The pregnant body in the cultural imagination has long been constructed in relation to taboos and cultural anxieties that deem it something to be kept private (Stensvold, 2015;Douglas, 1966;Hanson, 2004). In spite of this, since the 1990s, the pregnant body has been hypervisible in popular culture. From the naked photographs of Demi Moore for Vanity Fair in 1991 (Tyler, 2011) to contemporary discourses of the "yummy mummy" (Littler, 2013), the surveillant gaze to which women are subjected intensifies around the pregnant body. The tenor of this discourse varies depending upon the identity of the pregnant person in question, with the pregnant body that is celebrated typically being white, middle-/upper-class, heteronormative, cisgendered, feminine, and ablebodied and "Other" bodies being publicly castigated (Said, 1978;Ahmed, 2010). As Clare Hanson argues, pregnancy is "the mechanism by which society reproduces itself [and as such] is no means a private matter, but is peculiarly susceptible to social intervention and control" (2004, p. 6). In contemporary media cultures, pregnancy, and the bodies of pregnant people, are public property for scrutiny and judgement.Discourses around pregnancy are shaped by the way we treat women in the public eye as objects to be scrutinized (Holmes & Negra, 2011). As a public figure, Meghan Markle is already a site of intense "proliferation of discourse" (Yelin & Clancy, 2020, p.3), sparking discussions about her celebrity, race, gender, feminist agenda, royal credibility, and progressive political values. As a divorced, American, Catholic-raised woman of color, she disrupts the white-supremacist, nationalist, patriarchal norms that the British royal family relies upon (Clancy & Yelin, 2021). Since her wedding to Prince Harry in May 2018, she has been the sustained focus of coverage in media around the world, particularly in the UK tabloid media. Many of these pieces became increasingly critical, with racist and sexist abuse of Markle abounding across popular culture. These discourses only exacerbated when she announced her pregnancy with Archie Harrison Mountbatten-Windsor in October 2018, before she gave birth in May 2019.Markle exists at an intersection of maternity, race, celebrity, and royalty, which are all vectors of public judgement, opprobrium, and/or ownership. As this special issue will show, these vectors also maintain, reproduce, complicate, and contradict one another. As Markle is a woman of color at the heart of institutional colonial, white supremacist power, her pregnancy upturns the presumed whiteness of the British CONTACT Laura Clancy