EXIT WOUND BY MARILYN MANSON ◊ PAGEANTRY, CENSORSHIP AND THE POLITICS OF EVIDENCE
Exit Wound, the first single from Marilyn Manson’s new album, One Assassination Under God Ch. 2, was released yesterday on June 12, 2026. Today I want to share some of my interpretations of both the song lyrics and music video as they intersect with my history as an artist who mirrors with Manson’s work through a creative lens — as well as my unique perspective as a healer. Along the way, I’ll also revisit a few surprising moments from my own direct connection with Manson and his wife, Lindsay Warner, surrounding ideas that unexpectedly became relevant again through this new release. But this archive is so much more than just interpretation. It’s also an exploration of how narratives, identities, and evidence are collectively authored, censored, and eventually reclaimed through art. Here, the exit wound of a gunshot becomes symbolic of something much larger than violence. It becomes a metaphor for art itself — a great axis through which collective realities are processed, revealed, metabolized, transmuted, decoded, and made visible. This way, Exit Wound feels like a perfect Part Deux to the visual statement Manson began in Chapter 1 through the music video Sacrilegious, where he appears beautifully crowned as King.