now that we are we're live now. Welcome to the Metal Voice today on the show, a very special guest on a very sensitive topic that's intrigued the world for man, maybe a decade and a half, right? It's director David Bellino, America's the producer and director of America's Deadliest Rock concert, The Guest List, which premiered on for February 20th on the Reels Channel, which is available in Canada and of course in the US. The Guest List is partially based on the book Killer Show, The Station, Nightclub Fire, America's Deadliest Rock concert written by John Barry Lick. Thank you for joining us, John. Well, thank you. I appreciate it. David, sorry. David, that's okay. John's not here. He could have been John's not here. He does do some with me. You know, I was traveling throughout New England at that actually that week I think I was in Massachusetts and when I heard about it the following day, my first reaction was that could have been me. You know, I tend to see it go straight to the front of the stage and you know, if I'm traveling, I like to see which bands are playing in the neighborhood and that was my first reaction. It's like, wow, this could have been any one of us. So I think that comes home throughout the documentary. Yeah, that's a very common response that I get. Everybody puts themselves, he's talking to Eddie Trunk and everybody in the US on this and everybody was like, you know what, these are the clubs that I go to and that's me and that's me in the front row and yeah, it hits home for a lot of people that way. Sorry. February 23, 2003. I'm just looking at the timing and I'm just why is this being released now? You know, there was a big wide news cycle of course like anything else at the time and we went all over the place as you can imagine but the news cycles are pretty narrow, even with a tragedy this big. It was a very small town in a very small state and it was the genre of music that as you know, you know, can be, I don't want to say controversial but it's got it's, you know, niches and people like us who love to go to these shows sometimes like so I'm not sure how much we're looked at.  So I think it didn't take long for it to sort of dissipate. You know, there was a seven year aftermath in terms of legal, criminal, civil. There's an aftermath that never ends when it comes to people and the human tragedy and what today, you know, the people that you see in the film that you met when you watched it, they live with us every day.  So, you know, I moved back to Rhode Island, just to raise my girls they were one and three years old at the time in 2002 I was in Los Angeles prior in the music video industry and film industry. And I woke up that morning and I think a lot of people in our world remember where they were, you know, when they saw the news that morning and I said to myself, you know, I don't know how it's going to come together I work with these bands. And I'm from Rhode Island but I know someday I need to tell the story I just I feel like I'm the one for some reason that is going to tell the story. You know, for some reason years and years went by, I could see maybe the first seven or eight years, because it was so it was in the courts and there was a lot of legal muck going on. But then it just I think it just sort of faded away and people's memories there's always been this online, you know, controversy of who did it and all these things that I'm sure we'll get into a little bit. But it's a really good question I don't know why no one's tackled it and didn't. And I think the answer to your question in terms of timing is just that for me when I went back in my mind saying you know what it's the right time. It just happened to be the right time for me. I was in between projects and I'm like you know what if I don't do this now. It's not going to happen. I didn't realize it was going to take, you know, six, seven years. The journey of making this film is a story unto itself was very complicated to get to this point.  Been almost 20 years I know it sounds crazy and I do get that question a lot but that's the best, you know, explanation I have for it. I think for people who didn't grow up during this time. What is and let's just start off basic here. What is the premise of this movie just for the people who have never don't know about it. Right because there are people out there who don't know about it, who didn't grow up in that era who didn't hear the news reports there was no Twitter and there was no YouTube back then. It wasn't. It wasn't. Give us the premise of this movie. And it's funny that you mentioned that too is because one year after is when Twitter and, you know, cameras on cell phones and you got to remember this happened just before that so it was on a cold winter night in New England which is typical in February. 460 people jammed into a small rundown roadhouse as you typically would have it in a town called West Warwick Rhode Island a very small town a very small state to see great white, you know, one of their favorite, you know, many bands on the list of nostalgia and the hit songs that we all love from the 80s. And they got on stage. They for whatever reason, which is again something that we could discuss but they lit off a pyrotechnics display at the beginning of their show, very first show. It caught the sides of flammable foam acoustic foam and the place went up in flames and, of course, people didn't realize that at the time they thought there was it was part of the show. But if you didn't make it out in 90 seconds, you weren't making it out. And it's a very it happened very fast, but it's essentially the story of the people who suffered greatly over the years, you know, from that night and how fate and how all these events occurred. And to really understand, you know, how we can never have something like this should never happen again, how we can help prevent it from ever happening again. And just giving attention to the people who went through this and still go through it today. So I think in general you could look at it as a tragedy. In Rock, it is America's deadliest rock concert. It still is and it probably always will be. And you know, I met people, I've gone to concerts in Rhode Island and it was a Y&T concert. I met people from there.  I got tired weekday. I got tired after work and I decided not to go. And you can see in your film the serendipity of events, you know, like the lady that just missed her turn off and said to herself, this is not meant to be.  I mean, certain events lead you in a certain direction. And that's funny that you mentioned that because fates are a deputy, these things. And you can hear one of our characters, Paul and McLaughlin say, you know, after this happened, I don't believe in coincidence anymore. It just, it can't be. And the story of her brother and his young beautiful wife, you know, happened to be, I mean, the tattoo that she was getting him for his birthday, his birthday was on the 13th of February. The young beautiful couple that were married one year and they were so excited to get this tattoo. And Scott Green, who's the tattoo artist, you know, was booked. He just happened to be booked. And let's just push it to next week on the 20th. And it's exactly what you're saying. So this couple. And then Jack Russell happens to be there that day that he gets. Jack just felt he needed a tattoo that night of the show.  And oh my God, Jack Russell is in the tattoo shop. So, you know, these kind of things you can't make up. You know, you can't write this stuff. And again, the tattoo owner's wife, Sandy Arina, who you see in the film dressed in red. She was, she should have been there too. You know, she would have been one of the people we're talking about. But like you said, she just took a wrong turn and just said, Ah, you know what? And Scott called her from the lobby that night and said, Ah, I think I'll just stay home. That's like the 9-11, right? The stories of 9-11 where you know what? I feel, I don't feel well today. I'm not going to go to work. And that's where the tragedy happened, right? It's just, you know, when your time comes, you know, that that's what it comes down to, right? Right. And the two, you know, and I'm sure you can relate to this, but the story of Jimmy and Mike, the two young college kids were so excited to get an interview with Jack. That's what we do on a weekly basis, exactly. Well, you know, at 19 years old, you know, think about what a big deal it is, you know, he talks to Dan Beaker, the tour manager, and oh, wow, we're going to head down and we're going to talk to Jack on the tour bus. They're so excited. And, you know, you see what happens a few hours later, you know, one of them gets out and one of them doesn't, which is another really hard thing to believe how you can be at the front of the stage together. And one gets out and one does it. And, and John Derrlich at the end of the film says it very well is it's all chance at where you were standing and which direction you just happened to decide to go. One step the wrong way is death. One step the right way is, is a window and, you know, Ty Langley as well, right? The rest of the band went this way and he went that way. And unfortunately he perished. Ty Langley, correct. And from what I understand, he was going back to get his guitar as a possibility from some of the things I read. But yeah, yeah, just, just decisions, you know, quick choices. And I don't think he can base these choices on anything. I'm sure that you've, you know, you've listened to the story of Joe Kennan, the burn survivor, and it's a heartbreaking but it's a very inspirational story.  