A Little Horror To Brighten Up Your COVID-19 Crisis

Sophia Lillis stars in the Netflix series “I Am Not Okay with This.” Photo courtesy of Netflix

Let’s face it, this is a terrifying time: We are living in quarantine and trying to avoid infection from a potentially fatal disease.
Counter-intuitively, this might be the perfect time to check out two horror offerings from Netflix.
Some psychologists believe that watching horror can soothe viewers. There are many theories as to why, but one seems to be that watching terrifying events onscreen assures us that we’re not alone, and helps us to externalize our inner fears.
‘You’ brings horror and love
“You,” a series now being offered exclusively on Netflix is … well, it’s a romantic tale about a serial killer.
Actor Penn Badgley plays Joe Goldberg, who finds a new woman to obsess over each season and woe to anyone who gets in they way of his romantic pursuits. Think of it as “Dexter” meets “The Philadelphia Story.”
Joe is a New York bookstore owner who we come to sympathize with thanks to flashbacks to his childhood traumas and his own interior monologues. It also helps that his victims are pretty loathsome.
And, frankly, his unconditional commitment to the objects of his affection is endearing.
As you might expect, these are not traditional love stories — although critics of the show have said Joe is a traditionally manipulative narcissist and that the series is just a Bluebeard tale of cruelty and misogyny updated for the 21st century.
I think it’s better than that, with layers of complexity added in alongside references to film classics (notably “The Philadelphia Story” — a clip from the film is even added in to one episode in season two).
So where’s the horror? Well, try this. In season two, Joe is on the run from a revenge-seeking ex-girlfriend named Candace. He takes on a new identity that leads him to L.A., where he kidnaps a man named Will Bettelheim and assumes his identity. (Implausibly, Will is kept alive in a glass cage in a storage unit.)
Trouble is, the real Will owes some bad men a lot of money.Complications ensue. Joe does good things (such as defending his neighbor’s increasingly imperiled young sister). He falls in love with a chef/heiress named Love Quinn (played with star-making intensity by Victoria Pedretti from “The Haunting of Hill House”). There is a pinky-chopping Mafioso. The gore factor rises, with appendages being taken hostage and body parts being fed through a meat grinder.
Strong, grounded performances make season two’s increasingly outrageous plot twists credible.
‘I Am Not Okay with This’
Elsewhere on Netflix, 17-year-old Syd Novak is suffering from the usual adolescent woes: acne, unrequited love, crazy hormones.
One thing that sets her apart from her high school peers: She is learning to destroy and kill with her mind.
“I Am Not Okay with This” is a “Carrie”-like drama released in late February on Netflix. It is based on a 2018 graphic novel by Charles Forsman (who was the creator of “The End of the F***ing World,” which was also made into a television series).
Syd (played by Sophia Lillis) is a self-described “boring, 17-year-old white girl” who is in love with her best friend, Dina (Sofia Bryant). Unfortunately, Dina is dating golden boy Bradley Lewis (Richard Ellis). Eccentric neighbor Stanley Barber (Wyatt Oleff) is enlisted both as a heterosexual foil to match Dina’s dating and later as a hapless but charming mentor to Syd and the budding superpowers she has to learn to control.
Syd’s telekinesis is connected with rage and desire. There is also a mysterious presence that follows Syd, and that fades into black mist when anyone tries to look at it.
The producers of the Netflix hit “Stranger Things” were on board in the creation of this series, which will interest comic book fans with its superhero origin story; and which will appeal to film fans through rich cinematic moments that borrow from teen classics such as “Pretty in Pink,” “Heathers,” “The Breakfast Club” and, of course, “Carrie.”
The narrative is compelling; the characters are well-developed and are played with strength, energy and commitment by the show’s young actors. The series also serves as a mini-reunion between Lillis and Oleff, who appeared in the horror films “It” and “It Chapter Two.”
Mind-bending scenes aside, the show is also about friendship and surviving bad times. In seven episodes that approach a half-hour each, one can easily watch the “I Am Not Okay with This” in one sitting. It offers a brief but fruitful escape from the horrors of our outside world.
NF Ambery is an award-winning newspaper and magazine reporter published in Genre, The New London Day, The Register Citizen, The Hartford Courant and New York Family (where he was an editor).
Millerton News
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The Salisbury Association’s Land Trust seeks part-time Land Steward: Responsibilities include monitoring easements and preserves, filing monitoring reports, documenting and reporting violations or encroachments, and recruiting and supervising volunteer monitors. The Steward will also execute preserve and trail stewardship according to Management Plans and manage contractor activity. Up to 10 hours per week, compensation commensurate with experience. Further details and requirements are available on request. To apply: Send cover letter, resume, and references to info@salisburyassociation.org. The Salisbury Association is an equal opportunity employer.
Gardeners needed for native plant design business: March 15- December 1st. Must be physically fit and dependable. Call for interview 347-496-5168. Resume and references needed.
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Millerton News

