In an era where digital media converges with new technologies that allow for cropping, remixing, extracting, and pirating, a second life for traditional media appears via the internet and emerging platforms. Uploaded onto social media and video sites or clipped to accompany online ad campaigns, these paratexts often garner a larger viewing audience than their parent text, the feature film, and provide the metrics for corporate data collecting. Excavating a rich set of online materials through the practice of media archaeology, Noah A. Tsika explores the vibrant life of queer cinema beyond the multiplex in the complex, contentious, and libidinous pockets of the internet where these films and their fans thrive. By looking at corporate-driven, targeted media campaigns and the emergence of a "gay algorithm" on the one hand, and the specifically digital, "spreadable" uses gay men make of queer cinema on the other, Tsika shows how the internet s early and intense associations with gay male consumers (and vice versa) have not only survived the medium s dramatic global expansion but have also shaped a series of strategies for producing and consuming queer cinema."