Newly-divorced Sia spotted holding hands with reality star 21 years her junior
Sia and Harry Jowsey were spotted holding hands four months after the pop star called it quits from her husband, Dan Bernard.
The Chandelier singer, 49, and the Too Hot To Handle reality TV star, 28, were all smiles while leaving dinner at the Ca Del Sole restaurant in Los Angeles on Saturday.
They didn't shy away from flaunting their affection, as they made their way through the parking lot and onto a sidewalk.
Sia donned a long-sleeve black dress and brown leopard boots for the outing.
She wore her blond locks in two French braids.
For Jowsey's part, he sported an olive green button-up with matching pants and a white T-shirt.
Reps for the duo weren't immediately available to Page Six for comment.
Sia filed for divorce from Bernard after two years of marriage in March, citing irreconcilable differences.
At the time, a petition obtained by Page Six revealed they secretly shared a child named Somersault Wonder born on March 27, 2024.
The Elastic Heart songstress requested full custody of Wonder, while Bernard asked for visitation rights.
Jowsey, meanwhile, is set to star in his forthcoming Let's Marry Harry Netflix series, which will show his journey in finding a wife with the help of his 'best friend Alex Cooper.'
The reality star announced his new endeavour, set for release in 2026, at Thursday night's Netflix Summer Break party at the Santa Monica Pier.
'It's going to be great and I'm actually going to fall in love,' he said.
Over the years, Jowsey has been romantically linked to several women, including his Too Hot to Handle co-star and ex-fiancée, Francesca Farago, whom he dated from 2020 to 2021.
In 2023, the TV personality was rumoured to be dating his Dancing With the Stars partner Rylee Arnold after they were seen holding hands.
However, he was seen packing on the PDA with Love Is Blind star Jessica Vestal in Mexico the following March.
Jowsey was also rumoured to be with British influencer Madeline Argy in June 2024 and actress Lucy Hale in March.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

ABC News
an hour ago
- ABC News
The Facebook effect: How Mark Zuckerberg fashioned a generation in his own image - ABC Religion & Ethics
You can hear Samuel Cornell discuss the way social media is cultivating regressive expressions of masculinity with Waleed Aly and Scott Stephens on The Minefield. Mark Zuckerberg's ubiquitous 'platforms' have hosted the lives, loves and losses of an entire generation of people. Gen Z — which refers broadly to those born between 1997 and 2012 — have lived out their lives on the social media and internet platforms created by some of the world's wealthiest and most powerful people. People who attained their positions and status not through their emotional intelligence, their love of mankind or altruism, their desire to leave the world a better place, but through their insatiable desire for optimisation, 'connection', attention and power. Is it any wonder we have a generation of people that mirror their creator? People largely deficient in emotional intelligence, limited in person-to-person interaction yet comfortable in front of a camera, dismissive of empathy, inattentive to signs of human depth. A generation whose operative norms and online virtues have been instilled by Meta's 'Community Standards' — standards that are themselves changeable when it is politically expedient to do so. Not only is Silicon Valley shaping our sense of personhood, but Gen-Zers are even beginning to look like Zuck — what is now known as 'the Gen Z stare', the flat affect, deadpan expression, eyes glazed over. Meta CEO Mark Zuckerberg attending the inauguration of US President-elect Donald Trump in the US Capitol Rotunda on 20 January 2025 in Washington, DC. (Photo by Kenny Holston-Pool / Getty Images) This isn't the shell-shocked state, the long stare of a person who's seen awful horrors during war. It's a mirror of the affective style of a generation raised online and in front of screens. We know that young people have been profoundly shaped by their near constant exposure to social media and the online world, but this influence is perhaps even deeper than it appears. The world according to Zuck Mark Zuckerberg's view of the world —described in some detail by Sarah Wynn-Williams in her recent book Careless People — suggests a man who cares more for power and control than he does true connection between people. What he seeks is efficient, expedient and, crucially, frictionless communication. Not the kind of communication that requires nuance and subtlety of expression, but one that can be binary coded. Which is to say, robotic communication. Strategic communication. If we've learned nothing else from the last two decades, is that social media platforms reward strategy . Strategic presentation of the self. Strategic emotional display. Strategic posting. Strategic commenting and replying. Strategic adherence to whatever is trending. Zuckerberg has created a generation that excels in strategic 'authenticity', but which has little time for the kind of in-person communication that doesn't serve tactical means to an end. Zuckerberg's own idiosyncrasies, his trademark robotic style of communication, have been reproduced in the behaviour of young people now entering the real world. No