Yu-Hao Su

Su Yu-hao (Chinese: 蘇瑜豪) is a Taiwanese film and television producer. He is credited as producer across six episodes of Fragrance of the First Flower (第一次遇見花香的那刻), the Taiwanese Girls’ Love series that premiered on 12 November 2021 and went out on both Netflix and GagaOOLala, produced by Long Moment Films with GagaOOLala.

The series was directed by Wang Yi-ling and Teng I-han, written by Yang Pi-ying, Chen Ting-ning, Leong Siew-hong and Teng I-han, and led by Zaizai Lin, Lyan Cheng and Yi Lee.

A producer who works in two industries at once

His other credits sit a long way from genre television. He produced the Taiwanese films Fata Morgana (2016), The Hood (2019) and Kiss (2021), was location manager on Hero Mode (2021), and worked as line producer on The Cloud in Her Room (她房間裏的雲), the Chinese and Hong Kong art film released in 2021.

He also produced and line produced Test Pattern (2021), an American independent feature directed by Shatara Michelle Ford, and is executive producer on Ford’s Dreams in Nightmares, released 21 August 2026. That is a working relationship with an American director running across at least five years and two films.

BLGLFlix editorial view. On other pages here we have described Taiwan as a country whose queer screen work has no pipeline, made instead by a small number of individuals who keep turning up. This record shows what those individuals do with the rest of their time, and it is worth being precise about because it explains something about the finished work.

He is not a Girls’ Love producer. He is a producer of small films, mostly festival-facing ones, who produced a Girls’ Love series once. The company that made it, Long Moment Films, sits in the same world. So does the co-producer, GagaOOLala, which is a queer streaming platform rather than a general entertainment studio.

Our own read is that this is why Fragrance of the First Flower looks and moves the way it does. Six episodes, not sixteen. Restraint where a studio format would want incident. It was made by people whose working habits come from independent cinema rather than from a television production line, and it reached Netflix on the strength of that difference rather than in spite of it.

The other half of this page is worth stating plainly too. A Taiwanese producer who line produces a Chinese art film, produces an American independent feature, and returns five years later to executive produce the same American director is not operating inside a national industry at all. Taiwanese queer screen work has no pipeline partly because the people making it were never standing in one line to begin with.