It's All in the Delivery

How changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward womens reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Balls real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Browns controversial single motherhood; Arnold Schwarzeneggers pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and 70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichs, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural womens work, misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US.