AI-edited same-sex wedding in 'Together' draws backlash in China

An AI-driven alteration of a same-sex wedding scene in the horror film Together has sparked outrage in China after a local distributor edited the scene to make the couple appear straight for the Chinese release. The film, which stars real-life couple Dave Franco and Alison Brie, follows a couple who begin physically melding together after moving to the countryside to work on their relationship. After earning critical acclaim in the United States, Together received a limited release in China beginning Sept. 12, but the edition shown to Chinese audiences drew swift condemnation from viewers and advocacy groups alike.

Social media posts from viewers and commentators drew attention to the altered wedding scene. Taiwanese commentator Angelica Oung highlighted the change and questioned the motive behind the edit, writing that the film had “a gay couple in a peripheral role … magicked into a straight couple in the Chinese edition,” and noting that the change might affect the film’s coherence. She also raised questions about the absence of a formal age rating in China and whether a rating might have preserved the original pairing. Oung’s posts helped catalyze a broader discussion about why a foreign title would be edited to erase LGBTQ representation.

The global distributor Neon criticized the local edit and attributed it to an unauthorized move by the Chinese distributor, Hishow. In a statement provided to Deadline, Neon said it does not approve of Hishow’s alteration and demanded that the distributor cease distributing the modified version. The incident rapidly became a flashpoint in debates over who controls content when films are released overseas and how censorship can affect storytelling.

The controversy helped precipitate the film’s withdrawal from a broader Chinese release, with pro-gay groups and other observers urging authorities not to permit edits that erase LGBTQ representation. The Guardian reported that Together’s wider China rollout was halted in response to the backlash.

China’s approach to LGBTQ content in cinema has long been intertwined with broader censorship practices. Homosexuality was decriminalized in 1997, yet LGBTQ topics remain sensitive in Chinese society, and filmmakers have faced pressure to modify or omit queer content for domestic audiences. A look at past censorship episodes illustrates the broader tension: Bohemian Rhapsody, the Queen biopic, encountered significant editorial changes before release in China to remove or minimize depictions of Freddie Mercury’s sexuality; Men in Black 3 altered a scene involving aliens disguised as Chinese workers to avoid potential political sensitivities; and Pirates of the Caribbean: At World’s End underwent edits that trimmed or removed portions featuring Captain Sao Feng after officials argued the portrayal could defame or misrepresent the nation. In some cases, more extensive cuts followed, complicating the public’s ability to see the film as originally intended.

Industry observers have also cited individual disputes with regulators over symbolic imagery. Sony Pictures reportedly rejected the Chinese government’s demand to remove scenes featuring the Statue of Liberty from Spider-Man: No Way Home, choosing instead to minimize the imagery in other ways when a release date was being negotiated. In 2016, Chinese regulators issued guidelines for television that discouraged gay storylines and other “immoral” content, signaling the ongoing difficulty of portraying LGBTQ life in entertainment intended for domestic audiences.

As cultural and entertainment markets continue to globalize, the case around Together highlights the fragile balance between access to cinemas abroad and fidelity to original storytelling. Critics argue that edits driven by censorship concerns can distort character dynamics and undermine the film’s thematic intentions, while supporters say that content must align with local norms and regulatory expectations. The dispute has raised questions about accountability in international distribution chains and whether studios should negotiate more transparent guidelines with local partners before theatrical releases.

For audiences and industry watchers, the incident underscores a broader conversation about representation in cinema, the role of AI tools in post-production, and the evolving landscape of cross-border film distribution. As China’s regulatory environment remains complex, the path forward for foreign films may depend on clearer expectations, robust dialogue among distributors, and a greater commitment to preserving authorial intent while navigating local sensitivities. The Culture & Entertainment beat will continue to monitor developments as officials, studios, and advocacy groups weigh the implications for LGBTQ representation and global release strategies.