Embracing Life Beyond the Screen

Today, I thought I would go a little personal and invite you to join me as I turn the page to a new chapter, one that explores the nuanced balance between my online presence and the vibrant life that awaits beyond the digital world of social media.

The recent loss of my beloved Instagram page, OurMarilynMonroe, was more than just a setback; it was a moment of profound reflection for me. For many of us, Marilyn has been a beacon, guiding us through her enduring legacy and the mysteries that shroud her life. Losing this platform felt like losing a part of myself and being a part of the community, a digital space where I would go and celebrate her life.

This loss, however, became a catalyst for introspection. It urged me to reevaluate my engagement with the online world. The void left by the absence of my Instagram page made me realise how deeply intertwined my identity had become with social media. I had, in a sense, allowed the digital narrative to overshadow the real essence of Marilyn’s story and my journey.

Today I will explore how this event has opened new avenues for me to engage with Marilyn’s legacy and my own life. From pursuing new interests to focusing on personal well-being, this setback has surprisingly led me to growth and discovery. 

New Horizons

In the wake of my social media pause, a window to new possibilities has opened. Just as Marilyn Monroe ventured beyond the confines of her on-screen persona to explore new facets of her art and life, I too am embarking on a journey of exploration and discovery.

My new projects are as diverse as they are enriching. From delving into the lesser-known aspects of Marilyn’s career to exploring her impact on modern pop culture, each endeavour is a step towards a deeper understanding of her timeless influence. I am also exploring personal interests inspired by Marilyn, such as mindfulness (something I wish Marilyn had in her time), self-care, writing and reading which not only pays homage to her legacy but also fosters my creative spirit.

Marilyn’s resilience and versatility continue to inspire me. Her ability to reinvent herself, to face challenges with grace and determination, is a guiding light in my pursuit of new horizons. My exploration is not just about Marilyn, but also about what she represents – the courage to evolve, to embrace change, and to pursue one’s passions with unwavering commitment.

Well-Being and Personal Growth

In my quest to honour Marilyn Monroe’s legacy, I’ve often found myself reflecting on her pursuit of happiness and personal fulfilment. Inspired by her journey, I am now focusing on the essentials of well-being and personal growth.

Marilyn’s life, though glamorous on the outside, was a constant battle for inner peace and contentment. Emulating her resilience, I’ve begun to invest more in my mental health. Activities like reading, which was one of Marilyn’s favourite pastimes, writing, practising mindfulness and other forms of self-care have become central to my daily routines. This shift towards introspection and personal nurturing has been a revelation, allowing me to connect with myself and with Marilyn’s spirit on a deeper level.

The importance of being present and engaging with my immediate surroundings cannot be overstated. Spending quality time with family and friends, exploring nature, and pursuing hobbies have opened new avenues for joy and satisfaction. These experiences remind me of Marilyn’s lesser-known side – her love for nature, literature, and simple pleasures.

Future Engagement with the Marilyn Community

As I continue to evolve both personally and in how I honour Marilyn Monroe’s legacy, my commitment to you, my readers and fellow fans, remains unwavering. My journey together is far from over; it’s simply taking on a new, more balanced form. 

In the future, expect to see thoughtful, periodic posts on my blog. These posts will not only delve deeper into Marilyn’s life and legacy but will also reflect my own experiences and growth, as inspired by her. I aim to maintain a rich, engaging online presence while ensuring it complements my personal well-being and offline pursuits. But right now, I am enjoying my personal Marilyn projects. 

My Instagram page, TheMythsOfMarilyn will remain, but with posts being made as and when I am inspired. However, I’ll be approaching social media mindfully, ensuring that my digital engagement remains healthy and free from toxic behaviours.

As I embrace this new chapter, my passion for Marilyn Monroe’s legacy burns as brightly as ever. This journey has always been about more than just admiration; it’s about learning from Marilyn’s life and finding parallels in my own. As I continue to explore life beyond the screen, I reaffirm my commitment to personal growth, well-being, and the deep appreciation of Marilyn’s enduring influence.

 Thank you for being part of this journey. Here’s to embracing the future with the same grace, curiosity, and resilience that Marilyn showed throughout her life.

Our Marilyn Monroe Instagram Permanently Deleted

I regret to inform my readers that Our Marilyn Monroe Instagram account has been permanently deleted I’ve deactivated our Patreon and have donated the accumulated funds to a charitable cause.

Despite this setback, I’ve decided to keep this website operational. I’ll continue to share content here, driven by inspiration and a passion for Marilyn’s legacy.

It’s truly disheartening to realise that the extensive research and effort I’ve invested, along with the community we’ve built together, have been erased. Losing the followers and work I’ve earnestly garnered over time is a significant blow. Nevertheless, I remain devoted to celebrating Marilyn Monroe’s enduring impact and will keep striving to share her story in new ways.


I have emailed Instagram support, contacted them via Instagram and completed the necessary forms however, the forms would not be sent through as Instagram stated the decision has been made and no further reviews can be taken.

I logged into the account with this notice.

This implies I have been impersonating Marilyn Monroe via my page which was specifically categorised under Instagram as a Fan Page. Marilyn has also been dead for over 60 years.  

I have attempted all avenues of contact but to no avail, as of yet. I have also researched the “pay me and I will get it back for you method” however I find this practice incredibly unethical. One website quoted $1000 minimum.

The Exploitation of Marilyn Monroe

“The one thing I hate more than anything else is being used.”

– Marilyn Monroe, My Story

Exploitation is the act of selfishly taking advantage of someone or a group of people to profit from them or otherwise benefit oneself.

There is nothing more superficial than capitalising on someone else’s fame, especially their passing, to gain recognition for oneself. These actions do not honour Marilyn’s legacy, promote her work, or celebrate her life; they constitute exploitation.

It involves pop singers posing as a lifeless Marilyn, who tragically succumbed to an overdose. It includes reality TV stars donning highly delicate, historic, and personalised clothing that once belonged to her. It comprises social media influencers claiming they have stumbled upon her belongings and now feel haunted by her, all for their personal gain.

This isn’t about emulating photographs from her life or replicating her iconic dresses to showcase their significance. It’s not even about providing insights into Marilyn’s former residences or other significant locations in her life. These aspects genuinely intrigue people. Exploitation, on the other hand, boils down to a mere pursuit of clout, as if her name were a commodity.


In simple terms: money and attention.


This persists because she has very few living family members and friends, making it too easy to exploit her without opposition. Her estate is owned by the Authentic Brands Group, and her possessions have been scattered across the globe, making it nearly impossible to halt these exploitative actions.


