This qualitative study uses queer theory and scholarship about the image of journalist in popular culture and the image of the public relations practitioner in American films to study the changes in the presentation of the gay PR practitioner in films from the era of the Production Code (1930 to 1967) through the present. Comparing film depictions of gay and queer PR characters reveals the extent to which film plots cater to the heterosexual “norm.” At the same time, plot devices such as the “temporary transvestite” and image consulting to teach someone how to be “more like a girl” or “more like a guy” play with the audience’s often unconscious non-heterosexual (i.e., queer) desires and imaginings