Due to mainland China’s State Administration of Press, Publication, Radio, Film, and Televi- sion (SAPPRFT)’s restrictions regarding portrayals of same-gender attraction in media, cre- ators who still wish to portray queer relationships must find ways to do so within the confines of strict yet vague censorship rules by relying on numerous queercoding techniques. This the- sis’ primary focus is queercoding within live-action series (also commonly referred to as dra- mas), specifically those that are based on webnovels within the dānměi (BL) genre, with the aim to showcase how interaction rituals are used as a form of queercoding. To accomplish this, I have carried out a narrative discourse analysis, using arguably the most popular dānměi drama in both mainland China and internationally, 陈情令 (Chén Qíng Lìng) The Untamed (2019), as a case study (examples from other series are also noted where relevant). The most attention has been paid to interaction rituals played out between the series’ protagonists, though those occurring between the creator and audience, such as the use of non-diegetic mu- sic and literary references, are briefly touched on as well. The analyzed rituals include the use of different names (名 míng, 字 zì, and 号 hào) and titles; the importance of food and drink; the use of the term 知己 zhījǐ (“the one who knows me”); forms of physical intimacy that are permitted within the confines of censorship; and the diegetic use of music, specifically the series’ theme song.