在串流平台重塑影視內容流通的時代，男男戀愛實境秀逐漸成為同志可見性（gay visibility）的重要再現場域。然而，現有同志媒體研究多集中於虛構BL文本，對真人參與的實境節目，以及平台在節目生產方面所扮演的角色，討論相對有限；對於即時、大樣本的閱聽人接收經驗，也缺乏系統性的分析。本研究即以酷兒影音串流平台GagaOOLala原創節目《男生男生配》為案例，探討男同志戀愛實境節目如何在串流平台邏輯下被建構，以及被納入何種消費框架。

本研究發現，男男戀愛實境秀的再現並非單純擴張同志族群的可見性，而是一個在串流平台運作下，逐步被收編至泛BL情感經濟的過程。原本可能更貼近男同志社群的「實境節目」，在市場定位的考量下，被調整為符合BL審美條件與情感鋪陳節奏的浪漫文本，使同志形象更貼近BL劇中常見的角色設定——年輕、討喜、具偶像氣質，既保有男性特質，又維持足以承載浪漫想像的外觀，以至於部分偏離了男同志所感知的社群真實。

方法上，本研究結合平台方訪談、文本分析，以及對YouTube與Dcard共2,758則公開留言所進行的詞頻分析與質性詮釋，並輔以17位閱聽人深度訪談資料。平台訪談揭示節目如何在數據思維與利基市場策略下被策劃與包裝；文本分析則指出節目在多元再現與審美篩選之間的運作邏輯；大樣本留言資料與訪談補充，呈現不同立場的閱聽人如何圍繞性別氣質、情感展演與真實性展開評價與協商。

本文指出該節目對男同志形象的再現，是一種選擇性的多元，情感再現則反映了在後同婚時代脈絡下，同志逐漸被吸納入婚家體制的浪漫愛劇本。陰柔氣質與自我揭露得以進入公共視野，但身體審美仍傾向符合BL式浪漫想像的框架。接收層面亦呈現差異：女性觀眾追逐甜蜜情節，將男男戀愛實境秀視為真人BL的延伸；男同志觀眾則傾向將節目與自身社群經驗對照，關注多元身體類型的缺席、內容的去性化及其與真實生活經驗的距離。這些觀看差異顯示，不同慾望結構得以在同一文本中並存。

透過整合平台研究、詞頻分析與閱聽人訪談資料，本研究補充了臺灣同志媒體研究對非虛構戀愛節目的討論，也提供了一個觀察情感經濟與泛BL文化如何在當代媒介環境中重新配置同志親密想像的具體案例。

In an era when streaming platforms are reshaping the circulation of audiovisual content, gay dating reality shows have emerged as an important site of gay visibility. Existing scholarship on queer media, however, has largely focused on fictional Boys’ Love (BL) texts, with relatively limited attention to reality-based programs featuring real participants or to the role platforms play in shaping production. Systematic analyses of large-scale, real-time audience reception remain scarce. Taking Boys Like Boys, an original production by the queer streaming platform GagaOOLala, as a case study, this research examines how gay dating reality shows are constructed within platform logics and the consumer frameworks into which they are incorporated.

This study argues that the representation of Taiwanese gay intimacy does not simply expand gay visibility. Rather, under the operations of streaming platforms, the genre is gradually absorbed into the affective economy of generalized BL. What might otherwise be more closely aligned with gay community practices is recalibrated, through market positioning, into a romantic text structured around BL aesthetics and emotional pacing. Participants are framed in ways that resemble familiar BL archetypes—youthful, appealing, and endowed with an idol-like quality—maintaining recognizable masculinity while retaining a visual softness capable of sustaining romantic fantasy. In doing so, the program partially diverges from forms of social reality as perceived within gay communities.

Methodologically, this study combines interviews with platform insiders, textual analysis, and a corpus-based examination of 2,758 public comments from YouTube and Dcard, integrating word-frequency analysis with qualitative interpretation. Seventeen in-depth audience interviews further supplement the dataset. Platform interviews reveal how the program was conceived and packaged under data-driven reasoning and niche-market strategies. Textual analysis identifies the tension between claims of diversity and aesthetic filtering. Audience comments and interviews demonstrate how viewers from different positionalities negotiate issues of gender expression, emotional performance, and authenticity.

The findings suggest that the program presents a form of selective diversity in its representation of gay communities, while its symbolic alignment with marriage reflects the incorporation of same-sex intimacy into heteronormative romantic scripts in the post-marriage-equality era. Feminine gender expression and confessional storytelling gain visibility, yet bodily aesthetics remain aligned with BL-inspired conventions. Audience reception diverges: female viewers pursue “sweet” romantic storylines and read the show as an extension of live-action BL, whereas gay viewers compare it with their own community experiences, noting the absence of diverse body types and the desexualization of intimacy. These differences reveal how distinct structures of desire coexist within the same text.

By integrating platform analysis, corpus-based audience data, and in-depth interviews, this study expands Taiwanese queer media scholarship beyond fictional BL texts and contributes to research on non-fiction dating programs. More broadly, it offers a concrete case for examining how affective economies and generalized BL culture reorganize imaginaries of gay intimacy within contemporary platform-mediated environments.

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