Just what is it about fame that so alienates women? or, why is it that famous women often speak of their experience of celebrity as something that is ultimately lonely and a shabby substitute for love? And why are these statements of loneliness in celebrity attenuated for mothers? Whether it is a famous American author of the nineteenth century and mother of seven, Harriet Beecher Stowe; an iconic and volatile star of the mid–twentieth century and mother of three, Judy Garland; or a twenty-first-century reality celebrity and mother of eight, Kate Gosselin, these women suggest that the experiences of fame are isolating and ultimately unsatisfying. To paraphrase Stowe, it is not fame and celebrity that satisfies the heart of the female star; it is the old-fashioned comforts of love. Their combined comments are thus a corrective to fans' implied perception of famous people as happy, when, indeed, their celebrity seems to have alienated them from love. Whether the female celebrity seeks romantic or familial love is not clear, and we would do well to realize that the abstract palliative is actually a culturally imagined comfort that probably has little to do with either these women in particular or stardom more broadly. But the consistent remarks about fame as a condition of loneliness establish a discursive imperative that the famous woman speak of longing for affective completion, in turn suggesting that public ardor cannot satisfy the woman's heart. In other words, fame cannot replace love.