Yan Lan

Yan Lan (Chinese: 燕蘭, also written 燕兰) is a Chinese screenwriter, credited as writer across all nine episodes of Sammy’s Children’s Day (初三的六一兒童節, 2026), and as one of its two creators.

A shared creator credit

The series carries two creator credits: Yan Lan and the director, An You. That is a writer and a director sharing authorship of the property rather than a writer being hired onto someone else’s show.

The series premiered on 13 March 2026 on GagaOOLala, produced by Eastone Entertainment, and is adapted from a web novel by the danmei author She Xie Dian Dian. Its own record carries the keywords boys’ love, danmei, 1980s, kowloon, organised crime, gang leader, corruption and thriller. He Changxi and He Yanzhao lead and also perform the theme song.

BLGLFlix editorial view. Two names, one title each, sharing a creator credit on a nine episode crime story set in the Kowloon Walled City. That is the entire public record for the people who made this series, and we think the emptiness is the point worth writing about.

Elsewhere in this catalogue we have argued that when Boys’ Love arrives somewhere with an existing film industry, it borrows veterans. Hong Kong’s Cantonese Boys’ Love series hired actors with sixty and forty-eight credits behind them. Taiwan’s Girls’ Love series hired a producer of festival films and a screenwriter who had spent a decade with Tsai Ming-liang.

This production did the opposite. Its writer and its director both appear to be starting here. Our own read is that both routes are real and they answer different questions. Borrowing veterans buys craft and reliability, which is what a small production needs on set. Starting new people buys something else: nobody involved has learned what the genre is supposed to look like, which is one plausible reason this series is about triads and police corruption in a demolished slum city rather than about two university students.

We would rather not overstate it. One credit is one credit, and whether the result is any good is a separate question from whether the choice was interesting. But the pattern is worth naming: the more conventional a Boys’ Love production’s creative team, the more conventional its premise tends to be, and this is a data point on the other side.

What we cannot tell you is anything else. There is no biography, no date, no photograph, no second credit and no verified account for this writer on any source we accept. We say so plainly rather than pad the page.