Erika Kirk Just Destroyed TPUSA and Her Respectability
Erika Kirk Just Destroyed TPUSA and Her Respectability
Erika Kirk Just Destroyed TPUSA and Her Respectability
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Shockwaves Echo
00:14:59
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| What people are reacting to more than anything, I mean anything up till now, involving the Charlie Kirk, TPUSA, Erica Kirk, Candace Owens, and that entire, that amalgam. | |
| What people are reacting to like nothing else is the leaked video, thanks to Candace Owens. | |
| That's it. | |
| That was seppuku, Harry Carey. | |
| That was self-harm. | |
| She just destroyed everything. | |
| And people are listening to it from the first sentence with a sense of shock. | |
| The giddiness. | |
| This cheerleader, puerile, juvenescent, sophomoric, baby high school cheerleader, giddy talking about how super an event was, her husband funeral or memorial, a celebration of a life destroyed by an assassin's bullet. | |
| Do I have to explain it like this? | |
| Yes. | |
| It's unbelievable. | |
| There are psychopaths, serial killers who know how to pretend concern, pretend empathy. | |
| What people reacted to in that leaked call was not in any way politics. | |
| It was this weird kind of an instinct that we all have as humans. | |
| It was a gut-level human recognition that something was off. | |
| Something was weird because when a person loses a spouse to sudden violence, the natural response is shock. | |
| Shock. | |
| Silence. | |
| Kind of an emotional fragmentation. | |
| Collapse. | |
| Inertia. | |
| Like a depression. | |
| Not a clinical depression. | |
| A depression brought on by a particular instance. | |
| Or at the very minimum, a visible struggle to maintain composure. | |
| The inability to put words together to say, listen, I can only say a few words. | |
| I want to thank you for your incredible effort. | |
| It was an honor of Charlie. | |
| As you can understand, I just can't talk right now. | |
| And I think, and people would have understood. | |
| No, she's like, hey, guys. | |
| Hey, I don't know how to work these emojis. | |
| Oh, you guys are super. | |
| Yeah, it was just super. | |
| Now, look, I'm not going to be one of these people to say she's a psychopath. | |
| She's a narcissist. | |
| She has a borderline disorder, a personality disorder. | |
| I don't know what. | |
| I'm not a shrink. | |
| But all I know was that this is fucked up. | |
| That's the word for it. | |
| It's fucked up. | |
| Royally. | |
| I mean, what the public heard instead of what you can imagine was this upbeat cadence, his promotional language, metric-driven excitement, celebratory framing that sounded less like mourning and more like some corporate after action reported. | |
| Hey, guys, how do we do? | |
| We're feeling super and weird. | |
| And that contrast, that contrast, is what triggered such widespread condemnation and disgust because grief has a sound, | |
| sorrow has a tempo, and authenticity carries weight even when words are imperfect, when words aren't aren't there. | |
| But what came across in that recording, thanks to Candace Owens, was polished, burnished, artificially buoyed enthusiasm about attendance numbers, merchandise revenue, merch, hats, voter registrations, operational corporate success. | |
| It was weird. | |
| I still can't, I can't get over it. | |
| I've heard it before. | |
| I can't get past it. | |
| I don't get used to it. | |
| Even there's a pruder film because, okay, here we go. | |
| Frame number four. | |
| There it is. | |
| You know, the mist, not this. | |
| And when someone describes their husband's funeral as the event of the century and follows with figures and performance reports, oh, dude, as the kids say, wow. | |
| People instinctively recoil in disgust and revulsion because it violates an unwritten social contract about how tragedy is handled. | |
| Not because anyone expects perfection, but because the emotional this mismatch is glaring. | |
| And when this reaction is compounded by the knowledge that staff who worked extreme, ungodly hours to execute that memorial event were later dismissed, dismissed, fired, shown the door, given a hot copy of the home game without explanation, the perception of exploitation grows stronger to say the least. | |
| I mean, it's unbelievable, because praise without loyalty feels, I guess the word is transactional, but that sounds too, it's sick. | |
| How about that? | |
| When you have gratitude without protection, it's hollow. | |
| It's emotionally vacant. | |
| And by the way, when this is paired with corporate downsizing, it creates this cognitive dissidence. | |
| You love that word. | |
| That audiences cannot ignore. | |
| And then there is the issue of data harvesting and geo-fencing, which may be legal, may be commonplace in modern political organizing. | |
| But when you attach it to a memorial service, memorial service, I mean, it crosses a psychological line for a lot of people, a lot of human beings, because mourners expect sacred space, not digital tracking. | |
| And when supporters realize that their presence may have been used to build marketing lists and fundraising funnels, the sense of manipulation intensifies. | |
| And that feeds directly into the broader perspective and perception. | |
| And the problems surrounding TPUSA in the aftermath of Charlie's dispatch. | |
| Because while critics are accused of monetizing tragedy, internal communications reveal that leadership, I use that term lately, was discussing revenue growth, merchandise performance, and expansion opportunities at the same moment. | |
| at the same moment, the public is still processing shock. | |
| And this disconnect is what fuels the charge of projection. | |
