American media and popular culture reflect contradictory ideas about women's class membership. On the one hand, film and television expose us to more and more images of successful working women, as the great popularity of the current television shows Homeland (Showtime, 2011–), Scandal (ABC, 2012–), and How to Get Away with Murder (ABC, 2014–) testify; on the other hand, and not to be minimized, we are bombarded with images, particularly those aimed at adolescent girls, that equate women's sex appeal, and worth on the marriage market, with the whole of their worth. In many popular cultural fantasies, the route to riches for women—or at least the quickest path to class mobility—lies in cultivating their physical and sexual attractiveness, and their appeal to men, particularly marriageable men who can endow them with favorable market connections. The power of some of our most popular cultural symbols—Beyoncé, or American Idol stars Kelly Clarkson, Carrie Underwood, or Fantasia Barrino, for example, and indeed the ageless story of Cinderella, recently (2015) and periodically remade for film—repackage this fantasy for the present day. The proliferation of the many self-improvement reality television shows such as The Biggest Loser (NBC, 2004–), Extreme Weight Loss (ABC, 2011), or Gone Too Far (MTV, 2009) testifies to the continuing power of the fantasy that ordinary people can achieve extraordinary looks, attention, and often concomitant riches—the latter particularly for women who, by improving their looks, can attract a (preferably affluent, as well as handsome) Prince Charming. Specifically, the idea that any girl or woman with proper self-improvement techniques, regardless of the accidents of beauty or fortune, can attain the beauty and riches enjoyed by any princess remains a staple of many of the most popular women's magazines aimed at adolescent and young women.