“It starts off with something just not right,” Anna Weyant told us years ago in our print edition, and later said, “I’m into dark, dark humor. There’s something amazing to me about tragicomic narratives.” But with Weyant, who opens what will be her massive breakthrough, Baby, It Ain’t Over Till It’s Over, at Gagosian in NYC this week, something is always just a little not right. In the best way possible, really. There is a sadness, a haunting, a sense of macabre but also beautiful and sublime. I think of the great films, or even the recent Haunting of Hill House narratives, when I think of these elegant paintings. They are each their own story, a loneliness and wink to something…