Since Marilyn Manson returned to the stage in the summer of 2024 with the One Assassination Under God tour, pulsating illuminated upside-down double crosses have been a consistent part of the stage design. The double cross itself is nothing new in Manson's work. It has been part of his imagery for many years and became particularly prominent again after the Heaven Upside Down era. What is new since 2024 is the way the symbol has been incorporated into the lighting of the performance. Rather than functioning simply as a static emblem, the crosses now pulsate and change as part of the stage itself, becoming one of the most noticeable elements of every concert. Manson's return to the stage has also involved bringing back many features and images from earlier periods of his career, which has naturally given the performances a nostalgic quality for longtime fans. What interests me for this analysis, however, is what has actually been added during this new period that has not be...
Marilyn Manson in the News (January 24-30, 2022) - Phoenix Rising News, Updates on the Ashley Walters Case, and a New Marilyn Manson Website
Media Response to Phoenix Rising After Phoenix Rising premiered at the Sundance Film Festival on January 23rd, the reviews starting pouring in, and to no ones surprise the critics loved it. Evan is portrayed as brave and courageous for coming forward, while readers are encouraged to be disturbed while watching how Hollywood has protected celebrities to incur such abuse on women. They must not have been watching the same documentary I watched, because the one directed by Amy Berg was an absolute disaster of a documentary, that should only be shown at midnight showings of independent theaters along with The Room and Cats as movies that are so bad that when collectively seen together by an audience it becomes the source of laughter and mockery. I'm being too generous, because The Room is actually a masterpiece compared to this documentary. If I were to highlight one review of the many, it would be the short review by Kevin Maher for The Times . In fact, it is so short, tha...