Same thing.  This is very well done. And because you're approaching it from every angle, and you know, you put it in an hour and a half. It's not easy to do, right? You're always wondering as an editor, am I going to put this scene or am I going to put that scene? And not only that, but it's done tastefully because a lot of production companies and directors would make this more sensational, right? You didn't, you didn't go for the sensational angle. You went for the historic, you know, angle from every, and everybody was fair game when it came to the blame game, right? It was all presented the way it should have been presented. Yeah, thank you. I appreciate you saying that. And, you know, I think, I think the human brain can fill in the things that we don't need to see, right? Yes, yes.  So, what is it like to be Mike who escaped? What is it like to be Jimmy who didn't? What is it like to be Joe? And then, taking that one step further, Paula and Jay, you know, this couple that I've become very close to, and just understanding what they've gone through, whether or not it's injustice is a topic for another day, but they, what they felt as injustice, again, it's a subjective thing. And you can see Jay, who's not only a firefighter for 30 years, but imagine being the first responder in going to the site and having two family members that you're trying to find there at the same time.  So I thought it was very important to focus on that. And, and, you know, he said some things that are tough to hear and he's very authentic and very real. But you know what, you know, that's what documentaries are all about. It is funny because it's on the border of being a music doc, and not so much, right, really more of a human story, but I tried to blend it so that music fans could stay engaged without being great way behind the music, you know, but also enough so that people who had no idea of 80s rock, great way, what have you, would also be engaged because of the themes, you know, like you're saying the human themes that run through this. So, I mean, again, what I loved about the movie and Jimmy alluded to it as well is that you let people make up their own minds, kind of presenting the facts, you come to your own conclusion. Grief, they all went through the grief process, you know, it's sad. How can we prevent this happening again? Then it's the blame game. So I just wanted to, you know, we can get into a few specific examples here. I mean, you know, Dee Snyder, like you mentioned it earlier as well, it's like, okay, what did judicial system care more if it wasn't a heavy metal concert with working class people. So, again, you leave people come to their own conclusions, but I like to know your feeling on that. Yeah.  I think the important thing to do was to let you as a viewer decide now I can only do so much in 88 minutes if you read the book killer show. And I think they make a really good package together, right? Because if you see the doc, we can only touch on things. If you decide as a viewer, you want to go deeper into the research. I know many people have hit Google. I want to read the book now, just so you know, I want the details. Yeah. Right, exactly. But going back to your question, I think specifically on the genre of music, you know, Eddie trunk puts it really well too, is I think at that time. Yeah, I think there was a bias and prejudice I think since then, you know, with the festivals now and sort of the resurgence of a lot of the bands. And that's pretty cool. But you know, you know that up and down curve, right? You know, the 80s. And then I touched on what happened with the 90s, what happened into 2000. Very well done. If I, you know, if I had a limited series, which I was initially planning on, which we still might get to is I would have spent the entire episode taking people down. And the reason why I think it's important to go down that music hole for an episode is because, you know, you'll begin to feel why it was so important for these people to be in that club.  It's what these what this music and what these songs mean to people there was something about that genre and something about that culture that we all love. So, you know, just trying to address your original question. Yeah, I think there was a bias at that time, which Dee explains really well, maybe not so much now, but certainly. And I should also mention this, it's important, you know, the guys who did participate in this movie and there is Dee Snyder. There's Michael Sweet, who's a friend of ours, there's Don Dawkins, there's Lita Ford. That's just to name a few of them and they all put in some really good and Eddie Trunk, like you mentioned. And of course, Jack Russell is there. They all put in their points of view, which were so valid throughout the, you know, what they had to say, especially Dee, you really made some, and it's probably to Alan's point, you know, it could have been anyone, it could have been any band. Absolutely. Because me and Alan, and I'm sure yourself too, we've been in those gigs, right? We were there and it could have been us. Yes. Absolutely. And, you know, I think it was very important. The intent of bringing the music, you know, voices in there was because of a longer version, because we, like I said, the intent originally was that we're going to take you behind the scenes of festivals today. We're going to take you back to the 80s. We're going to dive in and throw the relevance of Dee and Don Dawkins and Michael Sweet, where the intention was to expand that.  We couldn't get too deep into that, because again, and we pushed people away who weren't music fans. So many of our viewers are people that are, I don't want to say true crime, but they want human stories and they may not be metal fans. So the more we got into that. But then again, on the opposite side, we didn't want to push those fans away because that was the whole point of the film. Well balanced. Very well balanced. There was the tragedy in Cincinnati at 79 at the Who concert. And like you said, this is unfortunately one of the deadliest concerts of 100 people that passed away, plus another 200 that were injured. And they made changes following that festival seating in Cincinnati. My question to you, do you think that changes have been made due to this tragedy? Well, they absolutely were.   So grandfathered in buildings that didn't have to have sprinklers like the station inspection codes and things like that. However, from what I understand from some people in the film and some of the parents who spent a long time who lost their children after trying to change some of these laws, it appears to me that a lot of it, some of it has fallen back into, and that's what happens, right? It was just like anything else is, is you get lackadaisical again. And going back to your original question, which kind of ties around in terms of why now it is kind of interesting that when things get really lackadaisical, that's when things happen again. Right. So it's, I think it's good for that reason is it at least it starts a dialogue and again. And I mean, the reason why these people wanted to be in this film and do it now. It too soon is too soon. Like, you know, they're just, they just don't want to talk and they're not going to but enough time has passed that they feel that, you know, I don't want my loved ones to ever be forgotten. You know, and so Mike and Sandy and Jimmy Gahan and Scott Green and the people that you meet in this film. The motivation of why they came to me to be in the movie as well was just so that I don't think you ever would have known whom Mike and Sandy who Gage and were except now you do. Right. And that's the point is, let's not forget them and hopefully learn some lessons along the way. David, go ahead. I'm sorry. David, I wanted to like, put out the characters and the blame game and just talk about it very high level. People could watch the movie for the more details. Sure. Yeah, so and I want Alan's opinion on this too. So now I'll, I'll spell out the characters and you tell me the the I'm trying to phrase this properly.  