It’s been two weeks since Karmelo Anthony was found guilty of murder, and the lies keep rolling out.
The 19-year-old fatally stabbed Austin Metcalf in April 2025, plunging a 3½-inch blade into his heart at a school track meet in Frisco, Texas. Austin, who was 17, died in the arms of his twin brother, Hunter. Anthony even admitted to a cop at the scene that he was the one who did it.
At trial, Anthony claimed self-defense, but a jury rejected that. He was sentenced to 35 years in prison.
But that’s not good enough for Sunny Hostin of “The View,” who always sees the world through a racial lens. Now she is clinging so тιԍнтly to the fantasy that Anthony was denied a fair trial because our country has a two-tiered system.
Yup, on Monday, she propped up her argument on a pedestal of outright falsehoods. Did this lady even read one single article about the trial?
First off, Hostin said Anthony was not judged by a jury of his peers because there were no black people on the jury. But a peer does not mean shared skin color.
To quote the old lady in that gem of an Esurance commercial, “That’s not how this works. That’s not how any of this works.”
Karmelo Anthony’s mugsH๏τ after he was arrested for the murder of Austin Metcalf. He claimed self-defense, but a jury found him guilty.Frisco Police Department
But Hostin argued: “You’re supposed to have a jury of your peers. And you’re not supposed to just strike someone [as a potential juror] because they’re black.”
However, potential black jurors were reportedly struck because they admitted they could not be impartial or were educators who come with some level of insight into how a school event might function.
Hostin then told a whopper about the victim and ᴀssailant’s weight disparity. She claimed that Metcalf, who weighed 200 pounds, was far more physically imposing than poor, wee Anthony, weighing in at a mere 130.
During a track meet in 2025, Austin Metcalf was killed when Karmelo Anthony plunged a knife into his heart.
Look, I never worked at a carnival guessing people’s weights, but Anthony was obviously much larger than that.
His online recruitment profiles list his height as 5 feet 11 and weight as 162 pounds.
The facts be damned, Hostin needed to recast Anthony as a meek victim, removing agency from him.
Witnesses testified that Anthony had provoked Metcalf, saying, “Touch me and see what happens” before pulling the murder weapon from his bag. If he was so frightened of Metcalf, why didn’t he just walk away when he was asked to leave? And then grab an adult?
Instead, he met a shove with a ᴅᴇᴀᴅly stab. Why did he even have a weapon at a school event?
One of several disgusting examples of teens mocking Austin Metcalf’s death on TikTok with the “Austin Bop.”
Hostin also falsely claimed Anthony was the lone black person under Metcalf’s team’s tent when the stabbing happened. But other black students present testified for the prosecution.
Keep in mind, Hostin was actually a federal prosecutor. And like Rep. Jasmine Crockett (D-Texas) — who is also an attorney and who has also spread outright lies about this story — Hostin was willfully engaging in falsehoods to bolster her race case.
It’s a sad state of affairs that a teenager murdered at a track meet has become a punching bag for cynical media figures.
I’ll give Hostin this: She and her “View” crew aren’t as bad as the ghouls posting AI images of themselves urinating on Metcalf’s grave. Nor are they as depraved as the disgusting teens on TikTok doing the “Austin Bop,” where they dance around pretending to stab themselves in the heart.
Austin Metcalf (left) with his twin brother, Hunter. Austin died his in his brother’s arms after being stabbed in the heart by Karmelo Anthony
However, she is still giving these cretins the fuel to dehumanize Metcalf — and the material to build a fictional narrative that he was some brutish bully who got what he deserved.
Hostin so desperately wants this to be a story about race, when it’s really a two-part tragedy. One innocent boy unnecessarily lost his life at the hands of another boy who has terrible emotional regulation and impulse control. Perhaps we can blame his parents, whose first order of business was to hire a felon as a family representative. That guy immediately played the race card.
With the exception of Anthony’s mother telling the jury that her son was “sorry,” no one from their camp has expressed any remorse. As soon as he was found guilty, his family split from the courtroom.
This is all unfolding as a high-power team of pro-bono attorneys have ᴀssembled to work on Anthony’s appeal.
Austin Metcalf’s father, Jeff, was under a gag order until the conclusion of the trial. He is now doing interviews to combat many of the lies being spread about his family.
Meanwhile, Austin’s father, Jeff, who was under a gag order until the end of the trial, is finally free to speak. He’s mourning one son and comforting the other — a kid who held his twin brother as he bled out. He’s fighting lies about his precious slain boy.