People constantly seek fresh information about individuals who can no longer dispute or clarify the facts. While Marilyn was an open book to those who asked the right questions, she remained a relatively private person. She even remarked, “People don’t really know me.” What many fail to grasp is that not every story about Marilyn can be true. Yet people pick and choose what intrigues them. Utilizing Marilyn’s enduring iconic status serves to elevate forgotten or lesser-known individuals into the realm of relevance.



Slatzer met Marilyn in 1952 on the set of Niagara when Marilyn was already in a relationship with Joe DiMaggio. Slatzer wrote a book in which he claimed to have married Marilyn, despite no evidence to support this. His claims have been debunked by photographs and a cheque proving Marilyn’s presence in Los Angeles when they were supposedly in Mexico. Slatzer also falsely asserted that Marilyn had been in contact with him before her death, even though there were no records of their correspondence. In addition, he sold items claiming they belonged to the deceased star.


Carmen has appeared in numerous documentaries, asserting that she was best friends with Marilyn. However, there are no photographs of them together, no evidence of communication, and no proof that they ever met.


Referred to by Marilyn as “the Italian woman” among friends, Pepitone worked as a maid for Marilyn. She made claims in a book that portrayed herself as Marilyn’s confidante, but these claims have been widely disputed.


Surprisingly, the big star in an early film with Marilyn later exaggerated his relationship with her, even hinting at a romantic connection on a talk show.


Claimed to have lost his virginity to Marilyn in yet another book with outrageous claims.


Regained relevance by associating himself with Marilyn claiming she became pregnant with his child during the filming of Some Like It Hot despite Marilyn making a note that Tony Curtis stating: “There is only way he could comment on my sexuality and I’m afraid he has never had the opportunity!”


Ripley’s claimed that having Marilyn’s dress on display was a way to attract new fans, but it seemed more about garnering attention for themselves. Kim Kardashian wearing the replica dress meant it required additional alterations to fit Kim’s body and resulted in significant damage to the back, the straps and the intricate beading. This has raised questions about their motivations. It appears they were not doing it in order to promote Marilyn but more likely for financial gain. After images came out of the torn fabric, missing beads and various loose threads there was worldwide outrage from fans. The dress is now displayed but with the back placed against a wall so people are unable to view the damage.


In 2021, Madonna, who had long since drawn creative sustenance from the wellspring of Marilyn Monroe’s legacy, took a step too far. Her decision to re-enact the harrowing scene of Marilyn’s death for a shoot was met with widespread dismay. The portrayal, far from being a respectful homage, was seen as an act of exploitation, casting a shadow over the previously celebrated connection between the two stars. By commercialising Marilyn’s darkest hour, Madonna not only diminished her own artistic narrative but also engaged in an act that many viewed as not just exploitative, but also deeply distasteful. It serves as a stark reminder that the line between inspiration and exploitation is perilously thin, and transgressing it can irreversibly tarnish an artist’s homage.


Jasmine Chiswell and her family currently reside in a house that Marilyn briefly rented for a few months in 1952. However, some of her followers mistakenly believe that it is the same home where Marilyn tragically passed away in 1962. What’s more, Jasmine has not only made baseless claims of discovering Marilyn’s belongings (all of which can be debunked with concrete dates and evidence), but she has also asserted that Marilyn’s ghost haunts the residence, seemingly for the sole purpose of garnering attention and views.


Blonde. Ana de Armas as Marilyn Monroe

BIOPICS: Films like My Week with Marilyn and Blonde are known for taking significant creative liberties with Marilyn’s life story, often veering away from historical accuracy in favour of heightened drama. These cinematic interpretations not only distort the truth but also contribute to the myth-making surrounding Marilyn, as they sensationalise her experiences and relationships for the sake of entertainment.

QUOTES AND MERCHANDISE: Policing the use of Marilyn’s quotes and likeness on merchandise is a formidable challenge, made more complicated by the involvement of various entities, including her own estate, which is owned by the Authentic Brands Group. While the estate has a responsibility to protect and manage her image and quotes, there have been instances where Marilyn’s image has been commercialised excessively, diluting the genuine essence of her words and persona.

DOCUMENTARIES: Many documentaries have faced criticism for presenting Marilyn’s story inaccurately, either through selective editing or biased storytelling. Some documentaries have even been accused of using Marilyn’s life as a sensationalised narrative to captivate audiences, often at the expense of historical fidelity. This not only distorts Marilyn’s legacy but also perpetuates misconceptions about her life and struggles.

COSTUME PRESERVATION: Institutions such as Ripley’s Believe It or Not, which have undertaken the task of preserving Marilyn’s iconic costumes, have sparked inquiries into their motives for neglecting the preservation of her Jean Louis gown and letting a celebrity damage it for 5 minutes on the red carpet. Additionally, the V&A in London has drawn criticism for failing to exhibit an authentic Marilyn costume for their DIVAS exhibition in 2023, instead, they are showcasing for a subpar replica. While many museums aspire to highlight the historical importance of Marilyn’s wardrobe, sceptics contend that these actions may be driven by commercial interests, exploiting Marilyn’s fame as a means to entice visitors.

PHOTOSHOPPING AND USING AI ON IMAGES: In the digital age, the manipulation of Marilyn’s images raises ethical concerns. Her likeness is frequently altered using software like Photoshop and AI technologies for various purposes, including advertising and artistic reinterpretation. These alterations can range from subtle retouching to more extreme transformations, which can distort Marilyn’s true appearance and create unrealistic expectations of beauty. This practice not only infringes on her image rights but also contributes to the perpetuation of unrealistic beauty standards in popular culture.

The exploitation of Marilyn Monroe remains a complex and troubling issue, encompassing a range of actions and individuals seeking to profit from her legacy. It’s essential to continue scrutinising and questioning these practices to protect the true essence of Marilyn’s life and work from further distortion and commercialisation.