There's a certain code that every sort of nightclub restaurant or any sort of private business republic has to adhere to right. Then you have the band and everybody to understand this was not great white as we know it. This was a solo band just build as great white, which was Jack Russell that night. Then you have the tour manager who runs the corporation will call it of the band. Then we have the pyro guys.  And they're, um, how do I say this and they're sort of maybe I call it greed perhaps that they wanted to further increase the capacity of the club by sacrificing some of the safety protocols. Now, when you have all these characters after you analyzing tons and sorry I'm long winded here. Okay. But after analyzing all this information, what have you concluded where the blame actually really lies? Well, I think that's the thing is it's, it's not just one thing, you know, it wouldn't have happened with just one of those pieces pulled out. That's the problem is it's very scary when you look at all the things that had to happen. All the things that had to go wrong, all the mistakes that were made, or all the ego or the greed or whatever motivations behind those mistakes, but I'll touch on them again very, very quickly. You have a venue. A lot of times, they're in the business of making money. Nobody intentionally plans to hurt anybody. And I think that was clear that, you know, these are people that pay to come in the club. Where corners cut, what was it mismanaged? I mean, those are, we leave that for debate. So you have the club owners, Michael and Jeffrey Dadarian. And the day they were two of the three that were indicted criminally only, and didn't serve a lot of time. But again, we explained that in the movie is it has to do with intent. The, the, the sentencing has to do with criminal intent. You know, and so Dan Beakley, who was the tour manager of the band, he physically lit the pyro. If you're thinking, okay, you hear Jay McLaughlin say this, how can somebody not have fire extinguishers? How could somebody light up pyro, not have fire extinguishers? Didn't you see the phone? You know, so is Dan Beakley a bad guy? I don't think so. And I think many people on Rhode Island felt, you know, he was very remorseful. And many people in Rhode Island also felt that, you know, he took blame where potentially, you know, maybe he shouldn't have in some cases, but, but those are the three. So we're going to talk about five. The three are Michael and Jeffrey Dadarian and Dan Beakley. Those were the three who were indicted criminally, who served some amount of time. So, you know, the co-boner one, co-boner two brothers, and the tour manager of Great White, which physically lit the pyro. The controversial to the other, you know, two out of the five is Jack Russell and the fire marshal. And they were not indicted. And the belief is that there is an immunity statute in Rhode Island, which essentially creates an immunity for a fire marshal unless it was malice. Again, I don't think there was any intent that, again, is a controversial subject of why the fire marshal was not indicted. Likely it was because of that as a possibility.  So as John states in his book, you know, what about the person in charge, you know, we're blaming the person who actually lit, but you work for someone in charge. So that was the controversy around Jack, why he was not indicted. Again, criminally, nobody knows. Everyone from a civil perspective when it comes to the lawsuits and so forth. And that was discussed in the film as well. So, so those are the five that I think if you take anyone out of there, think about it, right. The fire inspector says no, you know, you're not going to put this foam on the wall, wouldn't happen. The brothers didn't, you know, there wasn't overcrowding, for instance, if there was overcrowding. If using the foam on the walls wouldn't have happened. Jack, if Jack, you know, if great white was not doing pyro shows. It wouldn't have happened if Dan Beekley was looking for extinguishers or did not hook up that night because he looked around and goes, Oh, you know what, this probably isn't a venue that we should light this up. It wouldn't have happened. So, you know, I think it, I think the blame goes around.  Again, it wasn't my job to lay out what I think or believe is my job to try to give the viewer a sense of, you know, and again, there's more to it. So if you want to dig further, whether it's the book or some other source, we hopefully we gave you enough information that you could go dig more. Emotions are still running high. That's clearly displayed in the film. What's the community today? How does the community feel overall today? You know, it'll never go away. And as you see some of the journalists and the news reporters who were there that night were affected greatly just having to cover that story.  Everybody knows each other. It's that sort of thing. I don't know if you picked up on it in the film, but the four seasons New England is set in this area of the United States that the seasons, you know, summer to fall to winter to spring is a big thing. You know, it's a lot of reason why people come here and they they love it and it attaches to them. And so there's a visual theme that runs through the film of those seasons as they change. And the reason why we did that is because that's what I've witnessed an experience that affect these people the most when, when the fall begins to change the snow in the winter, it triggers them. Like, this is, we're coming on February again. And, and, and honestly, the community like, I don't want to say shuts down, but, you know, February is a very dark month here, you know. Yeah, regardless of the tragedy or not. Right. And, and, and then when spring comes, it's like this glimmer of hope, right, like we're getting out of this winter and the, you know, the, the buds and the flowers begin to form and it's kind of like, wow, you know, I don't need to think about this maybe for another year, you know, and that, not quite that black and white, but that's why that's to me what the community represents, you know, being in New England. And so we talked about Jack Russ and I remember at the time people defending him. I think he's a, you know, he became a broken man because of this. But, you know, a lot of people seem as either the devil, or also a victim because, you know, like the intent was never obviously never there. You know, how were you able to approach Jack and get him to be so candid on on on your documentary.  One of the critical pieces it took a lot of components that all had to fall into place. John is a lawyer agreeing with his book and understanding that I'm coming from the music angle, making sure I need Jack Russell story. And I was like, you know, what are you talking about, you know, in the families as well, just just to understand that. So it was very difficult to pull the pieces that I wanted together to make the film happen. One of those pieces was Jack Russell, it was probably one of the most critical pieces and it was a difficult thing to make some people understand and some didn't some do not want to participate because Jack story was going to be in the film. It was called the guest list and the concept and some of the premise revolves around this idea like you were mentioning earlier about, you know, just the idea of being on a guest list, whether it's through a tattoo parlor or a meeting at a hotel lobby. How could you not have the person who created the guest list in a film called the guest list so it was way more than just putting a microphone someone's face for, you know, an hour. It was something with Jack and his life for a few years. I mean, the only way to get what you saw on camera was to create a trust and really have him understand that I don't think there'll be another opportunity. If he was on your show and you asked him about the fire, you see how he reacts you've seen interviews before. How can you, how can you can't just answer somebody there is no simple answer. The only way to do it is documentary style where you feel like you're living with Jack through his ups and downs and his addictions and his happiness and his wife. It's the only way we could do it. And that's goes back to one of the original questions you had is it took a very long time to, you know, to produce this film because of that reason, and not just Jack, but the families to trust access, feeling comfortable to tell the story and that that I think comes through that's what I was proud of is just the realness and the authenticity that everybody has. These are not news interviews.  