
An adaptation of Jon Krakauer’s 2003 book, “Under the Banner of Heaven,” on Hulu, uses the murder of a woman and her daughter as a means to examine the Church of Jesus Christ of Latter-day Saints. Photo from IMDB
In 1984, Brenda Lafferty, a member of the Church of Jesus Christ of Latter-day Saints (LDS) in American Fork, Utah, and her 15-month-old daughter, Erica, were brutally murdered with a 10-inch boning knife. Her husband, Allen Lafferty, found their bodies and reported the crime to the police.
Author Jon Krakauer wrote about the murder in his 2003 nonfiction book, “Under the Banner of Heaven.”
Krakauer begins with an examination of the Lafferty family, who are like “the Kennedys of Utah.” The facade of their perfect Mormon family radically unravels as the narrative progresses.
The shift starts with pushback against tax laws and grows to the point where the Lafferty brothers create their own laws, using Mormon fundamental beliefs to buttress their actions.
They carry out and justify the murder of the mother and daughter as blood atonement — the fundamentalist belief calling for the murder of a sinner.
Hulu adapted Krakauer’s novel into a television series of the same name, which was released April 28. The show’s writer, Dustin Lance Black, grew up in the Church of Jesus Christ of Latter-day Saints. About three decades ago, he left the faith and came out as gay, a courageous decision to make in a community that is known for homophobia.
Black (who also wrote the Oscar-winning film “Milk”) introduces a fictional character to the story: Jeb Pyre, a devout LDS member and the lead policeman investigating the small-town double murder.
Krakauer uses the deaths of mother and daughter as a portal to an examination of the culture of Mormonism and the Church of Jesus Christ of Latter-day Saints.
In this new filmed version, Pyre (played by Andrew Garfield) pieces through the mystery and uncovers hidden hypocrisies in the religion and community he grew up in. He struggles to keep his faith, and to find justice for Brenda and Erica at the same time.
At the beginning of the series, Pyre is fully devout, calling other members of his church “brother” and “sister” with a gentle tone and praying with his daughters, wife and mother. The opening scene shows him outside on his carefully tended front lawn, playing with his two daughters outside a suburban house glowing in the early evening light.
The Mormon faith is complex, and controls its members even to the foods they eat. Coffee, alcohol and chocolate are considered unhealthy, and are forbidden. To eat at McDonald’s verges on committing a sin.
Pyre’s morality and devotion seem unbreakable — but with a goofy smile he bashfully accepts a French fry from his atheist police partner, Bill Taba (played by Gil Birmingham, star of the popular show “Yellowstone”).
Pyre and Taba begin their investigation of the murder with Allen Lafferty, who shares details of Mormon history and memories of his apparently picture-perfect family. But the dark edges of the family’s life begin to show as Lafferty reveals the deep sexism that forms the foundation of a religion in which equality between sexes is impossible because of the stringent patriarchal system.
Allen reveals that his wife disapproved of some accepted behavior in their community, ranging from sexism to polygamy and incest. She had been encouraged in these beliefs by her father, James Wright, a Mormon bishop with a more modern belief system.
In one scene, Wright pushes a bar of chocolate toward his son-in-law. Lafferty initially rejects it, trained by his religion to be disgusted by it … but then he takes a bite, and agrees it is delicious.
But there are more factors at play with Lafferty’s rigid observance of Mormon rules. And like other characters who struggle with battling extremes in the religion, it’s tremendously trying for him to take a lesson in chocolate as a reason to step back from his brothers’ rambling, traditionalist motives.
“Under the Banner of Heaven” is captivating because of the way it shows how religion can be a dangerous fuel for men seeking power and control.
The murder of Brenda and Erica Lafferty is shown as a form of madness and extremism, in a religion with highly complex and stringent rules. Not all Mormons are murdering fanatics; but Krakauer’s book and this new series on Hulu hint at a culture with a disturbing history.
“Under the Banner of Heaven” is available on Hulu.
SHARON — Angela Derrick Carabine, 74, died May 16, 2025, at Vassar Hospital in Poughkeepsie, New York. She was the wife of Michael Carabine and mother of Caitlin Carabine McLean.
A funeral Mass will be celebrated on June 6 at 11:00 a.m. at Saint Katri (St Bernards Church) Church. Burial will follow at St. Bernards Cemetery. A complete obituary can be found on the website of the Kenny Funeral home kennyfuneralhomes.com.
Sam Waterston
On June 7 at 3 p.m., the Triplex Cinema in Great Barrington will host a benefit screening of “The Killing Fields,” Roland Joffé’s 1984 drama about the Khmer Rouge and the two journalists, Cambodian Dith Pran and New York Times correspondent Sydney Schanberg, whose story carried the weight of a nation’s tragedy.
The film, which earned three Academy Awards and seven nominations — including one for Best Actor for Sam Waterston — will be followed by a rare conversation between Waterston and his longtime collaborator and acclaimed television and theater director Matthew Penn.
“This came out of the blue,” Waterston said of the Triplex invitation, “but I love the town, I love this area. We raised our kids here in the Northwest Corner and it’s been good for them and good for us.”
Waterston hasn’t seen the film in decades but its impact has always remained present.
