Chiang Ping-chen

Chiang Ping-chen (Chinese: 姜秉辰; also romanised Jiang Bingchen and Geung Bing San) is a Taiwanese director. Eight verified boys’ love and girls’ love titles carry his name, which makes him, on the evidence of credits alone, the most prolific director working in Taiwanese queer television.

He began in youth crime drama, directing Transferred Student (2017) and Northeast Transfer Student 2 (2019), both built around youth gangs, and appeared on screen in the forty-episode PMAM (2014). He also directed the forty-episode The Iron Four (2022) and produced Girl What Do You Want (2022).

The streaming run

From 2020 his work is dominated by short-form queer series commissioned directly by Taiwanese streaming platforms:

• Craving You (2020, 10 episodes, KKTV and GagaOOLala)
• Be Loved in House: I Do (2021, 12 episodes, KKTV)
• See You After Quarantine (2021, 10 episodes, KKTV)
• Plus & Minus (2022, 12 episodes, CATCHPLAY+), on which he is also credited as creator
• See Your Love (2024, 13 episodes, KKTV)
• Secret Lover (2025, 10 episodes, GTV), whose record carries both boys’ love and girls’ love classifications
• Secret Lover: The Last Promise (2025)
• Smile After Tears (2026, GagaOOLala and Hami Video)

He also directed I Can See You Shine (2024, 8 episodes) for CATCHPLAY+ and iQIYI, a story about immigration and self-identity that sits outside the genre.

BLGLFlix editorial view. His credit list identifies a production model we have not seen anywhere else on this site, and it is worth naming precisely. Thai BL comes from studios and independent companies. Japanese BL comes from a broadcast slot. Philippine BL comes from a family production house. Chinese BL comes either from a streaming giant or from anonymous short-form. Taiwanese BL comes from platforms: KKTV, CATCHPLAY+, GTV, Hami Video and GagaOOLala, commissioning ten to thirteen episode series directly. Four of his eight are KKTV alone. This also lets us refine something we wrote elsewhere in this catalogue. On the page for the actor Lin He-hsuan we argued that Taiwan never built a dedicated star system for BL and casts it from the same general pool it uses for everything. That still holds on the acting side. But it is only half the picture, because the crew side clearly did specialise, and he is the proof. Our own read is that this is the most quietly significant fact about Taiwan’s position in the field: it is the only territory in this catalogue where the commissioning power sits with streaming services rather than with a studio, a broadcaster or a production house, and one of those services, GagaOOLala, exists specifically to carry queer content across Asia. That is a structural advantage nobody else has.