| Because the accusation that others are exploiting the moment collapses under the weight of internal celebration, of financial success. | |
| Hell, if we'd have known it was this successful, we would have him earlier. | |
| And that's another issue. | |
| We're not going there, but it's worth, you know, toying with, playing around. | |
| What makes this especially volatile, this story, is that Charlie Kirk's public image was built on youthful energy, emotional sincerity. | |
| He was so real. | |
| And remember, he had a sense of mission. | |
| And it was driven. | |
| It was mission. | |
| It was activism. | |
| And when that brand suddenly pivots into this polished, make-believe, kabuki-like spectacle, this theatrical presentation, this dog and pony show, led by her, by little, you know, Kathy Lee. | |
| And I mean, it's, it's, oh my God. | |
| And what many perceive as, you know, performance grief and theatrical Sturm undrang melancholy, supporters feel betrayed. | |
| Oh, they feel betrayed, not ideologically, but emotionally. | |
| Because they believed in something personal. | |
| They were told, this time you can believe in us. | |
| Believe in us. | |
| It's personal. | |
| It's not just political. | |
| And when grief becomes content and mourning becomes messaging, you know, the line between authentic leadership and corporate branding kind of blurs in a way that destroys trust. | |
| And once trust is destroyed, it doesn't return through what? | |
| Press releases? | |
| Memes? | |
| No, scripted appearances. | |
| She can dance all she wants. | |
| It's over. | |
| Because audiences today are hyper-attuned to tone and pacing and body language and vocal inflection and what they know to be appropriate. | |
| And they still can't believe what they heard. | |
| And they judge sincerity less by words than by emotional output and congruence. | |
| Things have to kind of fit together. | |
| And thus, this is why the comparison to multi-level marketing culture resonates with so many observers. | |
| Because the upbeat motivational cadence, you know, this exaggerated positivity and this artificial cheerfulness in the face of tragedy, it mirrors like a sales seminar, like Glenn Gary Glenn Ross. | |
| You're going to get the closer. | |
| Coffee's for closers. | |
| You're going to get a steak knives and your job. | |
| The seminar tone that a lot of Americans, I mean, just we've heard this, we distrust it. | |
| And by the way, and that distrust deepens when these supposed big shot leadership positions themselves simultaneously as grieving victims and commanding executives become, you know, toggling between vulnerability and authority without any kind of an emotional transition. | |
| They had no problem. | |
| I mean, they can go from we love Charlie to being, you know, Southwest division, the chief for the, I mean, it was brutal. | |
| And all they cared about was performance rather than reality. | |
| And by the way, when I'm talking about this disperception that everybody heard is magnified by the scale of the organization and the money involved. | |
| Because when large donor networks and high-profile media appearances and aggressive, you know, fundraising campaigns, when they follow closely on the heels of an assassination, the public begins to question what the hell is going on here. | |
| Whether grief is being, is this leverage as some kind of a momentum rather than honored as lost? | |
| And while defenders repeat, you know, the familiar line that everyone grieves differently, that phrase loses power when, you know, behavior, like in her case for sure, appears either strategically coordinated or just stupid. | |
| Or maybe she has the emotional, maybe she's just, maybe she's just stupid. | |
| Maybe she's just dumb as rocks. | |
| Maybe she's just some hillbilly, some trailer trash who played it right, who knew how to smile and, hey, babe, sex sells and all that crap. | |
| Maybe she's got the intellect of a soap dish. | |
| Maybe she's a stonad. | |
| I don't know. | |
| A jadrul. | |
| Could be. | |
| I wouldn't rule that out. | |
| She'd have to be to do this. | |
| Not having the instinct or the savvy to say, I can't do this. | |
| She's there with her hanky, you know, tearing one eye. | |
| One eye is just one eye. | |
| But do you think in front of other people she would figure, I can let my guard down? | |
| No, I could trust them. | |
| This will never make it out there. | |
| Really? | |
| We want, everybody wants, authentic grief. | |
| Authentic grief. | |
| You know, sometimes it's tough. | |
| It's tough. | |
| It's unpredictable. | |
| It's uncomfortable to watch. | |
| I understand that. | |
| But what people observed was smooth execution and rehearsed delivery and brand, you know, this brand. | |
| She's like a woman that looks like a car show or something. | |
| And she really thinks she's good. | |
| She really thinks she's pulling one over on you. | |
| She thinks she's so good, you don't notice it. | |
| And all this reads less like, you know, mourning and more like management. | |
| And when leadership responds to criticism by dismissing it as, you know, metrics, click chasing or maybe even conspiracy rather than addressing the emotional concern directly. | |
| The problem compounds because avoidance of the emotional critique signals, that's more important than optics. | |
| You see, all she had to do is very simple. | |
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Dead Serious Crying
00:04:27
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| All she had to do was sit there and say to people, I know what you're feeling. | |
| I know what you're feeling. | |
| I know. | |
| Many of these people are young. | |
| Many of these people are very, very young. | |
