An You

An You (Chinese: 安優, also credited as 安優@POEM) is a Chinese director, credited as creator and director across all nine episodes of Sammy’s Children’s Day (初三的六一兒童節, 2026).

One credit, and an unusual one

The series premiered on 13 March 2026 on GagaOOLala, produced by Eastone Entertainment. It is adapted from a web novel by the danmei author She Xie Dian Dian, with a screenplay by Yan Lan, and its two leads, He Changxi and He Yanzhao, also perform the theme song.

Its classification keywords are worth listing in full, because they are not what the genre usually produces: boys’ love, danmei, 1980s, kowloon, organised crime, gang leader, gangs, corruption, thriller, unrequited love. This is a crime story set in the Kowloon Walled City, not a campus romance.

BLGLFlix editorial view. A single directing credit would normally make for a short page. This one earns its length because of where the production sits, and it fits a pattern visible across several other records here.

The source is danmei, which is Chinese queer fiction. The setting is Hong Kong in the 1980s. The platform carrying it is GagaOOLala, a Taiwanese queer streaming service. Once again, a Chinese danmei property has been made into an openly classified Boys’ Love series, and once again the production and distribution route runs outside mainland broadcasting. The same shape turns up on a novelist with eight adaptations, whose openly classified titles were made in Cantonese and in Thailand rather than in mainland Mandarin. It is the third or fourth time the same arrangement appears from a completely different direction.

The other thing worth saying is about ambition. Boys’ Love gets accused, not always unfairly, of making the same series repeatedly: school, university, workplace, two boys, twelve episodes. A nine episode danmei adaptation about triads and police corruption in a demolished slum city is a genuine attempt at something else, and whoever directed it chose a much harder production than the genre requires.

The limits of this page are worth being straight about. Beyond the work itself, almost nothing about this director is on public record: no biography, no date, no photograph, no second credit, no verified account anywhere. That is not unusual for a first-time director on a small international co-production, and saying so is better than padding the page out. The series is the evidence, and the series is worth the attention.