“I want to be an artist, not an erotic freak. I don’t want to be sold to the public as a celluloid aphrodisiacal.” – My Story

“People had a habit of looking at me as if I were some kind of mirror instead of a person. They didn’t see me, they saw their own lewd thoughts, then they white-masked themselves by calling me the lewd one.” – My Story

“In Hollywood, a girl’s virtue is much less important than her hair-do. You’re judged by how you look, not by what you are. Hollywood’s a place where they’ll pay you a thousand dollars for a kiss and fifty cents for your soul. I know because I turned down the first offer often enough and held out for the fifty cents.” – My Story

“Please don’t make me a joke. End the interview with what I believe. I don’t mind making jokes, but I don’t want to look like one…” – LIFE interview with Richard Meryman in 1962

“You know, most people really don’t know me.” – LIFE interview with Richard Meryman in 1962

“I think that when you are famous, every weakness is exaggerated… Goethe said, ‘Talent is developed in privacy,’ you know? And it’s really true… Creativity has got to start with humanity, and when you’re a human being, you feel, you suffer. You’re gay, you’re sick, you’re nervous or whatever.” – LIFE interview with Richard Meryman in 1962

“I never quite understood it, this sex symbol. I always thought symbols were those things you clash together! That’s the trouble, a sex symbol becomes a thing. I just hate to be a thing.” – LIFE interview with Richard Meryman in 1962

“I sometimes feel as if I’m too exposed. I’ve given myself away, the whole of me, every part, and there’s nothing left that’s private, just me alone. If you feel low, you might worry there’s nothing new to give. But that’s not true – not ever. You discover things inside yourself you never knew were there. You always go on developing.” – Conversations with Marilyn by WJ Weatherby, 1961

“My problem is I trust people too much. I believe in them too much, and I go on believing in them when the signs are already there. You get a lot of disappointments.” – Conversations with Marilyn by WJ Weatherby, 1961

“Fame causes such envy. People sometimes just because you’re famous. They’re phony to face. See you around—like never. I like to be accepted for my own sake, but a lot of people don’t care who you are. All they’re interested in is your

fame—while you’ve got it.” – Conversations with Marilyn by WJ Weatherby, 1961

“I refuse to let articles appear in movie magazines signed ‘by Marilyn Monroe.’ I might never see that article, and it might be okayed by somebody in the studio. This is wrong because when I was a little girl, I read signed stories in fan magazines, and I believed every word the stars said in them. Then I’d try to model my life after the lives of the stars I read about. If I’m going to have that kind of influence, I want to be sure it’s because of something I’ve actually read or written.” – Marilyn to Pete Martin in 1956

“I am not a victim of emotional conflicts. I am human. We all have our areas. We all feel inferior, but who ever admits it? I do think I’m human. I do have my down moments, but I’m also robust more than down.” – Marilyn to George Barris in 1962

“My body is my body, every part of it.” – Fragments

“I can’t really stand Human/ Beings sometimes-I know/ they all have their problems/ as I have mine-but I’m really/ too tired for it. Trying to understand,/ making allowances, seeing certain things/ that just weary me.” – Fragments

“I have a little temper, and I really lose it when people write untruths about me.” – Motion Picture magazine, 1954

Marilyn and The Method

The complex relationship between Lee and Paula Strasberg and Marilyn Monroe has been dissected by insiders, historians, and ardent fans alike.

Views on its impact range from beneficial to detrimental with some supporting Marilyn’s love and admiration for them and others condemning them for not realising Marilyn’s personal struggles.

Lee Strasberg, a figure as influential as he was controversial, shaped the acting careers of numerous stars including Al Pacino, James Dean and Jane Fonda who once remarked, “I’m not sure I even would have become an actress were it not for him.”

However, the role the Strasbergs played in Marilyn’s life and career remains far less clear-cut which was recognised by many including Marlon Brando, who worked with the Strasbergs himself.

He stated: “Lee was criticized–and correctly, I think–by his role, and that of his wife, Paula, in the grooming, I suppose we can call it, of Marilyn Monroe. I called it remedial tutoring, and any actor who requires round-the-clock ministrations in the reading of a line or a call sheet is not a serious actor. Marilyn was a lovely and sad woman, but she needed help that extended far beyond the exercises given to her by Lee and Paula. Lee and Paula wanted the reflected fame that came by being in Marilyn’s orbit. They were seduced and betrayed and battered.”

Did Lee, Paula, and The Method serve as catalysts for both Marilyn’s personal life and professional career, or did they impede the former while advancing the latter?


Admired for her naturalism, Marilyn had a long-standing fascination with Italian stage actor Elenora Duse. Photographs from 1951 and 1952 often show her framed picture of Duse placed conspicuously on her bookshelf or bedside table. Marilyn considered Duse’s commitment to art and refusal to compromise as inspirational, and these sentiments were echoed in her own career.

Even prior to her Strasberg tutelage, Marilyn had already established herself as a remarkable talent. In films like How to Marry a Millionaire and Gentlemen Prefer Blondes, she had demonstrated her exceptional timing, musicality, and movement. Directors like Billy Wilder praised her aptitude for comedy, stating, “The greatest thing about Marilyn is not her chest…It is her ear. She can read comedy better than anyone else in the world.”

Marilyn’s earlier dramatic performances, such as in The Asphalt Jungle and Clash by Night, were also critically acclaimed, showcasing her emotional depth. Initially coached by Natasha Lytess, who was a student of Max Reinhardt, Marilyn had praised Lytess for her early guidance on Edward R. Murrow’s show Person to Person. However, due to Natasha’s interference of her private life and rumoured book about Marilyn, she was replaced.

Another key influence during Marilyn’s years with Lytess was Michael Chekhov, a student of Stanislavski and nephew of the famous playwright Anton Chekhov. Marilyn revered Chekhov, dedicating a chapter to him in her posthumously published memoir, My Story. According to Marilyn, working with Chekhov elevated acting from a profession to “a sort of religion.”

In Henry Hathaway’s Niagara, even though she wasn’t the lead, Marilyn dominated the screen, captivating audiences as both a femme fatale and a victim. Hathaway, known for being exacting with actors, lauded her, describing her as “marvellous to work with, very easy to direct and terrifically ambitious to do better.”

Marilyn was undeniably a skilled actress but yearned for roles that would offer her greater artistic satisfaction. During her final interview with Life magazine in 1962, she spoke candidly: “We not only want to be good; we have to be.” She also shared a personal anecdote about nervousness, revealing Strasberg’s insight that “nervousness indicates sensitivity.”


Despite having iconic roles in films like Niagara, Gentlemen Prefer Blondes, and How to Marry a Millionaire, Marilyn felt both underpaid and pigeonholed. Her discontent led her to decline a role in The Girl in Pink Tights, resulting in a suspension from Fox Studios in 1954. Ultimately, she returned to the fold with There’s No Business Like Show Business (1954) and The Seven Year Itch (1955), a blockbuster that solidified her celebrity status, yet her dissatisfaction lingered. By late 1954, she had moved to New York City to establish Marilyn Monroe Productions with her friend and photographer Milton Greene announcing this formation to the press in January 1955.