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Dee Salomon
Fireweed attracts the fabulous hummingbird sphinx moth.
You must figure that, as rough as the cold weather has been for us, it’s worse for wildlife. Here, by the banks of the Housatonic, flocks of dark-eyed juncos, song sparrows, tufted titmice and black-capped chickadees have taken up residence in the boxwood — presumably because of its proximity to the breakfast bar. I no longer have a bird feeder after bears destroyed two versions and simply throw chili-flavored birdseed onto the snow twice a day. The tiny creatures from the boxwood are joined by blue jays, cardinals and a solitary flicker.
These birds will soon enough be nesting, and their babies will require a nonstop diet of caterpillars. This source of soft-bodied protein makes up more than 90 percent of native bird chicks’ diets, with each clutch consuming between 6,000 and 9,000 caterpillars before they fledge. That means we need a lot of caterpillars if we want our bird population to survive.
So how do we ensure that there are sufficient caterpillars for them? That is the question, as caterpillars are very particular. Their butterfly or moth mothers cleverly attach their eggs to the very specific plants their tiny babies require. Once they hatch, the caterpillars eat the leaves of these plants until they are either picked off by birds to feed their young or create a chrysalis and turn into a moth or butterfly to repeat the cycle of life.
Some caterpillars are generalists and can survive on a variety of plants, but most — 90 percent, according to scientists — are specialists, relying on only one or two types of plants for survival. In their winged form, dietary restrictions ease as they source pollen more widely, but when it comes time to lay eggs, they use a keen sense of smell to find the specific plants that will help their young survive.
Research by Doug Tallamy shows that 90 percent of butterfly and moth species rely on just 14 percent of native plant species for food, which makes the planting of these “keystone” plants critical. Let’s review a few.
Goldenrod: Not all goldenrod is created equal. Old field goldenrod, (Solidago nemoralis), is a shorter and less aggressive alternative to the tall, aggressive goldenrod we are familiar with, as is wrinkleleaf goldenrod, (Solidago rugosa), a compact species that has arching sprays of bright yellow flowers supporting more than 100 species of insects. This species is deer-resistant with no serious pests or diseases. Last year, Mt. Cuba Center, a conservation center out of Delaware, focused its trials on goldenrod, and its research report, available online, is sortable not just by aesthetic attributes but also by the number of insects seen on each species.
Scarlet strawberry: (Fragaria virginiana), is one of the plants I have had great luck growing in the woodland. When there is a new sunny spot, which happens when a tree or large branch falls, I plant a few strawberries, which I dig out of a spot where they are thriving. These plants make a great groundcover and are especially nice used under trees for caterpillar “soft landings.”
Spotted Joe-Pye weed: We see this plant, (Eutrochium maculatum), on roadsides in late summer, but it looks as sharp as an ornamental in the hands of Michael Trapp, who, in the garden behind his shop in West Cornwall, encloses a bed of Joe-Pye weed with a short boxwood hedge, dignifying this plant that supports between 35 to 40 caterpillar species, including those that become the three-lined flower moth, Clymene moth, ruby tiger moth, Eupatorium borer moth and great spangled fritillary moth.
I am less familiar with fireweed, (Chamaenerion angustifolium), but will be adding it this year, as it may be the prettiest of the keystone plants in our region and attracts the fabulous hummingbird sphinx moth. I will let you know when I find a local nursery that stocks it and, when planted, how it fares here.
Also keep in mind this spring: smooth aster, (Symphyotrichum laeve); white yarrow, (Achillea millefolium); and the beautiful Canadian columbine, (Aquilegia canadensis), which is the first food for hummingbirds’ arrival in the Northwest Corner.
Dee Salomon ‘ungardens’ in Litchfield County.
Robin Roraback
Stephanie Haboush Plunkett
"The field of illustration is very close to my heart"
— Stephanie Plunkett
For more than three decades, Stephanie Haboush Plunkett has worked to elevate illustration as a serious art form. As chief curator and Rockwell Center director at the Norman Rockwell Museum in Stockbridge, Massachusetts, she has helped bring national and international attention to an art form long dismissed as merely commercial.
Her commitment to illustration is deeply personal. Plunkett grew up watching her father, Joseph Haboush, an illustrator and graphic designer, work late into the night in his home studio creating art and hand-lettered logos for package designs, toys and licensed-character products for the Walt Disney Co. and other clients.
“The field of illustration is very close to my heart,” she said. Inspired by that example, she studied illustration at Pratt Institute and began her career as an illustrator before shifting toward museum work. An internship at the Brooklyn Museum proved pivotal. “It was inspiring to see the children come alive in front of art,” she recalled.
In addition to her curatorial work, Plunkett is the author of two children’s books, “Kongi and Potgi: A Cinderella Story from China” and “Sir Whong and the Golden Pig,” and has written or co-authored numerous books on illustration, including “Drawing Lessons from the Famous Artists School” and “Leo Lionni: Storyteller, Illustrator, Designer.” She earned an MFA from the School of Visual Arts and built a museum career that included positions at the Brooklyn Museum, the Brooklyn Children’s Museum and the Heckscher Museum of Art before joining the Norman Rockwell Museum, where she has worked for 31 years.
But elevating illustration has meant challenging decades of critical skepticism.
“The goal has been to shine a light on this important American art form and to elevate public awareness of its artistic and cultural importance,”Plunkett said.
As a popular and widely circulated art, illustration is sometimes thought of as inferior to fine art, such as painting and sculpture. Plunkett considered why. She theorized that the 1913 New York Armory Show, the International Exhibition of Modern Art, with works by artists such as Picasso, Matisse and Duchamp, initially contributed to this evaluation. In the 1930s and ’40s, abstract expressionism became the art of the nation, and the rift widened further.
“Norman Rockwell became the antihero for many art critics of the time,” said Plunkett. “Illustration was viewed as too commercial and sentimental because of its emphasis on visual storytelling.”
Plunkett calls illustration “art with a job to do.” She explained, “Illustrators are adept at solving visual problems for their clients while expressing their own aesthetic and artistic vision.”

