Marilyn Manson Pleads No Contest to Blowing Nose on Videographer, Gets Fine

Musical artist Marilyn Manson, whose legal name is Brian Hugh Warner, waits for the judge to arrive in Belknap Superior Court,Monday, Sept. 18, 2023, in Laconia, N.H. (AP)
Musical artist Marilyn Manson, whose legal name is Brian Hugh Warner, waits for the judge to arrive in Belknap Superior Court,Monday, Sept. 18, 2023, in Laconia, N.H. (AP)
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Marilyn Manson Pleads No Contest to Blowing Nose on Videographer, Gets Fine

Musical artist Marilyn Manson, whose legal name is Brian Hugh Warner, waits for the judge to arrive in Belknap Superior Court,Monday, Sept. 18, 2023, in Laconia, N.H. (AP)
Musical artist Marilyn Manson, whose legal name is Brian Hugh Warner, waits for the judge to arrive in Belknap Superior Court,Monday, Sept. 18, 2023, in Laconia, N.H. (AP)

Marilyn Manson was sentenced to 20 hours of community service and a fine on Monday after pleading no contest to blowing his nose on a videographer at a 2019 concert in New Hampshire.

The shock rocker, 54, wanted to appear via video for his hearing on the misdemeanor charge, but the judge required him to be in the courtroom in Laconia, about 30 miles north of Concord, the state capital.

Manson, whose legal name is Brian Warner, was charged with two misdemeanor counts of simple assault stemming from the encounter with the videographer at the Bank of New Hampshire Pavilion in Gilford on Aug. 19, 2019.

Manson pleaded no contest to just the nose-blowing charge in a fully negotiated plea agreement with prosecutors. The prosecutors agreed to dismiss the other charge, which alleged that he spit on the videographer. A no contest plea means Manson is not contesting the charge and does not admit guilt.

Manson was fined a little more than $1,400 as part of the deal, with $200 suspended. He needs to remain arrest-free and notify local police of any New Hampshire performances for two years.

The judge agreed to allow Manson to serve his community service in California. He mentioned to reporters that he might choose to work with people in recovery. Manson has to give proof of his community service by Feb. 4.

According to a police affidavit, Manson approached videographer Susan Fountain in the venue’s stage pit area, put his face close to her camera and spit a "big lougee" at her. She was struck on both hands with saliva. He approached her again later, kneeling and covering one nostril before blowing the other on her arms and hands.

Fountain said via a statement that it "the most disgusting thing a human being could have done."

Manson "blows a significant amount of mucous at Fountain," a police sergeant who reviewed concert video footage said in the affidavit. After that, the camera view changes to another one and you can see Manson "point and laugh at Fountain as she gets down and walks away," the affidavit said.

Monday, Manson walked into the main entrance of the courthouse, through security. He was wearing a suit, dressed head to toe in black, and dark sunglasses. Security staff referred to him as "Mr. Warner," and he identified himself in court as "Brian Warner," using a soft speaking voice.

He otherwise only answered "yes" to the judge’s questions asking if he understood the proceeding, and made no statement. Prosecutor Andrew Livernois said it was his first offense and he had no prior record.

Fountain was not present in court.

Manson initially pleaded not guilty to both charges in 2021. He was scheduled to go to trial in August. His lawyer had said that the type of filming Fountain was doing commonly exposes videographers to "incidental contact" with bodily fluids.

"The defendant’s performance for the past twenty years are well known to include shocking and evocative antics similar to those that occurred here," attorney Kent Barker wrote. "The alleged victim consented to exposing herself to potential contact with sweat, saliva and phlegm in close quarters."

Barker also had said Manson planned to argue that any contact related to spitting or sneezing was unintentional.

If Manson had gone to trial on the charges, each could have resulted in a jail sentence of less than a year and a $2,000 fine if convicted.

Manson emerged as a musical star in the mid-1990s, known as much for courting public controversy as for hit songs like "The Beautiful People" and hit album’s like 1996’s "Antichrist Superstar" and 1998’s "Mechanical Animals."

In May, a California judge threw out key sections of Manson’s lawsuit against his former fiancée, "Westworld" actor Evan Rachel Wood, claiming she fabricated public allegations that he sexually and physically abused her during their relationship and encouraged other women to do the same. He is appealing the ruling.

Manson’s suit, filed last year, alleges that Wood and another woman named as a defendant, Illma Gore, defamed Manson, intentionally caused him emotional distress and derailed his career in music, TV and film.

Several women have sued Manson in recent years with allegations of sexual and other abuse. Most have been dismissed or settled, including a suit filed by "Game of Thrones" actor Esme Bianco.

The Associated Press does not typically name people who say they have been sexually abused unless they come forward publicly.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.