It was during Marilyn’s time in New York, that Marilyn and the Strasbergs relationship began. Isaac Butler, in his seminal book The Method: How the Twentieth Century Learned to Act, indicates that Marilyn’s path to the Strasbergs was facilitated by theatrical producer and co-founder of the Actors Studio, Cheryl Crawford. According to Butler, “Crawford took a liking to Marilyn and brought her to the Actors Studio. Soon Marilyn began studying with Strasberg at Malin Studios.” Marilyn’s commitment was such that she eventually took private lessons from Strasberg, forming a familial bond with the couple and their family.

Butler also cites Lee Strasberg as claiming: “I made Marilyn an actress… even though she was already a star. I worked out her problems for her too.” Butler counters these statements as “dubious,” pointing out that Marilyn had already received considerable training before her association with the Strasbergs. Butler asserts that regardless of the debate, Marilyn herself believed she needed them, and their alliance unquestionably propelled both the Method acting approach and Strasberg’s Actor’s Studio to new heights of recognition.

Although not officially produced by Marilyn Monroe Productions, Marilyn enjoyed her newfound power and brokered a more favourable contract relishing increased creative control with her first collaborative project, Bus Stop. Distributed by Fox, Bus Stop was a pivotal film that allowed her to work with Paula Strasberg on set for the first time. Adding to the allure, the film’s director, Joshua Logan, was a Stanislavski protégé, a fact Marilyn relished.

Public and industry opinion initially scoffed at Marilyn’s bold career shifts, but perceptions evolved as her artistic ambitions became evident. A glowing 1956 cover story in Time magazine reported her enriching experience studying under Strasberg in New York. Notables like Elia Kazan praised her acting prowess, and Marilyn herself said, “For the first time, I felt accepted, not as a freak, but as myself.” Time’s profile concluded with tantalising glimpses into her future projects, like a TV adaptation of Aristophanes’ Lysistrata and her desire to play Grushenka in The Brothers Karamazov. The project had long been a dream for Marilyn, ever since she read the book in 1949. “That book was the most touching thing I’d ever read or heard of,” Marilyn recalled. “I asked Natasha whether it would make a good movie. She said yes, but not for me – yet.” Although an opportunity arose for her to take on the coveted role, Marilyn was compelled to decline. Discord between her business manager, Milton Greene, and her husband, Arthur Miller, coupled with Miller’s impending court case, created an untenable situation. Consequently, the film was ultimately released in 1958 with Maria Schell assuming the leading lady role that Marilyn had so deeply desired.

Marilyn’s shift to New York and her dalliance with Method acting significantly altered her image. No longer merely a Hollywood starlet, she became an emblem for actresses striving for artistic respect. Her actions emboldened others in the industry to challenge their typecasting.


Lee Strasberg co-founded New York City’s Group Theatre in 1931 and took over as director of the Actors Studio in 1951. His techniques encompassed a range of practices including improvisation, sense memory, and affective memory. Strasberg even encouraged psychotherapy to delve into one’s personal history to evoke a more authentic emotional response on stage or screen. Marilyn, already in psychoanalysis, found some of these methods to be both revelatory and at times painful. Beyond the hyperbolic claim of making Marilyn an actress, Lee Strasberg noted in interviews that Marilyn “can call up emotionally what is required for a scene. Her range is infinite.”

Patricia Bosworth, who knew Marilyn through the Actors Studio and was a friend of Lee’s daughter Susan Strasberg, wrote about the intensity of these exercises in a Vanity Fair article. Marilyn would often follow her sessions with psychoanalyst Dr. Kris by visiting Strasberg for sense-memory exercises designed to tap into her “real tragic power.” Yet, delving into the memories of her early years as Norma Jeane Baker was often a painful experience. Marilyn once admitted to Susan that she would sometimes fabricate answers when Strasberg’s inquiries became too probing.

The question is: was the deep self-examination a catalyst for creative expression or a source of further emotional complications? Marilyn’s on-screen performances indicate a newfound depth, suggesting a positive impact. In a 1960 interview with Marie Claire France’s editor-in-chief, Georges Belmont, Marilyn revealed Strasberg’s transformative influence on her life: “Lee Strasberg, I think he probably changed my life more than any other human being that I’ve met.”


The complexity of Marilyn’s relationship with the Strasbergs and her journey through the world of method acting reflects not just her quest for artistic excellence, but also the nuances of her personal struggles and triumphs. Whether it was her evolving relationships with acting coaches or her courageous forays into challenging roles, Marilyn remained a compelling figure, constantly striving for more, both as an artist and a human being.

The Complex Truth Behind Marilyn Monroe’s Death: Debunking Conspiracy Theories and Examining the Science


While it is my preference to celebrate the remarkable life and career of Marilyn Monroe, it is impossible to overlook the widespread interest in the circumstances surrounding her untimely death. No website, fan page, or research about Marilyn is complete without addressing the question of her passing. Therefore, it is necessary to delve into this topic and examine the facts surrounding her demise.

The death of Marilyn Monroe, one of Hollywood’s most iconic figures, has sparked countless conspiracy theories over the years. However, a comprehensive examination of the available evidence strongly suggests that Marilyn’s death was not the result of foul play, but rather a tragic case of an overdose – either accidental or intentional. This article will delve into the facts surrounding Marilyn’s prescription drug use, the autopsy report, the absence of third-party involvement, the whereabouts of the Kennedy brothers, and dispel the theory of her being murdered by Enema, refuting claims of murder involving the Kennedys or anyone else.