She noted that the line between the fine and applied arts “is much more porous now, with many artists working across platforms and styles.” She cited late-20th-century illustrators like Marshall Arisman, Barbara Nessim, Robert Cunningham, Bernie Fuchs and Mark English as illustrators who forged unique approaches to working and seeing.
Plunkett commented that people want to see the original illustrations. “Generally, Rockwell exhibitions bring high attendance. Currently, our traveling exhibition, ‘Norman Rockwell: From Camera to Canvas,’ is at the New Britain Museum of American Art, but we’ve traveled Rockwell and illustration to 45 states and several countries, including Japan, France, Italy and Germany.”
Nowadays, illustrators take on subjects that are important to them. “The children’s book industry is committed to sharing the richness and diversity of people and cultures with young readers.” Plunkett cited the late illustrator Jerry Pinkney’s commitment to this goal. As a boy, Pinkney found no books portraying children like him, and “his life’s mission as an artist was to present inspiring, positive images of children of color.”
The Norman Rockwell Museum and Rockwell Center seeds were sown when “Rockwell placed the first 199 artworks in the care and collection of the Norman Rockwell Museum upon its founding in 1969, some of which he personally acquired for the fledgling collection,” said Plunkett. “The museum’s current Rockwell holdings include 865 original artworks, the artist’s Stockbridge studio and an archive of 400,000 photographs, letters, props and first uses of the artist’s work. We also hold about 25,000 illustrations by other artists, from the historical to the contemporary.”
“We call ourselves the home for American illustration. We have a real commitment to illustrators and what they’ve accomplished,” said Plunkett.
The Norman Rockwell Museum is located at 9 Glendale Road, Stockbridge. For more information and to purchase tickets, visit
nrm.org
Brian Gersten
Craig Davis, co-founder and board chair of East Mountain House, an end-of-life care facility in Lakeville, will sponsor a March 5 screening of the documentary “Come See Me in the Good Light” at The Moviehouse in Millerton, followed by a discussion with attendees.
The film, which is nominated for best documentary at this year’s Academy Awards, follows the poet Andrea Gibson and their partner Megan Falley as they are suddenly and unimaginably forced to navigate a terminal illness. The free screening invites audiences to gather not just for a film but for reflection on mortality, healing, connection and the ways communities support one another through difficult life transitions.
East Mountain House grew out of a realization that “there are so many issues with how we are taking care of our dying in our community,” said David. “We wanted to provide a solution for some people where they can die in a serene and calming home-like setting.” This compassionate approach at East Mountain House is carried out with the support of seven staff members and 42 volunteers who do everything from reading to residents, gardening, cooking, communicating with family members and assisting with therapeutic treatments. East Mountain House houses just two residents at a time, and staff and volunteers work around the clock to accommodate their needs.
In a culture where we are trained to panic when a loved one is dying, and where a clinical space like a hospital is the norm for many individuals at the end of their lives, Davis feels that East Mountain House is an alternative with a natural and organic approach to death. It’s a place where death can be celebrated and viewed as something that is simply a part of life. Davis’ vision for East Mountain House is more than a decade in the making, and he is eager to introduce his work and his perspective to locals at the upcoming community screening.
One of the reasons Davis was interested in sponsoring a screening of “Come See Me In The Good Light” was because the film gracefully explores themes of vulnerability, resilience and the search for meaning in the face of death. Through its deeply personal storytelling, the film highlights how people navigate loss, transformation and the desire to be seen for who they truly are. The documentary’s emphasis on compassion and human connection aligns closely with the mission of East Mountain House, making the post-film discussion a natural extension of the evening.
Davis hopes the event will serve as both a cultural offering and a community touchstone — an opportunity for neighbors to gather in a welcoming space, share ideas and reflect on the importance of end-of-life support systems. The screening is free and open to the public, though advance registration is recommended due to limited seating.
For registration, go to themoviehouse.net.

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