It’s a heavy lift to have to correct the record of idiots on the internet, never mind ABC talent — which is supposedly bound by standards.
“People had their own opinions without even seeing the facts, and that’s the part I have trouble with,” Jeff told Fox News’ Will Cain on Monday.
The father has challenged “The View” to put him on the air. But no one is holding their breath.
💔 STELLA PARTON BREAKS HER SILENCE — What She Said About Dolly’s Health Has Fans Looking Back
Dolly Parton’s Sister Breaks Silence What Really Happened - GMT - G1
Stella Parton was born May 4, 1949, the sixth of twelve children raised by Robert Lee and Avie Lee Parton in Sevierville, Tennessee — a household defined by noise, limited money, and almost no privacy, the kind of environment that produced strong, determined personalities.
Stella was one of them.
By seven, she was appearing alongside her older sister Dolly on a Knoxville television program; by her teens, she was writing her own songs, though marriage and motherhood pulled music to the margins of her life for a stretch.
The dream never fully disappeared.
In 1967, she recorded a gospel album with her mother and sisters, and later worked clubs in Washington, D.C., before founding her own record label in 1975 and releasing “I Want to Hold You in My Dreams Tonight,” which climbed to number nine on the country charts.
Long before any of that commercial success, Stella had already shown a willingness to take positions others avoided.
At 26, amid backlash against Australian singer Olivia Newton-John for winning recognition in country music, Stella recorded “Ode to Olivia” in her defense — a stand that offered her no career benefit and real risk of criticism, but one she took anyway simply because she believed staying silent was the wrong choice.
That instinct defined the rest of her career: hits like “The Danger of a Stranger” and “Steady as the Rain” (written by Dolly) built a genuine, independent following, including in the U.K., while Stella also worked in New York theater and spoke openly, often controversially, about poverty, domestic violence, and the treatment of women in the music industry.
She was named the Christian Country Music Association’s Female Vocalist of the Year in 2004.
Through all of it, she remained defined publicly, more often than not, as simply “Dolly’s little sister” — a label she spent five decades quietly proving didn’t tell the full story.
That same directness is why her comments in the fall of 2025 carried real weight.
Stella had never positioned herself as the family’s image manager or spokesperson; she was, by reputation, someone who believed difficult truths shouldn’t stay hidden indefinitely.
What she described wasn’t dramatic or accusatory — it was a portrait of a woman who had spent years prioritizing everyone else’s needs over her own.
The context mattered.
Carl Dean, Dolly’s husband of nearly sixty years, died in March 2025 at 82, after a long illness during which Dolly had devoted herself almost entirely to his care.
She later acknowledged that in the process, she’d neglected her own health significantly.
The loss reverberated through the whole extended family — the Partons had lost three brothers in the years surrounding this period, compounding grief that, for a family that had once crowded twelve children into a single small home, meant losing pieces of a shared childhood one after another.
Stella herself went seven years without releasing new music during this stretch, later describing the period simply as one shaped by sorrow, while still speaking about the importance of finding moments of laughter within it.
Looking back, one moment reads very differently in hindsight than it did at the time: in late September 2025, Dolly postponed her planned Las Vegas residency, citing health challenges — a rare cancellation for a performer whose six-decade career had included very few of them.
At the time, most fans treated it as a minor, temporary setback.
Stella’s later reflections suggested the signs had actually been building for some time, visible to family in ways the public smile made easy to miss.
That concern crystallized publicly not long after, when Dolly’s younger sister Frieda posted a simple request on Facebook asking fans to pray for Dolly.
What looked at first like an ordinary, well-meaning gesture spread rapidly, sparking widespread speculation about how serious Dolly’s condition actually was.
Dolly herself responded directly within days, appearing in a video from a Grand Ole Opry commercial shoot, insisting with her familiar humor that she wasn’t finished yet — the now widely remembered “I ain’t dead yet” moment that briefly quieted public concern.
In the months that followed, the pattern repeated: reassuring updates about kidney stones, dehydration, and treatment, paired with continued work on new projects, right up until Dolly Parton’s death on August 25, 2026, at 80.
Looking back across that full timeline — the postponed residency, the family’s public worry, Stella’s own account of a sister who consistently deprioritized her own wellbeing — it becomes easier to see what the people closest to Dolly understood well before the rest of the world did: that the warmth and resilience the public saw every time she appeared on camera came at a real, largely invisible cost.