4 August 1962

  • 8:00 am: Eunice Murray, Marilyn’s housekeeper, arrives at Marilyn’s home after being dropped off by Henry D’Antonio, who was servicing Mrs Murray’s car that day.
  • Marilyn informs Mrs Murray that she plans to spend the day with her friend and publicist, Patricia Newcomb, by the pool, as Pat is sick. Neighbours report hearing a woman coughing in the garden.
  • Furniture is delivered from The Mart and Pilgrim’s Modern Furniture. Marilyn writes a check to Pilgrim’s for $228.80. Marilyn’s furniture, ordered from Mexico, had been delivered to the wrong address, and bills had arrived at Marilyn’s home.
  • Around noon: Pat Newcomb wakes up and is unwell with bronchitis. Marilyn tells her to stay with her to “bake it out.” Mrs Murray prepares lunch for Pat (an omelette), but Marilyn refuses to eat. Additional deliveries and plants arrive.
  • After 1:00 pm: Dr Ralph Greenson arrives. According to Milton Rudin, Marilyn’s attorney and Dr Greenson’s brother-in-law, Dr Greenson spends most of the day with Marilyn.
  • 2:00 pm: Joe DiMaggio Jr. calls Marilyn, but Mrs Murray informs him that Marilyn is not home.
  • Between 2:00 pm and 4:00 pm: Eunice Murray’s car is dropped off by D’Antonio and his wife.
  • Around 3:00 pm: Pat leaves at Greenson’s request, followed shortly by Greenson himself.
  • At approximately 4:30 pm: Joe DiMaggio Jr. tries to contact Marilyn again, but Mrs Murray states that she is still not home.
  • 5:00 pm: In 1975, Lawford claims he called Marilyn at this time, and she accepts his dinner party invitation.
  • 5:15 pm: Dr Greenson returns to the hacienda to continue therapy with Marilyn. In a letter to Marianne Kris dated August 20, 1962, Dr Greenson writes, “I was aware that she was somewhat angry with me. She often became annoyed when I did not absolutely and wholeheartedly agree [with her]… I told her we would talk more, she should call me on Sunday morning.”
  • 7:00/15 pm: Dr Greenson leaves Marilyn in her room, and Eunice Murray stays overnight, which she normally doesn’t do.
  • At approximately 7:15 pm: Joe DiMaggio Jr. finally chats with Marilyn over the phone in her room. They speak for approximately 15 minutes. He later states that he found her alert and happy. Joe Jr. confirms the time to the police by watching a live broadcast of the sixth/seventh inning of the Angels/Ontario baseball game on television.
  • Marilyn calls Dr Greenson at about 7:40 pm while he is shaving for dinner, happily telling him that Joe Jr. had broken off his engagement, which had been a cause of concern for her based on her own experience as a young bride.
  • At approximately 7:45 pm: Peter Lawford calls again to ask Marilyn to come over for dinner, but she declines. Other guests who attend are Joseph Naar and his wife Dolores, who are there from 8:00 pm to 10:00 pm, and George Durgom. They order Chinese food.
  • A neighbour sees Marilyn throwing the ball to Maf in the garden and tells Mrs Murray, “I don’t think we’ll take that drive after all,” referring to a drive recommended by Greenson.
  • 8:00 pm: Marilyn retires to her bedroom, saying goodnight to Mrs Murray.
  • 8:25 pm: According to police reports, Peter Lawford calls Milton Rudin, a talent manager, as he is concerned about Marilyn’s welfare. He asks Rudin to call Milton Ebbins, as stated in a Re-Interview Report by Lieutenant Grover Armstrong on August 10, 1962. According to Rudin, Lawford hears Marilyn “fading out.”
  • 8:45 pm: According to police reports, Rudin calls Ebbins.
  • 9:00 pm: Rudin ultimately phones Marilyn’s home and speaks to Mrs Murray, who assures him that Marilyn is fine. In her memoir, Mrs Murray later states that no one made her aware that there was cause for concern. It is believed that she didn’t want to disturb Marilyn in case she was asleep.
  • After 10:00 pm: Lawford calls the Naar residence (as stated by Joseph Naar in 1992) and asks them to check on Marilyn, as he still believes something is wrong. However, while they are getting ready to leave, Rudin calls and tells them not to worry, as Marilyn had been given a sedative to help her sleep by Dr Greenson.

Additional notes regarding this date:

Mrs Murray had been given a check dated August 4, 1962, for $200, signed by Marilyn. Based on information from Patricia Newcomb, Marilyn planned to terminate Mrs Murray’s services. Mrs Murray had also planned a tour of Europe in August.

5 August 1962

  • 3:00 am: Eunice Murray wakes (to use the toilet, to check on Marilyn or even for a drink, it’s not known) to find Marilyn’s light still on and has no response. She calls Greenson.
  • 3:30/4:00 am: Dr Greenson arrives due to a call from Mrs Murray expressing concern about Marilyn. As the door is locked, he breaks the window, finds Marilyn unresponsive, and unlocks the door. He calls Engelberg.
  • 3:35 – 3:50 am: Dr. Engelberg arrives.
  • 4:25 am: Sergeant Jack Clemmons is called and informed that Marilyn is dead. He personally goes to investigate the scene with two patrolmen.
  • 4:35 am: Clemmons is escorted into Marilyn’s bedroom and inspects the scene.
  • 5:00 am: Pat Newcomb is informed of Marilyn’s death.
  • 5:25 am: Marilyn’s body is taken to Westwood Memorial before an autopsy is conducted.
  • 7:45 am: Coroners dispatch a vehicle to collect Marilyn from Westwood, and she was respectfully transported to the Los Angeles County Morgue. During this time, a photographer named Leigh Wiener, without authorisation, took a series of photographs of her body’s arrival.
  • 8:00 am: Marilyn’s body arrives at the morgue.
  • 9:00 am: Marilyn’s body is “removed to Coroners Dept” where an autopsy takes place at 10:30 am by Dr. Thomas Noguchi, at the Los Angeles County Coroner. Afterwards, Marilyn’s body is held at the morgue pending more tests.
  • Joe DiMaggio arrives from San Francisco. Berniece Miracle authorises the release of Marilyn’s body to Joe DiMaggio. Marilyn’s body is taken to the funeral home.


During the last two months of her life, Marilyn had been prescribed an alarming number of pills—over 770, to be precise. Between June 7 and August 3, she was prescribed 772 barbiturates, including 50 chloral hydrates on July 25 and another 50 on July 31. These medications were essential in managing Marilyn’s various physical and psychological issues however, these are extreme doses. Dr Hyman Engleberg, a well-respected physician, had signed off on these prescriptions after evaluating Marilyn’s medical condition. It is important to note that in the 1960s, the medical community had a different approach to medication, often relying on high doses to address patients’ symptoms but much of the responsibility for her overdose came down to the doctors.

When individuals take prescription medication for an extended period, their bodies can change drug metabolism and elimination. Over time, the body may adapt to the presence of the drug, potentially leading to altered rates of elimination and increased tolerance. In the case of Marilyn’s extensive prescription drug use, the high levels of medication found in her system at the time of her death could be attributed to her prolonged use and potential tolerance to those medications.

Theodore Curphey, the chief coroner, determined that there were approximately 40-50 pills in her bloodstream, a potentially lethal amount as a dose of 10-15 pills is considered fatal. To reach these levels of 4.5 mg in the blood and 13 mg in the liver, one must consider the impact of enzyme induction due to chronic use. Habitual users may experience a faster metabolism, like the tolerance that develops in addicts using drugs like morphine or heroin. When taken on an empty stomach, absorption occurs rapidly, usually within an hour or less, as there are no substances to slow it down. The exact time before death would depend on various factors, including the specific drug, individual tolerance, and the rate of absorption, making it difficult to provide a precise estimate.