You know, as a viewer now, as I watched it, I think the outcome and I know this might bother people but I think the outcome worked out the way it should have worked out. You know, where the owners, you know, had the conviction, maybe the conviction or the sentence should have been more I don't know that's not for me to decide. But at the end of the day. It is the club that it doesn't matter what Jack Russell wants to do pyro or not. It is up to them to, if it was in the contract and there was no pyro loud, or it had to be by a licensed pyro person right. It is the club at the end of the day who has to deal with that consequence. At least that's how I see it, you know, it's a, it's a fair point. I mean, you know, I agree with you to some extent, because yes, that that's your boundary between safety. Let me just add this and you could answer it. I have a fishing, a boat license, right. And without that boat license, I can't drive a boat in Montreal. Like, if I was to go to a boat club and say, oh, I'd like to rent a boat and they didn't look at my credentials, or they kind of sidestepped it, then it would be on them, not me, because they are the gatekeepers of that of the safety, right. And if they didn't have fire extinguishers on the boat, again, it's on them. You know, if the boat wasn't built as it should be with the right safety precautions, then it's on them. Now, that's how I looked at it and sorry to cut you off. Go ahead. No, I mean, you're right. And this is why the story I think in general has always been so intriguing, because everyone has their points of view and they're very strong, and they see different things. And, and I agree.  This is the way you should run your, you know, from the safety aspect, but I guess John points out something that always resonates with me in the film in his book, is that there was only one individual that was actually paid. And it was his job to make sure that the people in that building are safe. So the club owners, I agree with what you're saying. And you would think that the responsibility but you're putting a lot of trust in people that I promote.  Yes, yes. You know, so and again, it's not pointing or any one individual but john does bring up a really good point and again, whether I agree or not, it's not a point but out of all these people were talking about the this is someone's job. Like you're saying, yes, who it is that needs to look at the credential, make sure I get paid to do I get paid to keep you safe. Right. In the book, does it ever mention that there was a fire marshal report of any sort saying that this is not up to code. So that's quite quite covered a lot in the book because of the past inspections he, it was inspected for three years prior that and the foam apparently was on the walls for three years. So the biggest question that people have is, why was that never cited if the flammable foam was on the wall for three years and, you know, so then I amend my statement and include the fire marshal as well. Again, it's again, I don't know I didn't know I don't have that information right so. You can play the blame game all day long right. It is what it is. But you know, you go back to the serendipity of the thing. They wanted to make sure they bought the what they changed to the station they bought this club went around to see the neighbors and by pure comedy of errors like you said, the guy in the backyard it was close to the guy who says, Hey, I can get I'm a salesman for this phone that will dead into sound like what are the chances that the one guy you're going to go see to make sure that you're going to please the neighborhood when it comes to sound and bars and clubs and bands happens to be a salesman for this phone that they decided to use. Right. And then you ask yourself, Okay, well, you know, is this the right phone did anyone care it's cheap phone. I mean, I don't think everyone anyone ever thought that Oh, okay, this is flammable we're going to put it up anyway. You know, it's very difficult and that's why I think the film that that was my intent is, you know, just like you're saying let's watch the scenes read the book and then you can make up your own mind and people can argue all day long. I think that's the point of a doc like this is it opening up the dialogue is just, it's really important. It's not the point blame what's done is done but at the same time, you know, maybe, maybe this never happens again right. I think that's what's the most important I mean that week after I remember Lizzie the interview Lizzie board and like you did with Don docking to get past perspective and leader for and he named five or six clubs that are tender boxes throughout the United States that he was able to grab them out from the end of his fingertips so they knew which ones and again Jimmy and I go around like you said those two fellows for the power hours that can remind us of me and Jimmy. We go around we go to different venues and I know there's one right here in the city here that if anything happened upstairs, we would never get out of the basement where we do a lot of our interviews. You know, I was hoping things would change like you said there was all kinds of talking at the time but I look at it 20 years later and I'm not seeing too many changes, unfortunately. I agree with you and you know when he says it could have been any of us of course he's referring to bands like we as bands, you know, I think it's fun and we can light stuff off or have fun and you know, and when he says that you can see it's that look on his face as you're right it could have been any of us I think that it could have been like you're saying any of us and the club owner could have gotten on to the dock and said the same thing and so it's like Russian roulette right it will happen and it just in this case because of all these things happened here and this is the story that everyone talks about but sure there could be another one and it likely will be and some maybe not as you know fatal or what have you but maybe this movie might save lives and I think that's important you know it's important that everybody knows about it it for the promoters for the bands for the tour managers for the club owners for the the the inspectors. Yeah, you know, it's a very important movie that I'm happy that you really made it has it affected you psychologically watching hours and hours of people. Yeah, I'm sort of in need of help. Yeah, it's not so much being in the editing well I shouldn't say that the answer is yes, of course I mean it changed my life that the story telling process and the journey that I took as a filmmaker just explaining you know the trust that had to be built and how much time it took I mean I had to, you know, but I'm not sure it was so much watching in the editorial post it was the process of getting to know people. I remember sitting down at dinner we met with Joe, Ken and his wife, Carrie, you know for the first time, and it was shocking, you know, and after a while it just sort of like today Joe and I are you know we just I don't even I don't even see his physical, you know, difference and because I think it's just a matter of time, but initially all the stuff. Yeah, I mean, so I don't think it affected me in a bad way I think it affected me in a great way I think in a sense where you know I truly do feel that doc everybody you see in the doc and the crew became a family in a sense and that happens a lot on films but especially this one because it's so intimate and it took so much time to develop.  