This essay reckons with the representation of queer sexualities and modes of reading in Jonathan Lynn's Clue (US, 1985). The film, originally a box office flop that has become a cult classic, deploys the character of Mr. Green to concentrate and dispel its queer energies. Although he declares near the start that he is “a homosexual,” Green's sexuality is evacuated from the mystery narrative in a way that no other character's is. Drawing on the insights of queer theory and fan studies from Eve Kosofsky Sedgwick to Juno Jill Richards, the essay argues that Clue is structured by its anxious, phobic reaction to Green's sexuality; that it both depicts and provokes paranoid queer readings; and that the movie's future depends on the imaginative re‐creations and re‐queerings of the modern fan culture that has sprung up around it.

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