The official autopsy report provides critical insights into Marilyn’s cause of death. It stated that she had 4.5 Nembutal (a sedative) and 8.0mg of Chloral Hydrate (a sleep aid) in her blood, along with 13mg of Nembutal in her liver at the time of death. These levels were significantly higher than therapeutic levels and were consistent with an intentional overdose of the prescribed medication. The report concluded that Marilyn Monroe’s death was the result of acute barbiturate poisoning. This evidence strongly suggests that Marilyn Monroe was the one to take her own life.


One of the prevailing theories surrounding Marilyn’s death involves the alleged involvement of the Kennedys, CIA, Mafia and even her housekeeper. However, a thorough examination of the available evidence debunks this notion. The evidence overwhelmingly supports the conclusion that there was no one else present in Marilyn Monroe’s home at the time of her death, aside from her housekeeper, Eunice Murray.

Witness Testimony

Investigators interviewed Marilyn’s housekeeper, Eunice Murray, who was the only person with her at the time. They also spoke to Peter Lawford, one of the last people to speak to Marilyn before she died. Murray’s account, supported by physical evidence and other witnesses, indicated that Marilyn was alone and locked in her bedroom throughout the evening. Although specific details changed over time, nothing specifically indicated homicide took place. Some have claimed Marilyn did not have a lock on her bedroom door, however, photos from the scene show this is not the case.

John F. Kennedy (JFK)

On that specific evening, John F. Kennedy, the President of the United States at the time, was not in California where Marilyn resided. Historical records as well as photographic images show that JFK was in Hyannis Port, Massachusetts, at the Kennedy family compound. The President’s activities for that day and evening were well-documented, including meetings, official engagements, and social gatherings. The 3000-mile distance between Massachusetts and California makes it highly improbable for JFK to have physically played a role in Marilyn’s death.

Robert F. Kennedy (RFK)

Robert F. Kennedy, the Attorney General of the United States and brother of JFK, also had a clear alibi for the night of Marilyn Monroe’s death. RFK was confirmed to be in San Francisco, California, on the day leading up to and on the night of 4th August 1962. Official records and contemporaneous news reports detail his attendance at a series of public events and meetings in San Francisco, miles away from Marilyn’s residence in Brentwood.

Kennedys – Lack of Motive

While it is known that Marilyn had personal relationships with JFK and RFK, including alleged romantic involvement (discussed in previous blog posts on ourmarilynmonroe.com), there is no substantial evidence linking these relationships to a motive for murder. Personal relationships, particularly in the context of extramarital affairs, do not inherently provide sufficient grounds for the Kennedys to resort to murder, especially as the older Kennedy brother had previously had affairs with no direct consequence to the women involved.

CIA and Mafia

One of the fundamental aspects of any conspiracy theory is establishing a motive. In the case of the CIA or the Mafia’s alleged involvement in Marilyn Monroe’s death, a clear and credible motive is lacking. Marilyn, while having associations with influential individuals, was not involved in political matters or organised crime. Without a discernible motive, it becomes increasingly improbable that the CIA or Mafia would have targeted her for assassination.

Absence of Enema-Related Evidence

Another theory suggesting Marilyn Monroe was murdered by enema by her housekeeper and Dr Greenson can also be debunked. The official autopsy report makes no mention of any enema-related injuries or trauma. In fact, due to there still being faecal matter present, this would eliminate the theory entirely.

No Needle Marks

One of the key indicators of death by injection is the presence of needle marks at the site of injection. However, no credible evidence or documentation exists to support the notion that Marilyn had needle marks on her body. The detailed examination conducted during the autopsy would have revealed any such marks, yet none were reported. This absence of needle marks significantly weakens the theory of Marilyn’s death by injection.

Neck swelling

If there was swelling, which some claim displays she was murdered, it is implausible that an incision would be made to alleviate swelling, as there should be no reason for swelling in that area. Swelling isn’t typically resolved through incisions, as it doesn’t involve fluid that can be drained. The swelling in question is likely intracellular, which wouldn’t be alleviated by making an incision. Therefore, we should trust the medical examiner’s opinion over the attendant who made that claim, as it is unlikely that swelling in the neck area can be effectively addressed in this manner.


One prominent claim of murder comes from Jack Clemmons, the Los Angeles Police Department’s detective sergeant assigned to her case. Clemmons publicly questioned the official explanation of suicide, suggesting the possibility of foul play or accidental overdose. His statements garnered significant media attention and added fuel to the growing doubts surrounding her death. Clemmons made claims such as Marilyn’s washer being on when he arrived indicating a crime scene cleanup. However, Marilyn’s home inventory and floor plans show Marilyn didn’t have a washer or dryer nor did she have a water supply at the house to wash anything which is why most laundry was done via an external laundry service.

Additionally, Fred Otash, a former Los Angeles police officer turned private investigator, claimed to have conducted his own investigation into Marilyn Monroe’s death. He alleged that she had been murdered due to her involvement with powerful individuals, including the Kennedys. Otash’s sensational claims further contributed to the intrigue and suspicions surrounding Marilyn’s demise.

Another individual who perpetuated the idea of Marilyn’s murder was Frank A. Cappell, a writer and conspiracy theorist. Cappell extensively researched and wrote about Marilyn’s death, proposing the theory that she was murdered. He claimed to have conducted his own investigations, interviewed witnesses, and gathered evidence to support his assertions.

Cappell’s book, titled The Strange Death of Marilyn Monroe, was published in 1964 and presented his conspiracy theories surrounding Marilyn’s demise. In his work, he alleged that Marilyn had become entangled with powerful individuals including organised crime figures, which led to her murder. Cappell’s book gained attention and further fuelled public speculation about Marilyn’s death. However, none of these claims were backed up by any sort of scientific evidence.

While individuals like Clemmons and Otash played a role in popularising the idea of Marilyn’s murder, it is critical to approach their accounts with caution. Both Clemmons and Otash had affiliations with tabloid journalism and had motivations for creating sensational political narratives. Their claims lacked concrete evidence and were driven by personal interests rather than factual findings. It is also crucial to note that the official investigations, including the autopsy report conducted by the Los Angeles County Coroner’s Office, consistently attributed Marilyn’s death to an overdose of prescription medication – whether this was accidental or intentional, we don’t know. But despite the perpetuation of murder theories, the evidence supporting suicide remains the most widely accepted explanation. The claims made by individuals like Clemmons, Cappell and Otash, while adding to the speculation surrounding her death, should be evaluated within the context of their potential biases and overall lack of concrete evidence.


In a previous interview with Marijane Gray of Immortal Marilyn, pathologist Dr Cyril Wecht was asked questions regarding the many questions fans have about Marilyn’s passing.

