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...
In “On Intimacy: A GATA Interview with Lindsay Elizabeth Warner,” GATA Magazine sits down with photographer Lindsay Elizabeth Warner to explore the emotional and aesthetic forces that shape her work and daily life. Known for creating images that blur the boundary between personal narrative and atmospheric poise, Warner discusses how love — particularly her creative partnership with her husband, Marilyn Manson — informs her artistic vision, the small rituals that ground her, and her fascination with quiet, unguarded moments that reveal deeper truths about presence and connection.
Read the interview here.
Read the interview here.