“It was a major event in my life at the time,” Waterston said of filming “The Killing Fields,” “and it had a big influence on me and my life ever after.” He remembers the shoot vividly. “My adrenaline was running high and the part of Sydney Schanberg was so complicated, so interesting.”
Waterston lobbied for the role of the Pulitzer Prize-winning journalist for years, tracing his early interest to a serendipitous connection while filming in England. Even before Joffé’s production was greenlit, he had his sights set on playing the role. “I knew I wanted the part for years even before it was a movie that was being produced.”
What followed was not just critical acclaim, but also a political awakening. “The film gave all of us an intimate acquaintance with refugees, what it is to be a refugee, how the world forgets them and what a terrible crime that is.”
In Boston, at a press stop for the film, two women asked Waterston a pointed question: now that he knew what he knew, what was he going to do about it? “I said, ‘Well, you know, I’m an actor, so I thought I’d go on acting.’ And they said, ‘No, that’s not what you need to do. You need to join Refugees International.’” And join he did, serving on the organization’s board for 25 years.
Both Schanberg and Dith Pran, whose life the film also chronicles, were “cooperative and helpful … in a million ways,” Waterston said. Upon first meeting Pran, Waterston recalled, “He came up to me, made a fist, and pounded on my chest really hard and said, ‘You must understand that Sydney is very strong here.’ He was trying to plant something in me.”
There were more tender gestures, too. Schanberg used the New York Times wire to relay that Waterston’s wife had just given birth while he was filming in Thailand, adding to the personal and emotional connection to the production.
Though “The Killing Fields” is a historical document, its truths still resonate deeply today. “Corruption is a real thing,” Waterston warned. “Journalism is an absolutely essential part of our democracy that is as under siege today as it was then. It’s different now but it’s the same thing of ‘Don’t tell the stories we don’t want heard.’ Without journalists, we are dust in the wind.” Waterston added, “Democracy is built on the consent of the governed but the other thing it’s built on is participation of the governed and without full participation, democracy really doesn’t stand much of a chance. It’s kind of a dead man walking.”
When asked what he hopes the audience will take away from the screening, Waterston didn’t hesitate. “This is the story that puts the victims of war at the center of the story and breaks your heart. I think that does people a world of good to have their hearts broken about something that’s true. So, I hope that’s what the impact will be now.”
Tickets for the benefit screening are available at www.thetriplex.org. Proceeds support Triplex Cinema, a nonprofit home for film and community programming in the Berkshires.
Scott Reinhard, graphic designer, cartographer, former Graphics Editor at the New York Times, took time out from setting up his show “Here, Here, Here, Here- Maps as Art” to explain his process of working.Here he explains one of the “Heres”, the Hunt Library’s location on earth (the orange dot below his hand).
Map lovers know that as well as providing the vital functions of location and guidance, maps can also be works of art.With an exhibition titled “Here, Here, Here, Here — Maps as Art,” Scott Reinhard, graphic designer and cartographer, shows this to be true. The exhibition opens on June 7 at the David M. Hunt Library at 63 Main St., Falls Village, and will be the first solo exhibition for Reinhard.
Reinhard explained how he came to be a mapmaker. “Mapping as a part of my career was somewhat unexpected.I took an introduction to geographic information systems (GIS), the technological side of mapmaking, when I was in graduate school for graphic design at North Carolina State.GIS opened up a whole new world, new tools, and data as a medium to play with.”
He added, “When I moved to New York City, I continued that exploration of cartography, and my work eventually caught the attention of the New York Times, where I went to work as a Graphics Editor, making maps and data visualizations for a number of years.”At the New York Times, his work contributed to a number of Pulitzer Prize winning efforts.
In his work, Reinhard takes complex data and turns it into intriguing visualizations the viewer can begin to comprehend immediately and will want to continue to look into and explore more deeply.
One method Reinhard uses combines historic United States Geological survey maps with “current elevation data (height above sea level for a point on earth) to create 3-D looking maps, combining old and new,” he explained.
For the show at Hunt Library Reinhard said, “I knew that I wanted to incorporate the place into the show itself. A place can be many things.The exhibition portrays the exact spot visitors are from four vantage points: the solar system, the earth, the Northwest Corner, and the library itself.” Hence the name, “Here, Here, Here, Here.”
He continued, “The largest installation, the Northwest Corner, is a mosaic of high-resolution color prints and hand-printed cyanotypes — one of the earliest forms of photography. They use elevation data to portray the landscape in a variety of ways, from highly abstract to the highly detailed.”
This sixteen-foot-wide installation covers the area of Millerton to Barkhamsted Reservoir and from North Canaan down to Cornwall for a total of about 445 square miles.
For subjects, he chooses places he’s visited and feels deeply connected to, like the Northwest Corner.“This show is a thank you to the community for the richness that it has brought to my life. I love it here,” he said.
The opening reception for the show is on June 7 from 5 to 7 p.m. On Thursday, June 12, Reinhard will give a talk about his work from 5:30 to 7 p.m. at the library.“Here, Here, Here, Here” will be on display until July 3.
Scott Reinhard’s 16-foot-wide piece of the Northwest Corner is laid out on the floor prior to being hung for the show. L. Tomaino