Through Dr. Wecht’s unparalleled insight and experience, certain truths about the death of Marilyn have been revealed. We know from science that:

  • it is likely that she could have taken all the pills orally as the science aligns with that, although psychologically it is unusual that she would do so shortly after having been reported to be in good spirits during her phone call with Joe DiMaggio Jr;
  • It is highly unlikely if not impossible for her to have overdosed accidentally by forgetting if she’d taken pills and then taking more due to the amount of pills she would have taken for the levels in her blood;
  • She did not die via a build-up of pills that she might have taken over the course of the day;
  • That there was nothing suspicious or unusual about the discolouration of her colon, that it was as part of the natural dying process as the congestion and swelling in the lungs was;
  • That theories of death via enema, cyanide, suffocation, and of her dying in an ambulance simply do not correlate with science;
  • That the body was in moved, but there is nothing nefarious or suspicious about it;
  • That Marilyn’s body showed no signs of ever having an abortion;
  • There is nothing unusual about her having an empty stomach,
  • and that Nembutal does not leave a dye trail.

At the time of the interview with Immortal Marilyn, Dr. Wecht claimed that the time of death was around eight o’clock and no later than nine. However, in April 2016, when Dr. Wecht appeared on the radio programme, Goodnight Marilyn Radio, he recanted the preceding statement and admitted that he had made a mistake. After criticising the amount of time that elapsed before Marilyn’s doctors notified the police and the coroner arrived, Dr Wecht offered the following correction:

 “[…] determination of time of death is difficult and vague enough as it is, in the tightest type of scenario and the dragging out of hours and hours diminishes markedly the validity of temporal determination as to time of death. Rigor mortis, livor mortis, algor mortis, body temperature, with each passing hour those criteria become less and less scientific. […] Well, body temperatures decline in a normal environment, I mean, you know, not excessively hot and not excessively cold, you know, just room temperature and so on. It’s not fixed to the tenth of a degree or so on but the formula we use is within the first hour one and one-half to two degrees Fahrenheit the temperature drops and then with each hour thereafter one more degree.”

Accordingly, Dr Wecht adjusted his estimated time of death to approximately 2:00 am on August 5th.

Dr. Wecht opined that Marilyn most certainly lingered for a few hours after she ingested the pills, meaning she slipped into a deep sleep, then into semi-coma, then into a coma, and finally into death. He also noted that her bodily functions would have continued until Marilyn’s lungs and then finally her heart succumbed to the terrible effects of the barbiturates in her system. In short, Marilyn lived long enough for her digestive tract to dissolve any capsules that she had ingested and long enough for her liver to start metabolising the barbiturates.

Therefore, Marilyn possibly died between 8:30 PM on the 4th of August and 2:30 AM on the 5th of August with the mean time of 12:30 am on the 5th of August. Regardless of what time Marilyn died, it is apparent that she became an unresponsive, comatose body at some point before midnight when August the 4th became August the 5th.

It’s also important to acknowledge that while there is little to dispute regarding her autopsy and toxicology results, some issues can raised.

  • Why did she sound happy and fine and take so many pills shortly after?
  • How long exactly was she passed out and comatose?
  • Was it intentional or did Marilyn not realise the risk of taking so many pills?
  • Why did witness stories keep changing?
  • Why was there such a delay in calling the police?
  • Why was ‘barbs-overdose’ improperly written on the initial reports?
  • Why was Marilyn’s manner of death determined to be ‘probable’ suicide when there is no other known case with the qualifying ‘probable’ included?
  • Why were Dr Engleberg and Dr Greenson absolved of all culpability for their role in her death by prescribing her such a deadly and unethical number of drugs?

Unfortunately, these are not questions that can be answered by science. However, hopefully, Dr Wecht has been able to put to rest several rumours and speculation that have circulated through the years.


Marilyn Monroe was more than just fodder for conspiracy.

She was a living, breathing human being who deserves more than what she’s been given after her death. Some of the outlandish theories surrounding her death, those with a lack of clear motive and lack of any evidence, portray the real woman in such a light that is completely unfamiliar to those who knew and loved her.

She becomes a caricature for the tabloids and is removed from who she is. While celebrating her life should always be at the forefront, examining her death and debunking the lies and slander also helps us get a clearer picture of who she was. She was not a delusional woman who was murdered because she “knew too much”; she was a strong, tough, remarkable woman with an addiction who was failed by her medical professional, who was tragically gone from this world too soon.

Dr Wecht finalises this in Tales from the Morgue, in which he states:

“We can nevertheless analyse her life and hold it side by side with the scientific facts left by death. It is easy to want someone with such a remarkable life to have a sensational death. And here, after a brief examination of the woman in life and a more thorough examination of the body in death, I must conclude that I agree with Dr. Tom Noguchi and with the 1982 investigation by the Los Angeles District Attorney’s office. I see no credible evidence to support a murder theory. When it comes to science, any aspect of it, one must let go of previously held ideas if proven evidence contradicts it. While many feel somehow comforted to cling to some of the various conspiracies surrounding Marilyn’s death, and while there are still many unanswered questions swirling around it, we must accept what scientific evidence tells us.”

Marilyn Monroe’s Final Home

“Now that I’ve turned thirty-six, this is a dream come true for me—my having my own home, my own house. I have an apartment in New York City on Sutton Place, and I’m officially a legal resident of New York, but since pictures are still made in Hollywood, that’s where I have to be  for work. I decided it was time for me to buy a house, instead of leasing one all the time… It’s a cute little Mexican-style house with eight rooms, and at least I can say it’s mine—but not alone. I have a partner…The bank! I have a mortgage to pay off… The address is cute, too: 12305 Fifth Helena Drive, Brentwood. And get this, I’m in a cul-de-sac or, as we call it, a dead-end street. It’s small, but I find it rather cozy that way. It’s quiet and peaceful—just what I need right now.”

Latest update – 13 October 2023

Marilyn Monroe’s life was a whirlwind of glamour and fame, but amidst the chaos of Hollywood, she found solace and privacy in her home at 12305 5th Helena Drive in Brentwood, Los Angeles. This picturesque Spanish-style hacienda became an integral part of her legacy and is a symbol of an era gone by. However, as of September 1962, the home is at risk of demolition as the news has broken that the current owners have applied and succeeded in getting permission for its demolition. Here is a history of the home that Marilyn cherished so dearly.



Built in 1929, 12305 Helena Drive is a stunning example of Spanish Colonial Revival architecture. The property’s distinct red-tiled roof, white stucco walls, and arched doorways are characteristic of this architectural style.

