Abstract:  This article examines how Chinese bromance dramas produce and circulate homo-desire under a regime of moral censorship. Existing commentary often treats bromance as a strategic substitute for boys’ love (BL): a compromised form that compensates for the absence of explicit same-sex romance. Challenging this assumption, we draw on Deleuze and Guattari’s concept of desiring-production to argue that bromance is not defined by what it cannot show, but by what it actively generates through aesthetic form and participatory spectatorship. Focusing on Justice in the Dark (Guangyuan, 2023), we combine textual analysis with online observation of viewer discussions, screenshots, and fan edits on RedNote. We identify two interlocking mechanisms through which homo-desire becomes legible without explicit naming. First, a widely cited “sense of atmosphere” (fenwei gan) emerges through viewers’ capture and interpretation of lighting, touch, objects, and eye-acting, by means of which forms of male–male intimacy “taken away” by moral censorship are re-produced and made desirable precisely because of their unspoken mutuality. Second, viewers’ reinterpretations of the character Luo Wenzhou, remaking an authoritative police figure into an erotically appealing beagle-husband, queering state-aligned masculinity. By reframing bromance as a productive genre rather than a deficient substitute for BL, this article contributes to debates on censorship, queer visibility, and the politics of spectatorship in contemporary Chinese screen culture.

Keywords:  boys’ love; censorship; Chinese bromance; dangai; desire

Published:   7 May 2026

Issue:   Vol 14 (2026): Gender Politics and Moral Norms Across Media (In Progress)