I considered Charlie Kirk to be controlled opposition, so this is interesting as they love to feed us Catholics in their ploys of controlling Christians for political gain. Consequently, Catholicism is a Satanic religion of human works and false prophecy not given by God, complete with humans taking God’s title of Father, installing and worshiping idols in their churches, doing the Satanic upside down cross on their bodies… And wearing a Catholic pendent with your husband’s blood is a bit on the Satanic side.
Colossians 2:18–19
[18] Let no one disqualify you, insisting on asceticism and worship of angels, going on in detail about visions, puffed up without reason by his sensuous mind, [19] and not holding fast to the Head, from whom the whole body, nourished and knit together through its joints and ligaments, grows with a growth that is from God. (ESV)
And in the book of Revelation, John fell down to worship an angel and was corrected.
Revelation 22:8–9
[8] I, John, am the one who heard and saw these things. And when I heard and saw them, I fell down to worship at the feet of the angel who showed them to me, [9] but he said to me, “You must not do that! I am a fellow servant with you and your brothers the prophets, and with those who keep the words of this book. Worship God.” (ESV)
Although, Charlie Kirk was supposed to be associated the charismatic Calvary Chapel which label themselves evangelical, per the Wikipedia page. Consequently, charismatic churches are famous for blaspheming the Holy Spirit by attributing the works of Satan to the Holy Spirit, so in the same realm with Catholicism. And I just watched a great sermon by John MacArthur on this very subject which I’ll post next.
By Terry Littlepage
She Keeps a Saint Michael Pendant, Stained by a Day She Can Never Forget
In a recent interview, Erika Kirk said she now wears her slain husband’s pendant of Saint Michael the Archangel, a small medal that has become a living memory. The cross on the pendant is still stained with her husband’s blood from the day he was assassinated, a detail she did not soften when she spoke about it. That image has followed her into every room, every plane ride, and every courtroom visit since.
The pendant is simple and weathered, a private piece turned public by a violent act. For Erika, it is less jewelry and more a map of loss, with a darkened cross marking a precise and impossible moment. She described how the metal catches the light and brings her back, in a way words cannot.
Saint Michael the Archangel is traditionally seen as a symbol of protection and strength, and the choice of that saint is no accident. People often reach for symbols that promise guardianship when the world feels most unhinged, and Erika’s pendant sits at that intersection of faith and trauma. It is a small anchor in a sea of grief.
There is a raw clarity in keeping such an object close, a refusal to let the day be abstracted by headlines and distance. When she touches the pendant, she can feel the contours of the past, the same way a scent can evoke an entire decade. That tactile connection is part mourning and part testimony.
What the Pendant Means Each Day
Wearing the pendant has become a ritual for Erika, something she does without thinking as she steps out the door. The stain on the cross is a constant reminder that the violence was real, and that it changed everything in an instant. It is also a quiet statement that memory will not be sanitized by time.
Her decision to keep the pendant visible is also an act of agency; she controls how her husband’s story is carried forward. Some people choose to tuck away relics, but placing it against her heart is a deliberate choice to ward against forgetting. The pendant functions as both shield and witness.
Friends and family have mixed reactions, because objects like this tend to force people into difficult emotional work. Some find comfort in the consistency of it, others feel unsettled by so tangible a reminder of the violence. Erika seems to accept both responses without shrinking from the truth she bears.
Faith, Memory, and the Public Eye
Faith plays a visible role in her coping, but the pendant is not only about religion; it is about identity and history. To wear Saint Michael is to say you want protection, but it is also to say you remember who you were with and what was taken. That dual message resonates in ways that interviews and press statements rarely do.
Her openness in talking about the pendant has drawn attention, and attention brings both empathy and scrutiny. Public curiosity about such symbolic items can feel invasive, but it can also make private grief part of a larger conversation about violence and its aftermath. Erika has chosen to let her belongings speak when words fall short.
The stain on the cross has become a focal point for those who follow the case and for people who have suffered similar losses. It is a stark, unromantic emblem of a brutal fact: the day violence arrived, ordinary objects were transformed into evidence and relic. That transformation complicates how communities remember tragedies.
How Personal Objects Shape Healing
Object-based mourning is an ancient human practice because physical things bridge the gap between absence and presence. A pendant, a shirt, a photograph—they can hold scent, texture, and the imprint of touch in ways memory alone cannot. For Erika, the pendant carries the physical trace of that one violent day and the emotional map of what came after.
Keeping the pendant close also serves a practical purpose in grief work: rituals create continuity where chaos once reigned. The simple act of putting on the medal each morning stitches a small thread of normalcy into an unraveling life. Those tiny rituals can become the scaffolding for longer-term resilience.
At the same time, such items can reopen wounds, and Erika acknowledges that. She speaks about the pendant without theatricality, neither using it to provoke sympathy nor to hide the rawness of her pain. It is an honest, stubborn possession.
What Comes Next
As the legal and human fallout of the assassination continues to unfold, the pendant will likely remain a quiet companion in whatever comes next. It will be with her at hearings, at memorials, and on ordinary days when grief arrives uninvited. For now, it sits at the crossroads of faith, memory, and a life that refuses to stay the same.
The stained cross is not a souvenir but a living document, one that refuses to let a single day be reduced to a headline. Wearing it is, in Erika’s words, a way to keep a promise: to remember and to bear witness. That promise is small, stubborn, and human, and it keeps pulling her forward one breath at a time.