The endings of Ernst Lubitsch’s Weimar comedies seek an abrupt restoration of the social order that the queer plots leading up to them disrupted. Scholarship on slapstick would say that this is part and parcel of the ruse of the genre, which has to provide some stability for viewers to maintain levity. In my analysis, I will draw on queer feminist discourse on affect to foreground the endings not as stabilizing but as strategically misplaced features of Lubitsch comedies. This gesture will serve as foundation upon which I aim to theorize how the endings’ sudden appearance constitutes the aesthetic rupture that elicits suspicion from viewers. The endings, in my reading, do not suppress slapstick’s liberatory potential as codified in the anarchic plots of Lubitsch’s Weimar comedies but emerge as a recognizably dubious attempt to suppress it. As such, Lubitsch’s endings occasion viewers to train their eyebrow raises and squints in a fashion that leaves them prone to suspicion when they face readymade explanations for normative social configurations around them.