But I felt I had to stick to my ground. I guess an important thing I do want to mention too is that I think if the Jack Russell thread and the guest list thread and the music thread and that whole thing, the controversy of the band and that was removed from the film and it became a story about a small town who had a tragedy and the small group of people who it's painful and it would be good but it's not going to be what it is now it's not going to be the guest list and that's it what I had to convince some of the people who were very concerned about the whole Jack Russell thread being in the film is I put it in very simple terms. You want your story of your loved ones and your story to get out to more than 10,000 people in Rhode Island if you wanted to get out to a million national audience, this is what we have to do. And I know it almost seems like, you know, I know they didn't want to do that but now I think they understand why is because the attention that it's getting. So, you know Mike and Jimmy now, you know Sandy and you know Scott and you know Mike and Sandy, you wouldn't if it wasn't at this level and the choice of creating that not controversy intentionally but making sure that they understood that Jack Russell's story thread is a critical part of the film, not to give him a platform to apologize not for any other reason other than it makes a well rounded film that makes you think. On the Jack Russell point, you know, I want to tell all the victims that sometimes the best the best sentence is to be living and living with the knowing that you've killed 100 people.  Well, that's a really good point and that was probably one of the things in my mind remember when I was talking about what what is it like to be Mike and Jimmy in the club what is it like to be Joe in the club. What is it like to be Jack Russell. And so one of the first things that came to my mind and coming up with the concept and the premise around this is, is that how do you live with that. You know, and you see in the film, you'll see Scotty Dunbar who is a survivor who feels very differently about Jack and he forgives and he is up on stage and he embraces him and he's got past a certain level and then you'll see Vicki, Megan who you know has very strong words about Jack but again for good reason and it's their individual choice of, you know, but I think it was important to show those views, just to give people, but an example or you know, the symbol of what a lot of the world feels and it to be him I think is difficult and I think I did want to show that as a filmmaker not just as a platform. And just to add to that I mean, there's there's forgiveness for those that are culpable there's yourself forgiveness. I think Vicki mentions about survivor guilt in the film as well. So you spoke about the community. Is there a sense of forgiveness is do you think over it might take more time but do you think that to be a sense of forgiveness for everybody all around. It's a very individual thing. And one thing I have learned is, you know, that point specifically is that the people who have that, you know, I don't want to call it anger where I mean they have the right to feel that way. I mean, you know, it's like, and the people who forgive and forgive is the right word to because when I talked to Joe, you know, you know, and again I could only get into these vignettes so much in the 88 minutes but Joe goes on to say a lot more things about this is not forgiveness. You know, this is accepted. He accepted the way he looked he accepted his new life.  So I think the term forgiveness is very strong. I'm not sure that exists at all, to be honest with you. I think acceptance and getting over the anger, you know, getting over that that hatred inside and some of the people in the film you'll see have it, you know. And I think that was also a balance that I had to strike is that some people feel, you know, teetering on that word forgiveness or acceptance, and other people I don't think will ever and I think when you mentioned time will time heal everything. I think for many, I won't. You've done a great job and you know preserving the memory of the people who passed away. You know it touched me the movie and you know and I think when it touches people then people and it'll it's a piece of history now and you know people can talk about it and hopefully you save lives you know by doing this like I said before. And you know you preserve the legacy of the people who are there and you you you showed the feelings of the survivors or the people who were affected by the deaths. And you covered it very well, very well balanced. Congratulations. Thank you. I appreciate it. I appreciate you having me on to discuss it. They are really important topics and I think they're also very interesting to listeners to just debate, you know, because some of the things that we said today they may or may not agree and absolutely they should have the right to have that dialogue. Yeah, and I was flipping back and forth throughout the whole movie who to blame you know and but that's that's the point right that's to figure it out. But it doesn't happen again. All right, there you have it. David Bellino director producer of America's deadliest rock concert the guest list. You can watch it on reels channel it's available in Canada as an app, a streaming service in the US it's on the on your cable, or you could even get it as a stream, probably even online. So thank you very much. And if there's anything else you know in the future that you are you'll be doing any work or continuation of this you're always welcome back on the show to talk to us about it. Thank you. I appreciate it very much. It was a good talk. It's a difficult watch, but a must watch it's something we should all watch and learn from so I thank you for David for your neutrality through and through presenting all sides. And I think you did an excellent job for a very important subject. Appreciate it. Thanks again for having me.


This is day one of SiliconANGLE.tv's theCUBE, our flagship telecast. We go out to the events and extract a signal from the noise. This is San Francisco where all the ground zero actions happening for cloud, future of the data center, the shift from the old way to the new way, the new modern era in computing, the future of the data center, big data about mobility, old days are gone, the PC, traditional apps. I'm John Furrier, the founder of SiliconANGLE and I'm here with my co-host. I'm Dave Vellante at Wikibon.org and we're here with Rory Bolt who's the CEO of Proximal Data, a new flash startup. First of all, Rory, welcome to theCUBE. Well thank you so much, really appreciate having us on. You guys just won the best in show at the Flash Memory Summit last week, so congratulations on that. And here we are at another big event, VMworld. How you doing? How you feeling? Feeling great actually. It's been a decade or more that we've been watching the emergence of flash as a disruptor to the storage industry and we've been on point to bring that into the virtualized environment. Really excited to see the announcements this morning and we think that we play strongly to these new motions in storage. Yeah, so you saw, I presume you heard the keynote and of course you heard when Gelsinger announced the end of VRAM pricing, everybody got very excited about that going back to the core based pricing. So I was commenting earlier that that makes VM density products that can increase VM density all that more critical for users, doesn't it? Exactly, and storage has been probably the most significant impediment to driving density and consolidation efforts coupled with that licensing that everyone is happy to see change. So tell us a little bit about proximal data for those that don't know about proximal. You guys just came out of stealth a couple of months ago. You're going after the market with an all software solution. There's a lot of flash players. What makes you guys different? Take us through the story. So proximal data has been founded to try and address the storage IO bottleneck problem that is pervasive in virtualized environments, particularly when consolidation levels go up. We've seen the emergence of flashes in enabling technology, but the key value proposition is to integrate flash in a automated way that does not disturb the IT infrastructure or operations. And that's really our differentiation is the ability to deploy flash into the environment and have our solution totally manage the flash, what gets put into the flash based on the actual requirements of the system without any manual intervention, any reconfiguration of your virtual machines. It just works. So talk about that a little bit more. I