life. We’ve always accompanied and cared for each other. I will always be grateful to her and miss her dearly.”
Meteor Garden (2001), starring Barbie Hsu as Shancai and Jerry Yan as Daoming Si. Image via Douban.
Hsu started her career in 1994 with her younger sister in the pop duo S.O.S. (Sisters of Shu). They released eight albums in total. In 1998, S.O.S. got their first big break as hosts for the Taiwanese reality show 100% Entertainment.
During their time at 100% Entertainment, the Hsu sisters built a parasocial relationship with the audience, covering topics ranging from celebrity drama to their personal love lives. The sisters were applauded for their sharp-tongued criticisms and witty personalities. 100% Entertainment became one of the most beloved variety shows in the Mandarin-speaking world, with clips still circulating on short video platforms almost 30 years later.
In 2001, Hsu starred in Meteor Garden as Shancai, a girl who from a poor family who attends a wealthy private school, eventually finding friendship and love. Meteor Garden was one of the most influential TV shows in Asia, achieving fame in the Philippines, Malaysia, and Korea. It also inspired many readaptations and spin offs.
Meteor Garden led the first wave of Taiwanese idol dramas (romantic dramas featuring attractive young men and women). It was followed by other fan favorites such as Secret Garden, The Prince Who Turns into a Frog, and It Started with a Kiss.
In 2021, Hsu divorced businessman Wang Xiaofei after ten years of marriage. She remarried to South Korean DJ Koo Jun-yup the following year. Hsu is survived by two children.
From left to right, Dee Hsu, Aya Liu, and Barbie Hsu at Taipei Hwa Kang Arts School. Photo via Facebook.
Netizens were shocked by her passing, with discussion of the shocking event dominating trending topics across social media platforms across Asia. In China. Hsu’s longtime friend, television host Aya Liu, said: “When we got together last month, we calculated that we’ve known each other for thirty years…I never thought this would be the last time we got together.”
China’s film industry faced significant challenges in 2024, with box office revenues totaling around 42.5 billion RMB ($5.82 billion USD), marking a 22.6% decline from the previous year’s 54.9 billion RMB. A combination of economic factors and a lack of major blockbuster releases contributed to this downturn.
Despite these setbacks, early indicators suggest a potential rebound for China’s box office in 2025.
The film market is already off to a strong start, with box office pre-sales for the Lunar New Year holiday surpassing 525 million RMB (about $73.2 million USD). This optimistic outlook is spurred by a lineup of highly anticipated films set to release throughout the year. These films showcase the Chinese film industry’s commitment to blending cultural storytelling with cutting-edge visuals.
Boonie Bears: Future Reborn
Kicking off the year, the Boonie Bears franchise returns with a futuristic adventure. The lovable bear brothers embark on a time-traveling journey to save their forest home, tackling environmental challenges in an imaginative new era. Bursting with humor, action, and touching moments, it’s a perfect family-friendly offering to start the year.
Release Date: January 2025
Market: China
Creation of the Gods II: Demon Force
This sequel to the hit fantasy epic delves deeper into Chinese mythology with captivating battles and rich storytelling. As tensions rise, heroes and deities face moral dilemmas and epic confrontations that redefine their fates. With breathtaking visuals, an expanded world, and a star-studded cast, it’s poised to be a Lunar New Year blockbuster.
Release Date: February 2025
Markets: China, North America, France, Italy, Australia, Southeast Asia
Ne Zha 2
Building on the breakout success of the original, Ne Zha 2 takes the rebellious deity on a fresh adventure packed with humor and heart. This time, Ne Zha explores his newfound responsibilities while battling ancient foes threatening the mortal realm. With dazzling animation and emotional depth, it promises to thrill fans and newcomers alike.
Release Date: February 2025
Market: China
Detective Chinatown 1900
This prequel to the beloved Detective Chinatown franchise takes viewers back to the origins of the famous detective duo. Set against the backdrop of turn-of-the-century San Francisco intrigue, the film weaves clever mysteries, quirky characters, and high-energy comedy. Expect a blend of suspense, laughter, and historical flavor to charm long-time fans and newcomers alike.
Release Date: February 2025
Markets: China, Southeast Asia, New Zealand, Europe, Australia
Girls on Wire
Vivian Qu’s Girls on Wire is a deeply emotional drama exploring themes of family, resilience, and redemption. Shortlisted for the 75th Berlin International Film Festival, the story charts the difficult yet transformative journey of two estranged cousins over two decades. As they confront personal traumas and societal pressures, their courage inspires a powerful tale of hope and empowerment.
Release Date: March 2025
Markets: China, Germany
Operation Hadal
China’s first deep-sea military espionage film, Operation Hadal, is directed by Dante Lam and promises to be an action-packed thrill ride. Following an elite squad on dangerous underwater missions, the film features breathtaking special effects, edge-of-your-seat sequences, and a gripping storyline highlighting loyalty and sacrifice.
Release Date: Summer 2025
Markets: China, USA
The Legend of the Condor Heroes
Rounding out the year, this adaptation of Louis Cha (aka Jin Yong)’s martial arts classic brings a legendary tale to life. The film follows Guo Jing’s coming-of-age journey as he masters martial arts, navigates love, and battles powerful adversaries. Stunning fight choreography, compelling characters, and a richly woven narrative ensure a cinematic spectacle.
Release Date: Late 2025
Market: China
With a diverse mix of mythical adventures, thrilling deep-sea missions, heartwarming dramas, and gripping historical tales, 2025 is shaping up to be a good year for Chinese cinema.
With a balance of family-friendly animations, suspenseful mysteries, and adaptations of beloved literary classics, this year’s slate ensures there’s something for domestic audiences of all ages and tastes. Only time will tell how much the Chinese film industry will rebound from a rough 2024, and which Chinese films might break out to viewers around the world.