In the brutal, high-stakes arena of modern political commentary, lines have been drawn, and a war is raging. It is a war not of armies, but of narratives; a war between the fortified castles of the establishment media and the guerrilla insurgents of the independent press. This battle just had its bloodiest skirmish, and the “shiv” was delivered live on air, not by an enemy, but by a supposed ally.

Megyn Kelly, the high-profile host propped up by SiriusXM, just publicly kneecapped Candace Owens, the independent voice who has been methodically dismantling the “official story” of Charlie Kirk’s assassination. And in a blistering critique, comedian and commentator Jimmy Dore has exposed it as a craven, calculated act of a “propagandist” desperate to protect her “corporate algorithm.”

The central conflict is the official narrative of Charlie Kirk’s death. According to the FBI, Turning Point USA, and now, Megyn Kelly, Kirk was murdered by a “crazed leftist” named Tyler Robinson, who was allegedly motivated by Kirk’s “messaging on the trans issue.”

In a clip dissected by Dore, Kelly states her position with chilling certainty. “I am 100% convinced that Charlie was killed by Tyler Robinson,” she declares. “That is my firm belief after having talked to the people at Turning Point, the FBI, the security team that was on the ground… and I have nothing that would shake me from it.”

For anyone questioning that narrative, like Candace Owens, Kelly has a cold, patronizing dismissal. When asked about Owens’s meticulous work, Kelly deflects. First, she delivers an answer that Dore slams as a “phony BS question”—”Are you talking about Charlie’s murder?”—as if any other topic could be at hand. Then, she deploys the shiv.

“I don’t listen to Candace’s show,” she says, a stunning admission for a supposed “news person” ignoring one of the most prominent voices on the biggest story of the year. Kelly then proceeds to psychologize Owens’s dissent, dismissing it not as journalism, but as a symptom of emotion.

“I just give her a lot of grace because I know she’s suffering,” Kelly says with a tone of clinical pity. “I know she really loved him… I think this has been very hard on people who actually knew Charlie.”

Dore explodes at the implication. “She knows that Candace is wrong because Candace is sad.” As Dore translates, Kelly is effectively telling her audience that Candace is “spouting bullshit” and “nuts” because she’s “grieving”—a convenient, gaslighting tactic to avoid engaging with the mountain of evidence that Owens, and others, have brought to light.

And that evidence, as Dore lays out, makes the “official story” not just unlikely, but a physical impossibility. “There’s no way in hell she actually believes the bullshit story that has been told,” Dore fumes.

The core of the “bullshit story” is the weapon. The official narrative claims the lone gunman, Tyler Robinson, assembled a complex, high-powered rifle, took the shot, and then—in a moment of supposed panic—calmly disassembled it and packed it away.

Dore cues a segment, reportedly from Joe Rogan, that demolishes this fantasy. It shows a weapons expert, in a calm environment, struggling to disassemble the exact same type of rifle. It is a “highly trained professional” who, even without the adrenaline of a public execution, takes well over a minute to perform the task. The idea that a “crazed leftist” could do this in seconds is, as Dore puts it, laughable.

“This is an assassination,” Dore states flatly, “by a team of people.”

This is not a simple flawed investigation, in Dore’s view. This is an active, orchestrated cover-up, complete with sinister echoes of the darkest moments in American history. “They paved over a crime scene 5 seconds after someone got murdered there,” Dore alleges. “They scrubbed it… Just like JFK, just like RFK.”

Dore even mocks the “magic bullet” physics of the official story. “She believes… he was shot with a 306 and his head didn’t get blown off… there wasn’t even an exit wound,” he scoffs. “A 306 will go through 10 neckbones plus a piece of steel and a tree… You can’t trick” the millions of Americans who “know their rifles.”

This brings the question back to Megyn Kelly. If the official story is so demonstrably false, why is she, a “smart” person, pushing it so aggressively? Why is she “talking out both sides of her mouth”?

Dore’s answer is simple and brutal: she is a “propagandist” who “knuckles under.” This isn’t an error in judgment; it’s a financial calculation.

Dore, who proudly states his show is “suppressed” by the algorithm, points to Kelly’s cozy “corporate” deal. “She works for Sirius XM, which is how she got on the corporate algorithm on YouTube, which is why her show blew up,” he claims.

That, for Dore, is the motive. Megyn Kelly is lying because the truth is bad for business. If she “said the truth… there’d be APEC pressuring SiriusXM to get her taken off their air.” Once she’s off Sirius, “she loses her corporate algorithm on YouTube, and then… it’s back to no one watching her.”

The public shivving of Candace Owens wasn’t just a disagreement. It was an act of establishment self-preservation. Kelly, according to Dore, has to “make [Owens] look as crazy as possible” to justify her own position. She “talked to all the liars”—the FBI, the security teams—and chose to believe them, not because they’re credible, but because they are the establishment. She is terrified to risk her platform, to “just have to live her stupid life as a rich lady.”

The entire segment is a performance of what Kelly calls “a good faith basis.” But as Dore counters, “Why would you bother saying that unless you were approaching this in a bad faith basis?”

This is the true divide. It’s no longer about left and right. It’s about those who have the courage to ask questions—like Candace Owens—and those who “knuckle under” to the establishment narrative—like Megyn Kelly. Kelly has chosen her side. She has traded the volatile, dangerous pursuit of truth for the comfort of the “corporate algorithm,” even if it means becoming a propagandist for a lie that is falling apart before our very eyes.