mean, that's a two-edged story. Right on the one hand, and you used to be at Avamar. Right, and Avamar was largely a rip and replace solution that helped really solve the problem in VMware environments, and it did very well, but then there's data domain, which was a drop it right in, no friction, and I guess data domain won that battle a little bit. I guess they both won, they both got acquired, but you've seen both sides of that spectrum. Indeed. And so how does that apply that concept to flash in particular? And what John and I were talking about in terms of data infrastructure, the new data center infrastructure that we see coming. So you hit on something that I'll pick up the lead on. So yes, I was with Avamar, and we sold for $165 million, but this competitor of ours, Data Domain, sold for 2.2 billion. So I think it's fair to say that they won that battle, although we didn't do too badly ourselves. Post acquisition by EMC, I had the opportunity to talk with hundreds and hundreds of customers deploying VMware and the universal message coming back with the deployment of Avamar was, they do not want to see guest agents. Agents are a major, major impediment to rolling out new initiatives in the data center. And so we took that message to heart. I took the experience of Data Domain versus Avamar to heart and we specifically designed our product so that it wouldn't require agents and would totally be transparent to IT operations. That was one of the cornerstones of our product design. That's a good point, in fact, we have a spotlight later on this week on Backup and we have an ESG analyst on Jason Buffington. He just did some research and showed that the predominant model for deployment for backup is still agents and backup as we know is one of the most heinous, challenging processes in a virtualized environment. So you guys are circumventing the need for agents. Talk a little bit more about where you fit in a stack and essentially what your value proposition is and where the use cases are for proximal. Okay, so we actually integrate directly into the hypervisor itself. And as such, we see all the traffic from all the virtual machines and we analyze that traffic and determine what should be placed on Flash and what is better served remaining out on the disk. So having done that, we will just work by default. Once we're installed into the ESXi host, there's no further action required, but as is the case in all scalable management solutions, the key in an enterprise is management by exception. And so we recognize there are certain applications that have different service level requirements to them and we allow you to turn off caching either for a data store so you can have a pool of storage at a different class of service or actually at the individual guest machine level. But once again, that's management by exception. The default position is you install us and that's it. We're running. Rory, talk about the IO centric infrastructure that Wikibon put forth. We're now extending that to call data infrastructure to kind of redefine what's relevant around kind of the old of converged infrastructure. Obviously data is at the center of the value proposition. Specifically, Flash has changed the economics obviously. It's still expensive technically as a component, but in the overall scheme of things, the ROI people are seeing 30%, 40% economic improvements and then performance. Flash has been at the center of this surge of on-premise performance and economics. Talk about that impact too. It's notion of abstract pool and automate, which is the big messaging from VMware. I mean, obviously Paul and Pat are like amplifying abstract pool and automate, which is around net security, storage availability and compute essentially converged infrastructure, but we're calling it data infrastructure. What's your take as you play at that layer of the data? Well, we view Flash as sort of the ideal medium between physical DRAM, which is more expensive than Flash, but even faster than Flash and the disks, which are obviously much cheaper and slower. And so we view Flash as being a precious commodity, a precious resource, and we want to make maximum utilization of those resources with the highest level of efficiency. And so in the end, that is really what's going to differentiate the solutions out there. Flash is going to become pervasive in the environment, but the different levels of management required and the different efficiency in the use of those resources is really going to set players apart. We think that the first steps that are being announced in vSphere 5.1 are a little too granular, but they will refine that over time, right? Yeah, so let me ask you a question. Now take your CEO hat off of the company because you guys obviously are hyper-focused on a specific market.  So tell the folks out there that are watching about that aren't in the inside baseball track of the marketplace. They're the IT professional guy out there. They're the data scientists, the analysts in the corporation who are chartered with figuring out this new modern era of infrastructure. From your perspective, tell them what's really happening in this marketplace right now, this modern era. And how would you advise that IT professional or that data scientist or that analyst or that someone who's watching the tech industry is not in the know? So I think probably the two largest trends that I see going forward are actually fairly obvious. One is that flash is truly a disruptor that's going to touch all levels of storage, both the storage within the host themselves and also the network storage. But the second is that data has grown so large that it really is impractical to be moving data between tiers in any sort of reasonable timeframe. And so this has to be a continuous automated process. It can't be reactive, if you will. It has to be managed proactively and in real time because you can't afford to get behind the ball when the stakes are so large. What about data insights? Obviously insights in predictive analytics, big data is the rage. You need to have access to the data. Data is providing some valuable insights for folks in this new application and certainly mobility. Not a lot of real estate on the screen. So you're going to see all these new types of experiences and applications. So talk about mobile data, big data and how you see that happening. How that changes in the architecture. Well, as the price of storage decreases, it becomes feasible now to store everything and pretty much the price is decreasing at a rate where it doesn't make sense to expend the management resources to try and prune out the old data. So the data sets are becoming truly, truly enormous and as a sort of a factor, a result of that, is that you end up with small relative working sets of truly valuable data in these oceans of historic data that is being kept because you might need it someday. You really don't know whether that's going to be. And once again, we think that this is a strong opportunity for the flash technologies. If they're able to identify what subset of the seas of data is truly relevant for the current operations and do that in a real time. My final question, we're getting the hook real quick but I want to get you to get your comment about VMworld this year. Obviously they put up some stats, attendance is up, number of virtual machines is exploding, Paul Moritz was laying out kind of his final chapter of look what we did going back to 2008 up to today. What's your impression of where VMware is today in contrast from where they came and where do you think they're going? So the growth of this show is just tremendous and it's pretty astonishing to see. I can truly say I've been in the storage industry for about two and a half decades. I have not seen anything change the data center as radically and as quickly as the pervasive conversion to virtualization and in particular VMworld, VMware. It is taken over by storm and in a very, very quick way. That's Rory Bult, the CEO of Proximal Data. This is theCUBE where we see IO centric infrastructure, data infrastructure replacing convergent infrastructure as that next modern era where you're going to see data availability, new applications and everything's kind of coming together at the storage network and obviously the compute level and it's a great vision, congratulations on your success. We're here in VMworld, this is theCUBE. I'm John Furrier with Dave Vellante. We'll be right back with our next guest after this break, thank you.