Before Marilyn Monroe lived there, the property had its own history. Built in the early years of Hollywood, and like many homes in the Brentwood area, it represented the Spanish Colonial Revival architectural style that was popular during that era in Los Angeles. While specific historical details about its previous occupants or notable events are not widely documented, the house itself was part of the architectural landscape of Brentwood, a neighbourhood that has long been associated with the entertainment industry and various Hollywood personalities. It’s worth noting that the property’s historical significance became even more pronounced after Marilyn Monroe’s residence there, contributing to its enduring legacy.

While online records might not yield extensive information about the property’s pre-Marilyn era, its age of nearly a century underscores its role as a repository of Hollywood’s illustrious past within its very walls.

  • 1929 – 12305 is built
  • May 1949 – Los Angeles Times advertises the property for sale
  • December 1961 – Los Angeles Times advertises the property for sale


Marilyn Monroe purchased the home in February 1962, just six months before her tragic death. It was her desire for privacy and a sense of stability that led her to this charming abode. The house served as a haven away from the prying eyes of the paparazzi and allowed her to enjoy moments of serenity.

During her brief but significant time at 12305 Helena Drive, Marilyn made some personal touches to the house.

She made sure the home reflected her unique style and fitted in with the architecture of the property itself. Decorated with Mexican-style furnishings hand-selected from her trip to Mexico, the interiors of 12305 Helena Drive embodied Marilyn’s personality and charm.

There are a few images of Marilyn Monroe in the home. These iconic shots were captured by Allan Grant in July 1962, intended to accompany an article penned by Richard Meryman in the same month. In these images, Marilyn is gracefully seated upon an opulent Italian-style carved wood corner chair adorned with sumptuous olive green velvet upholstery. This particular chair was one of the star’s cherished possessions, gracing her newly-acquired Brentwood residence. It was sold at Julien’s in 2019 for $81,250. 

Other photographs of the property, taken after her passing, reveal an array of captivating elements. Among them, tapestries drape the walls, dark wood cabinets add an air of sophistication, a chess set invites intellectual pursuits, and the exquisite Mexican tiles provide a rich tapestry of cultural beauty.



Following Marilyn Monroe’s untimely death in August 1962, the fate of her beloved home at 12305 Helena Drive entered a new chapter. The house witnessed a flurry of interest, with several competing purchase offers emerging within a day. In May 1963, the Nunez family became the proprietors of Marilyn’s final home with Dr. Gilbert Nunez also passing away in the property.

The subsequent ownership of the bungalow gets somewhat tricky to understand because of Trusts and Deeds from all directions and multiple real estate websites dating ownership differently However, this is what I have managed to compile to the best of my ability and am happy to edit any mistakes made.

  • September 1963 – Gilbert and Betty Nunez become owners of the home
  • 1980 – The Nunez family sells the property to Alexander Bull
  • 1994 – Alexander Bull sells the home to Michael Ritchie, film director, for $995,000
  • 1996 – Cynthia and Henry Rust buy the hacienda from Ritchie
  • 2007 – Cynthia Rust becomes sole owner of the property
  • 2010 – Cynthia Rust sells to David Weber Trust for $3,850,038
  • 2012 – David Weber Trust sells to William Capps for $5.1 million
  • 2015 – William Capps “gifts” the home to Donna Kaplan
  • 2017 – Donna Kaplan sells to Glory of Snow 1031 LLC $7.25 million
  • 2023 – Grant Deed is made from Glory of Snow 1031 LLC to Glory of Snow Trust

Source: PropertyShark, Julien’s Auctions


In September 2023, it was announced that the owners of 12305 Fifth Helena Drive had received approval for its demolition. This news stirred deep emotions of dismay and sorrow among Marilyn Monroe’s admirers worldwide. For them, this house held a special place in their hearts, as it was where Marilyn found solace and where she spent her final moments.

From a moral standpoint, preserving this historic landmark should be a priority. Just as countless homes and culturally significant structures have been safeguarded over the years, 12305 Helena Drive deserves the same protection. It stands as a testament to an era of Hollywood glamour and the memory of an iconic figure whose legacy continues to resonate with people across generations.


🚨URGENT!🚨 Hollywood’s iconic “blonde bombshell” Marilyn Monroe left us way too soon, and now her house where she lived—and died in 1962—may also be lost **if we don’t act quickly.** Owners have filed plans to build a new house on the site of Monroe’s 1929 Spanish, hacienda-style home in Brentwood, and it appears clearance for a demolition permit may already be in place. Identified in 2013 by the City’s SurveyLA program as being potentially historic, the house is currently unprotected.

While we are definitely in the 11th hour, please reach out to Councilmember


@councilwomanTraciPark(councilmember.park@lacity.org and 213-473-7011) and ask her to *immediately* initiate the Historic-Cultural Monument (HCM) process for Monroe’s house at 12305 5th Helena Drive!

If not too late and successful, this could allow the City and residents to consider if Monroe’s house should be protected, spared from demolition, and ultimately designated as an HCM. This action can still allow owners to update and even expand the house if desired but ensure its essential character, and Monroe’s association, is maintained.


Naturally, many fans envision the transformation of Marilyn Monroe’s former home into a dedicated Marilyn museum, but this idea presents several significant challenges.

Firstly, establishing such a museum would require finding a capable and dedicated curator or manager. Additionally, assembling a collection of Marilyn Monroe memorabilia would be a daunting task, as her belongings have been dispersed among collectors worldwide.

The property’s location compounds these challenges. Situated in a small cul-de-sac within the serene confines of Brentwood, it mirrors the allure of privacy that drew Marilyn and countless other celebrities to live there. Transforming it into a museum would disrupt the tranquillity enjoyed by the surrounding residents, potentially leading to disturbances caused by an influx of hundreds of fans and inadequate parking facilities.

In contrast, iconic landmarks like Graceland and Charlie Chaplin’s Swiss residence, which have successfully become museums, are grand mansions managed by established historical organisations, set in more spacious and accommodating environments. Balancing the preservation of Marilyn’s memory with the practical realities of her former home’s location presents a unique and complex preservation challenge.

A better scenario would involve the property falling into the hands of an owner who values its rich history, content with preserving its character as a bungalow rather than transforming it into a lavish mansion. Such an owner would grasp the profound significance of this place to Marilyn’s fans.

The property’s substantial walls already provide a degree of privacy, shielding it from intrusive gazes. Fans yearn for the preservation of not only Marilyn’s former home but also other historic buildings across Los Angeles, shielding them from the threat of demolition. In this way, the legacy of Marilyn Monroe and the broader cultural heritage of the city can endure, appreciated and safeguarded for generations to come.

9 September 2023: Councilwoman Park has confirmed that the demolition permit has been revoked and demolition is currently halted.