relying on sexualization, and the superficial (apparent) effects of aging on their body are presented as something to be hidden. They continue to be defined mainly by their appearance. In gossip culture, the older female body is represented in largely negative terms unless it has been modified "correctly" by cosmetic surgery. Aging female celebrities have become one of the mainstays of gossip magazines and blogs, which endorse a culture of consumption in which cosmetic technologies and procedures are not questioned but in which female celebrities who have used them are either figured as glamorous for getting it right or as monstrous for going too far. Another consequence of portraying aging women in the media, is that in most TV shows, actresses who are playing characters in their 40s and 50s tend to have younger appearing body types. This has led to critiques that these representations are first and foremost framed in terms of how well older actresses are managing their aging bodies. Midlife women have grown accustomed to seeing their age group portrayed in a seemingly unrealistic way, and this had led to an increase of eating disorders and negative body image among this group. In one court case in 2011, English television actress Miriam O'Reilly successfully sued the BBC for age discrimination after being dropped from a show. It was claimed that she had been told to be careful about her wrinkles and to consider Botox and dyeing her hair. The commercial potential of older consumers is becoming more significant (an increased 'active lifespan', the baby boom generation entering retirement, retirement ages that are raising). A multiplication of images of successful aging are explicitly tied to consumerism by the anti-ageing industry and older female celebrities advertising their products. Examples abound: Sharon Stone for Christian Dior, Catherine Zeta-Jones for Elizabeth Arden, Diane Keaton and Julianna Margulies for L'Oreal, Christy Turlington for Maybelline, Ellen DeGeneres for CoverGirl, etc. These advertisements are paradoxical in that they allow older celebrities to remain visible while encouraging an ageist and sexist culture in which women are valued for their appearance. Baby boomers are an increasingly important audience group for the cinema industry, resulting in more and new kinds of stories with older protagonists. Romantic comedies in which women protagonists take on the romantic heroine role provide one of the few spaces in popular culture showing appealing representations of older women, such as I Could Never