All right still looking for air leaks in this house, and I did what I should have done last night, but I was too tired I put the door back on The knee wall so I can see what's going on so if you can close the door on something you can see how much it leaks So let's see what that looks like So I'm doing something called zonal pressure Diagnostics see how it's reading about seven right now and this tube is going outside Now this is not a really good seven that take a look at that gap up there And there's a big gap in the side in the bottom that door is crooked as a politician But when you seal houses this way the hatches no longer really matter Except that number there is still not very good So I have the blow-or-door running. It's pulling on the house at almost 50 pascals So that's still about 15% connected outdoors basically double the number plus a little bit in this case Test pressure should be 50, but we can't quite get there because the house is still a little too leaky And then you can see my couple of QC and air sealing tools I've got the wizard stick there and then a can of spray paint You can see like one little spot right there that I noticed leaked and We have been opening things up. So I'm kind of smacking myself because I missed So you just take Barber cloths of size you got and take it around and stuff it in there that's going to serve as a backer to the spray foam that we will hit this with here pretty shortly like talk about Lo-tech there's nothing super fancy here So that is Now kind of sort of stuffed it's not amazing, but it'll work and In this case you get immediate feedback No, I didn't stuff it as well. So we tried this a minute ago and we got it down to four So I actually did a bad job stuffing So I need to double check that but you can see I'm down from seven to six So you start getting an idea of how big different leaks are Also, I don't know what's going on over here The way that it's built we were just filling in but beside one joist coming across but So when you obviously you can't see it right now Well, somebody might have opened the door downstairs, let's see if it'll still show leakage or not It is There we go. See how it's blowing straight up right there That tells you there's an air leak So I don't know exactly what's hiding under these floorboards, but something is so we're going to Take a sawzall and open this up.   I already saw we could get it to about four So We are well on our way And so this house was down to about six thousand I think we'll probably see five today and Maybe we'll get lower than that or maybe I'll with horribly because that happens, too but anyway, this is how you Do air sealing and then you check to see what's going on and hey Neil. Thanks for watching So Keep your eyes open for this. I'll do another video later Once we're done with all the air sealing on the house Thanks for watching. I'm Nate the house whisperer


Is addiction a choice or a disease? Well, I'm about to end that debate right now. What is up everybody? This is Chris from the Rewired Soul where we talk about the problem, but focus on the solution. And today's problem is the stigma around drug addiction. One of the biggest debates around is that addiction is not a disease, it's a choice. So anyways, it's the last day of Mental Health Awareness Month. Do me a favor and share this video because I am about to drop some logic on some fools and no, I don't mean the rapper. Damn, this is crazy. So anyways, the argument is it can't be a disease because it's a choice. And for some reason, I don't understand this disconnect where people can't put together these other diseases that are a result of choices. So let's do something real quick. Let's try something. Let's visit the Mayo Clinic and see what they say are three ways to prevent heart disease. So their top three suggestions are one, don't smoke. Huh, that sounds like a choice that can lead to a disease. What's number two? Oh, exercise, exercise. If you don't exercise, that can lead to disease. An exercise that sure seems like a choice to me. And number three, eat a heart healthy diet. So you mean to tell me that if you don't eat a heart healthy diet and you get heart disease, that was the result of a choice. Okay, but that's just heart disease. Let's see what's going on with the American Lung Association. So what is the best way to prevent lung cancer? Oh my Lord, it's don't smoke.  That's a choice that leads to a disease. Now, here's my favorite one. This one's brought to us by the CDC about STDs, sexually transmitted diseases. What you'll find is they don't call them sexually transmitted choices. So let's see what's going on over at the CDC. What? Every year there are an estimated 20 million new STD infections in the United States. 20 million people affected by this disease. Well, how do we stop it? Oh, they got some good news for us. STDs are preventable. There are steps you can take to keep yourself and your partner's healthy. So the first way is abstinence. Wait a second, abstinence is a choice, isn't it? And lastly, use condoms. Well, condoms, that sure sounds like a choice too. But anyways, everybody, this is what I'm talking about. There's such a stigma around addiction that for some reason, nobody even questions heart disease, lung disease, STDs when it comes to being a choice that led to a disease. But for some reason, addictions over here, and people say, no, no, no, it can't be a disease because it's a choice. All right, now here's the thing. I get it. I understand. One of the reasons why people say this and think this and hold on to it with all of their beliefs and everything is because the difference is addicts hurt people that they love. They hurt the people that care about them the most. But that doesn't change the fact that it's an illness. Now, just because it's a disease does not make it an excuse. Okay. But anyways, I just want to make this quick video to end this debate. The debate is over. So again, please share this if you have some ignorant friends who try to debate this with you. But anyways, if you liked this video, please give it a thumbs up. And if you are new here, I'm always making videos not only about addiction, but a lot of videos about mental health. Make sure you click that little round subscribe button. And if you want to check out some other videos on this channel, you can click or tap on one of those thumbnails right there. All right. So thank you. Thank you. Thank you so much for watching. Try to end the stigma today and I'll see you next time.


Iranian positions were destroyed by missiles. Israel launched a number of missiles from the Golan Heights, targeting the vicinity of Syria's capital Damascus. An airstrike, carrying out attacks against several positions of the Syrian army in the Al-Midan neighborhood of Damascus, injuring two Syrian soldiers and causing some material damage. Syrian air defense systems were triggered, shooting several missiles down as Syrian media claimed that Israel was to blame for the attack. The alleged Israeli warplanes carried out the attack from the Golan Heights, the reports claimed, leading several regional sources to report hearing various loud explosions in the region. The Syrian Observatory for Human Rights, a British-based war monitor, said the strike's targeted positions of pro-Iran forces south of the capital, adding that at least one of the sites was destroyed. While Israel rarely comments on the strikes it carries out on Syria, it has repeatedly said it will not allow its arch foe, Iran, to extend its footprint there. The Syrian Observatory for Human Rights also reports that the Israel Air Force attacked military positions near Mount Qasian, north edge of Damascus. For several years, Israel has been mounting attacks on what it has described as Iranian-linked targets in Syria where Tehran backed, where Tehran backed forces. Iran has created terrorist groups against Israel in the region. Israel says it targets bases of Iran-allied militant groups such as Lebanon's Hezbollah, which has sent thousands of fighters to support Syrian President Bashar Assad's forces.