| They're young people. | |
| They didn't know better. | |
| Many of these folks are young. | |
| They didn't know better. | |
| This is all they knew. | |
| This broke their heart with Charlie. | |
| Broke their heart. | |
| They didn't know what to make. | |
| Dear God. | |
| They loved him. | |
| They loved him more than you can imagine. | |
| And also, he changed lives. | |
| He was the spiritual emollient. | |
| He was like this unguent. | |
| He was a salve, this lubricant, this medication, this ointment. | |
| He was their friend. | |
| He gave them power and he gave them a future and told them that, yes, all of these institutionally conservative ideologies, they make sense. | |
| And we believe them. | |
| We're not just saying this. | |
| We believe this. | |
| Okay? | |
| Dead serious, my friends. | |
| I am dead serious. | |
| This is serious. | |
| I can't say serious enough. | |
| This is serious business. | |
| And I will say this again as long as I live. | |
| To think that this woman with children who is not a child, who has been in the business long enough, who's been a human long enough, | |
| who has walked the earth long enough, would not understand what is appropriate behavior, couldn't turn her acting skill to that of the broken, horrified, hurt mother who, you know. | |
| Again, she's either stupid or maybe a little bit of a psychopath. | |
| By the way, let me explain something about psychopathy. | |
| Just one second, if I could. | |
| People think of it oftentimes as too much, as being a killer, that it manifests itself in violence. | |
| You know, they have no feeling and they're heartless. | |
| Yeah, it could be. | |
| One of the things is that they don't have a connection between their head and their heart. | |
| They can look at something, but it's never an emotional evaluation. | |
| They can sit here and they can see somebody crying. | |
| They can see something terrible that happened. | |
| They can say, yes, I understand the loss of a child. | |
| Yes, I understand that. | |
| But I don't. | |
| And I know, yes, I understand they're crying, but I don't feel that. | |
| I don't feel that. | |
| One of the reasons why they're great liars is because they have no appreciation for consequence. | |
| They have no worry about being caught. | |
| One of the reasons why they make great serial killers, not that they are serial killers, is that when the hunt is on, all they care about is their quarry, their target. | |
| That's it. | |
| They don't have any feeling of regret, guilt. | |
| They don't have anything. | |
| One time, there was a story. | |
| I think it was, what was it? | |
| Was it Ronson? | |
| It was a book on psychopaths. | |
| There was one fellow who was a, I mean, a full-blown, this was a corporate psychopath, and his dog died. | |
| And he was crying like, I mean, just crying. | |
| So the author, and he got a hold of it. | |
| It was a hare who came up with the checklist. | |
| He said, wait a minute, what about that? | |
| You say he's a psychopath, but look at him. | |
| He's crying. | |
| Why is he crying? | |
| And he says, he's crying because of his loss, because of his possession. | |
| Somebody took his dog. | |
| That little fluffy's gone. | |
| He's going to miss Fluffy, but his possession is gone. | |
| It's like you stole the watch. | |
| He's mad. | |
| Well, they get mad. | |
| And mad him into tears or whatever it was. | |
| His thing was gone, his possession. | |
| Not that he'll miss him, but somebody took my faith, disease, whatever it was. | |
|
Loss and Crying
00:02:34
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| I mean, it is. | |
| So they're unable to connect what's going on. | |
| She probably thought, I'm going to look great. | |
| All right, Charlie, get out of the way. | |
| Here she comes. | |
| Here comes the big shot. | |
| Yep, here I am. | |
| Hello, world. | |
| It's me. | |
| Charge up because don't worry. | |
| Mama's son's going to take care of everything. | |
| Yep. | |
| Huh? | |
| Looking pretty good, huh? | |
| Pretty hot. | |
| You know, I was missed something or other. | |
| Yeah. | |
| Sex sells. | |
| I'm in charge now. | |
| Oh, I'm sorry. | |
| Sorry, I was, I was, it was a little bit too happy. | |
| It'll be more funereal. | |
| She's done. | |
| She's finished. | |
| She's through. | |
| It's over. | |
| It's done. | |
| It's like you just cut the root, the tap root. | |
| Just watch. | |
| There ain't no water going to that tree. | |
| That thing's going to keel over. | |
| Looks okay now. | |
| It's dead. | |
| There's nothing there. | |
| You just killed the support session. | |
| People are disgusted. | |
| TPUSA. | |
| Just say the word. | |
| Just say it. | |
| Just say her name. | |
| After that video. | |
| That was the end. | |
| What do you think? | |
| Come on, you. | |
| What do you think? | |
| Am I being mean? | |
| Am I reading this wrong? | |
| Come on. | |
| You think that, don't you? | |
| I'm exaggerating. | |
| How bad could it be? | |
| There he goes again, this guy. | |
| Say it. | |
| I love when you say it. | |
| I love it. | |
| And please comment. | |
| I've got the questions for you. | |
| Thank you so much for your great words. | |
| Thank you so much, by the way, for following my beloved Lynn's Warriors. | |
| Lynn Shaw, Lynn's Warriors. | |
| Phenomenal stuff. | |
| Oh my God. | |
| You know the lawsuits. | |
| There's tremendous changes affecting child predation and the digital trafficking, if you will, of children. | |
| So follow her at Lynn's Warriors. | |
| Thank you for that. | |
| And this, what do you think? | |
| What do you think? | |
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| I ask. | |
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