An empathetic look at pregnancy denial and its consequences

Jessica Earnshaw's Baby Doe opens with a happy family playing a board game. Minutes into the film, the mother is questioned about a found dead baby - hers, according to new DNA technology. What follows is an empathetic, gut-wrenching exploration of pregnancy denial, secrecy, and justice.

Then-unidentified baby "Geauga's Child" died in 1993, nearly two decades before the arrest. The documentary follows Gail Ritchey's subsequent murder trial in a conservative rural town in Ohio. Described as quiet and deeply devoted to her family and community, Gail remains steadfast in her story: The baby made no sound, no movement. She did not know she was pregnant and she gave birth to a stillborn infant in a toilet. It's revealed she had previously given birth to another baby who did not survive. Whether disassociated, panicked, or in a compromised psychological state, the young woman disposed of the 1993 newborn baby in a garbage bag. Shortly after, she married Mark, the father of "all the children" and now she is a grandmother.

A jury of mostly men will decide her fate. Through expert interviews and heartbreaking courtroom footage, Baby Doe examines one woman's story within a broader pattern. Gail's attorney calls her defense "probably the most significant challenge I've ever faced."

Denial of Pregnancy (DoP), a proposed addition to the Diagnostic and Statistical Manual of Mental Disorders, is a psychological state researchers are beginning to understand. Common threads emerge: isolation, shame, secrecy, and young women forced to navigate crises alone or face brutal societal backlash. During the trial, Gail's judge calls her a monster. A corrections officer counters: "I've seen a lot of monsters. You are not one."

Gail never denies the occurrences, she simply has no recollection. She accepts the blame wholly, remorsefully, and her husband, Mark, acknowledges his role, "She was in a position that I put her in." The film underscores the importance of family communication, something Gail lacked.

The Ritcheys' devout Christianity anchors the story as a double-edged sword. Their Cowboy Church is a safe space and its small congregation serves as a pillar of support for both Gail and Mark. The pastor's wife says, "They're looking at her like a criminal instead of someone who was hopeless." And in stark contrast, abortion was a legal option, but it was strictly against her religious beliefs, as was premarital sex. Gail's mother said her late husband would have been "disappointed." Judgement leads to shame, and shame can create a cycle of self-doubt, fear, and isolation, leading to anxiety, poor self-expression, strained relationships, and mental health challenges.

Earnshaw's direction balances raw emotion with careful storytelling. A story this heartbreaking requires a delicate approach and, with more than 100 hours of footage amassed, editing is equally crucial - both are handled deftly here. The Ritchey case is one of deep agony that lingers long after the film ends. It is a tragedy from every angle.

Between the lines, Baby Doe is a plea for reform. In a similar case, the female judge called the defendant redeemable and reduced her sentence. The story of Geauga's Child also screams for more empathy, therapy, and resources for women. It demands more men fully share the burden of childbirth. It insists on more community compassion and support. The film doesn't offer answers, but it leaves a clear message: The American justice system must respect nuance. Gail's story is not an anomaly - it's real. This happens. And it will continue to happen without support and systemic change. There must be another way to seek justice for victims.