Episode 100 of American Horror Story is here, so let's break down the major plot points that occurred in the episode, review it, and then get into some theories about where 1984 is heading. Firstly, we'll begin with the recap. It's 1985, and Richard Ramirez and Mr. Jingles are sharing a motel room in Los Angeles. Mr. Jingles expresses that he's tired of putting up with Ramirez's lifestyle, and he's tired of seeing people die. But Richard says that there's no going back after Satan gifted him life. While stopped at a liquor store, Benjamin sees a newspaper with Richard's face on it, identifying him as the night stalker. He hands the newspaper to a woman and indicates that Ramirez is in the store. A mob chases Richard Ramirez and beats him as Benji drives off. Time jump to 1989 at a now abandoned Camp Redwood, where Montana kills a wandering duck photographer with Xavier's support, while the ghosts of the 1970 victims observe. Cut to an episode of the lifestyles of the rich and famous starring the real estate mogul Margaret Booth, who has made a career of buying properties with dark pasts, like John Wayne Gacy's home, The Winchester House, Spawn's Ranch, and Breyer Cliff Manor. And surprise, beside Margaret Booth is Trevor Kirchner, who reveals that the knife missed his heart and he miraculously recovered and married Margaret. Flashback to 1985, when Trevor wakes up from his coma, where he and Margaret make a deal to get married and share Margaret's riches, in exchange for Trevor not turning her into the police. Back at the Booth mansion in 1989, and we meet Margaret's assistant Courtney, who tells the happy couple that Brooke Thompson has lost her final appeal and is set to be executed. Meanwhile, the ghosts of Camp Redwood rummage through the photographer's belongings, and Ray expresses his frustration with Montana and Xavier's killing habit. The photographer's girlfriend shows up and Xavier kills her to raise dismay. Also on death row, Richard Ramirez astral projects to Brooke's cell and offers her a similar deal with Satan that Mr. Jingles took. Brooke politely declines. Margaret finds out about the photographer and his girlfriend's murder at Camp Redwood, which inspires her to plan a food and music festival on the camp grounds. In order to capitalize off, or in her words, baptize, the campsite, just in time for Halloween 1989. Now, Benjamin Richter finds himself leading a new life in Alaska with a wife and a child. He is employed at a video rental shop and goes by the name Donald. Margaret returns to Camp Redwood and holds a press conference for the festival and chets plots to kill Margaret as revenge for his brutal death. A visitor informs Richard Ramirez of the Camp Redwood festival with Billy Idle as a headliner and Richard says that he doesn't want to die with the 1980s as 1990 is fast approaching. Richard plots a comeback so that his legend lives for multiple decades. As Brooke walks to her death, Richard gives her another chance to take his offer, which she declines again. About to be executed, Brooke speaks through the one-way mirror, assuming Margaret is on the other side, and pleads her innocence once more. Meanwhile, Richard channels Satan and possesses the prison guard, who is assumed to have allowed for Richard to escape the prison. Back in Alaska, Benjamin finds his wife, Slane, in a note on the back of the Camp Redwood festival flyer, from Richard saying Satan will have his vengeance. Benjamin leaves his son on his sister-in-law's doorstep and vows to end the darkness that plagues him. Brooke's death sentence seems to be carried out until she is awakened, and the executioner is revealed to be none other than Donna Chambers. All right, so this episode is obviously unlike any of the previous episodes of the season, mainly because it does not occur on the 1984 counselor's first night at Camp Redwood. Instead, we have a time-jump of five years, with this episode majorly taking place in 1989. To me, this episode is clearly set up as if it is the sequel to the first five episodes, if the first five episodes were one whole slasher film. I would also assume that the next three episodes will follow suit, and this whole season will be split into two parts, the original and the sequel. I like this concept, and I think you can't bring up 80 slashers without mentioning their countless sequels. For what it was, I think this episode was done really well, although I do think it's very unlikely that no one would catch on to Margaret being behind the murders. I mean we have Brooke maintaining her innocence, and now Margaret, survivor of two serial killings, buying famous sites of other murders. The woman is obviously deranged, but yeah I guess having Trevor on her side does help her case a little. Benjamin's new life is interesting, as it is taken away just as fast as it was introduced, and by the end of the episode he's back in the trench coat jingling towards Camp Redwood. I think Benjamin is proving to be one of the standouts of the season, someone whose life has been completely ruined by Margaret. He's been unable to escape the consequences of her framing him since 1970. I think this Camp Redwood festival is going to be really cool to watch, with a probable third massacre occurring at Camp Redwood in the span of 20 years. I loved the inclusion of the ghosts from the 1970 murders living amongst the 1984 ghosts, although where the hell have they been hiding this whole time? But anyway, this episode marks the new beginning for the season, and I'm still on board, so I give episode 6 of 1984 and episode 100 of the series overall, 8 Montana Dukes out of 10. Be sure to let me know how you'd rate it in the comments below. So now let's move on to the theory section. Theory number one, Lana Winters is coming. Okay, so of course in this episode we got that little nod to Briarcliff, with Margaret Booth now owning the property in 1989. The thing is, prior to this, we were led to believe that Briarcliff had been abandoned since its closure in 1971. We never see Briarcliff during the 80s, so it's not like this is a continuity error. However, we do know that by 2012, the property is abandoned. So it's safe to say that Margaret Booth does not hold on to this property for much longer. So what if Lana Winters becomes aware of Margaret and her story after her acquisition of the property, and she sees right through her? We know Lana Winters becomes a journalism icon after her Briarcliff expose, so what if this causes her to do an expose on Margaret Booth? Lana could expose her for profiting off the celebration of heinous sites of evil and murder, and perhaps she could even go as far as to pinning both Redwood murders on Margaret. I think it would be cool if this easter egg reference to Briarcliff was actually setting up a bigger asylum connection. However, Sarah Paulson has stated that she's not appearing in this season. So the only way this could happen is if she lied to keep it a surprise. But I still think this would be a fitting downfall to Margaret Booth, and I think Margaret and Lana are parallel characters. After Lana escaped the hell of Briarcliff, she went on to have a successful career without selling out. But after Margaret quote-unquote survives the two Redwood murder sprees, she builds her career off of the novelty of real life crimes. Theory number two. Donna, Brooke, and Trevor are all working together. Okay, so this is kind of a combination of two theories floating around on Reddit, but we know Donna saved Brooke and that the pair are working together in the promo for episode seven. We also see Dylan McDermott's character with these two, and he's bearing a strong resemblance to Trevor. I think that Trevor has been trying to clear Brooke's name while simultaneously incriminating Margaret. And perhaps Dylan is playing Trevor's brother, who resembles him enough to get past security at Camp Redwood during the music festival. Maybe this is leading to a confrontation with Brooke and Donna exposing Margaret, or maybe Brooke, Donna, and Trevor are all trying to kill Margaret. This is one of those theories with no real foundation, aside from the resemblance between Dylan's character and Trevor, but I think that Trevor was a good guy in the beginning, and I find it hard to believe that he can just stand by Margaret without immense guilt. All right, so be sure to let me know all of your thoughts on episode 100 and American Horrors during 1984 as a whole in the comments below. Leave this video a like and make sure you're subscribed so you don't miss any more 1984 content, and I'll see you next week.