Despite the growth of cultural gerontology this century, relatively few gerontologists have interrogated their own experiences of ageing through a critical reflexive lens. This paper seeks to address this lack of attention by discussing some findings of the Ageing of British Gerontology project: a two-year (2015–2017) Leverhulme-funded study focused on identifying key developments and changes in gerontological research, theory, policy and practice in Britain since the founding of the British Society of Social and Behavioural Gerontology (now the British Society of Gerontology) in 1971. As part of our mixed-method study, we undertook 50 in-depth biographical interviews with ‘senior’ or retired individuals who have played a key role in the creation and development of gerontology in Britain. As well as focusing more widely on gerontological developments, we asked participants about the relationship between their professional insights into ageing and their personal experiences of ageing – both their own and that of loved ones. In this paper, we discuss the findings in relation to five key themes: health, illness and mortality; close personal relationships; work relationships; challenging ageism; and ageing selves. We found evidence that participants often drew upon their personal experiences of ageing in a range of contexts, including teaching and research. There were also numerous examples of professional insights informing personal decision-making, especially in relation to care of loved ones, though the emotionally challenging aspects of this emphasised the limitations of professional insights. Ultimately, we argue that the distinction between the personal and the professional is something of a false dichotomy, and there is often a complex interplay between the two aspects.

The radical demographic change produced by the ageing population in the Western world has entailed a complete transformation of its popular culture. The cinema is one of the popular arts to have been especially affected by the so-called ‘longevity revolution’. In fact, an important part of Hollywood celebrity culture and the mainstream film audiences belong to the same ageing demographic. The increasing necessity to tell and consume stories of ageing for the big screen is not only reflected in the growing number of films that feature older characters in their lead roles, but also in the changes produced in the cinematic narratives themselves. Film scholars within the inter-disciplinary field of cultural gerontology have started to address this phenomenon from various perspectives. Building on from their critical consideration, this article focuses on the particular case of Michael Radford's Elsa & Fred, a contemporary film released in 2014 that, paradoxically enough, helps renovate the youth-oriented genre of the romantic comedy through a ‘silvering’ romance. Taking into account contemporary manifestations of the romantic comedy genre, the essay proves that Radford's comedy contributes to the development of the ‘gerontocom’ as a new sub-genre in which old age is central to the protagonists’ characterisations and storylines. By considering the interaction of the generic rules of the genre with the hyper-visibility of the protagonists’ agedness, this article also shows the ways in which the film overcomes polarised views of ageing and enhances the figures’ own process of becoming in the last stage of their lives.