The Woman Who Killed Her Children – and Became the Victim
Lindsay Clancy admitted killing her three children. Yet women defend her online, conspiracy theories claim her innocence, and a GoFundMe for her parents has raised almost $1m.
Lindsay Clancy appears at Plymouth Superior Court on 18 August 2026, more than three years after the deaths of her three children. Photo: John Tlumacki/The Boston Globe via Getty Images
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Lindsay Clancy killed her three young children in January 2023 before attempting suicide by jumping from a second-story window, leaving her paralyzed from the waist down.
She has admitted killing the children but argues that postpartum psychosis meant she was not criminally responsible. Prosecutors contend that her actions were deliberate, arguing that she sent her husband out on errands before killing the children.
The case presents genuine and difficult questions about the boundary between mental illness and moral agency. Postpartum psychosis is a severe psychiatric condition and cannot simply be dismissed as an excuse invented after the fact. Yet neither does the existence of mental illness automatically absolve her of any guilt. That is precisely what the jury is being asked to determine.
What is perhaps more revealing is the public reaction. Testimony that Clancy had previously been a loving and attentive mother has become part of the discussion surrounding the case. Her former nanny, for example, described her as a “wonderful mother” who loved her children.
Social media has gone further. Despite Clancy admitting that she killed her children, online theories have portrayed her as entirely innocent and even suggested that her former husband secretly committed the murders and framed her. Yet surveillance footage and phone records reportedly corroborate that Patrick Clancy was not at home when the killings occurred.
That sympathy has extended beyond words. A GoFundMe campaign for Clancy's parents has so far raised more than $950,000, a striking measure of the public support that has gathered around her.
More disturbing still are social-media videos in which women express solidarity with Clancy and search for reasons that absolve her. The impulse is revealing. Rather than beginning with the three murdered children and asking what might explain their mother’s actions, the discussion begins with the mother as a victim and works backward to find a way to justify that.
There is nothing wrong with trying to understand the role of postpartum psychosis. Yet faced with a horrifying act, some observers seem unable to accept that a person could be a loving mother, mentally ill and still culpable for killing her children. Instead, they search for an explanation that can transform the perpetrator into a victim. The same impulse can be seen more widely in popular culture, such as in children's films that recast the villains of older classics as misunderstood figures or even the real heroes.
Where Did This Come from?
Disney's Maleficent is perhaps the clearest popular example of a fictional character being twisted to suit modern sensibilities. In the 1959 Sleeping Beauty, Maleficent is an evil fairy who curses an innocent child. The 2014 film instead gives her a tragic origin story. She begins as a good person, is betrayed and mutilated by Prince Stefan and then becomes cruel through trauma and revenge. Yet the film does not eliminate evil. It relocates it. Stefan becomes the real villain, so that Maleficent can be redeemed. That has an interesting parallel with the Clancy case, where some chose to blame the husband.
The intellectual roots of this development go back much further than Maleficent. Classical tragedy already asked audiences to understand people who commit terrible acts. Macbeth is not less guilty because we understand his ambition, fear and deteriorating mental state. Dostoevsky goes even further into the psychology of wrongdoing in Crime and Punishment. However, these works explain evil without necessarily explaining it away.
The modern phenomenon of retelling stories from the villain's perspective began in the mid-20th century. Jean Rhys's Wide Sargasso Sea retold the story of the supposedly mad woman in Jane Eyre, while John Gardner's Grendel gave the monster of Beowulf his own consciousness. This reflected a broader intellectual shift toward asking who gets to tell the story, whose perspective has been excluded and whether the person called a monster by the hero necessarily is one.
These changing attitudes toward villains coincided with the broader moral and sexual revolution of the 1960s, which challenged inherited assumptions about authority, punishment, deviance and culpability. Conduct that earlier generations had been more willing to describe in moral terms was increasingly examined through psychology, sociology and the influence of the environment: not simply what someone had done, but what forces had made him do it.
The same intellectual current was visible in American criminal justice, where the rehabilitative ideal encouraged judges, prison officials and parole boards to look beyond the offense toward the offender's psychology, upbringing and social circumstances. Criminals could be understood as products of deprivation, abuse, addiction, mental illness or dysfunctional environments rather than as autonomous moral individuals making their own choices.
The rehabilitation model eventually provoked a powerful backlash from the 1970s onward, as rising crime and disillusionment with rehabilitation helped produce determinate sentencing, mandatory minimums and a renewed emphasis on punishment in the US.
When Empathy Collides with Judgment
Yet the punitive backlash did not entirely reverse the deeper cultural change. The idea that wrongdoing should be understood through the circumstances of the wrongdoer had already become embedded far beyond sentencing policy. The criminal appeared not simply as the author of suffering but as someone whose own suffering had first made him what he was.
That shift has a moral cost. Circumstances matter: insanity can reduce culpability, coercion can diminish it and different crimes deserve different punishments. But there is a difference between recognizing genuine limits on culpability and developing a moral framework in which every act becomes intelligible primarily through the wounds of the person who committed it.
This is where criminal justice reform connects to the broader cultural rehabilitation of the villain, in this case Lindsay Clancy. Both reflect a movement of attention from the victims toward the perpetrator and from the act toward the circumstances that preceded it. The question “What did she do?” gives way increasingly to “What happened to him or her?”
The moral reflex appears in this case in its most uncomfortable form. What led Clancy to that awful day is something which should be discussed. But when it begins to displace the fact that she strangled her three young defenseless children, then it moves from understanding to excusing.
