Fated, Faithful, Fatal

Marilyn Manson's 'Fated, Faithful, Fatal' delves into the complex interplay of fate, faith, and fatalism, wrapped in a dark, introspective narrative. The song opens with a sense of vulnerability, as Manson questions his ability to open up emotionally, likening himself to a 'birthday present' that has been unwrapped too many times. This metaphor suggests a sense of being exposed and exploited, leading to a defensive, 'aggressive regressive' stance. The past is dismissed as 'pathetic,' indicating a desire to move beyond previous traumas and disappointments.

The recurring question, 'Are we fated, faithful, or fatal?' serves as the song's central theme, exploring the existential dilemma of whether our lives are predetermined, guided by faith, or doomed to end in tragedy. Manson's use of religious imagery, such as feeling 'stoned and alone like a heretic' and being 'ready to meet my maker,' adds a layer of spiritual conflict. The reference to Lazarus, a biblical figure who was resurrected, juxtaposed with Manson's claim that 'Lazarus has got no dirt on me,' suggests a defiance against conventional notions of redemption and resurrection. Instead, Manson positions himself as 'the Mephistopheles of Los Angeles,' invoking the Faustian character who represents temptation and rebellion.

The song's repetition of feeling 'stoned and alone' underscores a sense of isolation and existential angst. Manson's readiness to 'meet my maker' can be interpreted as a confrontation with his own mortality and the ultimate judgment. The duality of being both a heretic and a figure of defiance in Los Angeles, a city often associated with dreams and decadence, encapsulates the tension between self-destruction and self-empowerment. Through its dark, poetic lyrics, 'Fated, Faithful, Fatal' invites listeners to reflect on their own struggles with fate, faith, and the fatalistic aspects of life.