longer coddled by the relative safety of school, the workplace demands more of them than social media has prepared them up for. That is, unless they can all aspire to the same role of manipulation, curation and control as their creator — such as striving to become an influencer, a true acolyte of the algorithm. Pick-and-mix identity Gen Z grew up inside social media rather than with it. It cradled them from a very young age and has been ever present in their lives. It's where they formed their identities. It's where they learned that personal identity, with its ever-increasing atomisation and grouping, was essential — particularly if they want to have a defined presence on social media. To be seen online, you had to define what, exactly, you are. To belong, you had to sort yourself into little niche groups. Social media made personal identity a matter of public branding. Instagram bios became identity resumes — without one, who are you? It would make others uneasy to not know. Zuckerberg's platform logic was built, fundamentally, on niche segmentation — that's the best way to direct advertisements your way. And who better to segment than the young, as early and quickly as possible for greater advertising revenue and effect. Social media has made personal identity a matter of public branding. (Photo illustration by Chris Jackson / Getty Images) This need to fit in with the algorithm isn't just about belonging. It's about survival in a space where visibility equals value. The platforms reward those who conform to their preferred categories. Be a brand, not a person. Be legible, not complex. You can shift identities, but only along recognised lines. Fluidity is fine (it's branded, after all), as long as it's easy to monetise. The result? A generation confident in self-presentation online, where they understand the rules and dynamics, but uncomfortable offline. Life is designed for the feed as opposed to real world interactions. The moral authority of Zuck's algorithm We don't know how the algorithms really work. There's probably nothing else in the world with such a gigantic influence on the lives of so many, and so many young people, that is as secretive and unaccountable. Even the people who are supposed to legislate and regulate these platforms don't understand them. Yet, young people have internalised the 'Community Standards' of the platforms they inhabit. Rules that are vague, erratic and inconsistent across contexts, but which carry much weight, nevertheless. For so many young users, these are the de jure limits to free speech and political expression. Therefore, these platforms have effectively become the moral arbiters of a generation — morals that don't promote introspection, or knowledge of self, so much as self-presentation. They tell users what they are by the constant feedback mechanism of the algorithms: honing and honing and honing until you can be optimised online no more. A cookie-cutter production of personas What kind of persona does an online environment such as this produce? Personas that are at once conflict averse and hyper-critical, emotionally dulled yet highly reactive online, socially engaged and attuned to online developments yet personally disconnected. Much like Zuckerberg's own low empathy, high control, distanced life of private jets and subservient employees, ever tinkering with code and obsessing about system performance, the people he's created concern themselves with metrics — likes, follows, shares — and rankings. Zuckerberg's ambition to get everyone into the metaverse by means of digital avatars that can communicate with AI agents and fashion an artificial life, is the antithesis of all that it means to be a human and fulfil human desires. Especially in adolescence, growth and development require friction and real social feedback. It's unclear where this will lead us. Perhaps Australia's social media minimum age regulation will be a positive start. We clearly need more than digital literacy. It seems there's enough focus on the digital as it is. Perhaps we need more focus on the physical, the tangible and material. The person to person. There doesn't always need to be 'an app for that'. Samuel Cornell is a PhD candidate at the University of New South Wales, researching public health, social media, and digital behaviour.

News.com.au
2 hours ago
- News.com.au
Jennifer Love Hewitt says she has ‘not talked' to Sarah Michelle Gellar since she was 18 amid feud rumours
Jennifer Love Hewitt revealed she hasn't spoken to Sarah Michelle Gellar for almost three decades, breaking her silence on rumours of a feud with her I Know What You Did Last Summer co-star. In a recent interview with Vulture, the 46-year-old actress downplayed online speculation of a falling out with Gellar, 48. However, Hewitt shared that she hadn't seen or communicated with Gellar, 48, since she was 18 when the hit 1997 slasher film was released. 'I honestly don't even know what that was or how that all came to be,' Hewitt said of the rumoured bad blood between her and the Buffy the Vampire Slayer star. 'I just think people don't want the narrative to be easy. Why do we always have to be against each other and out for each other?' 'I haven't seen Sarah,' the former Party of Five star added. 'Literally, we've not talked since I saw her at 18 years old when the first movie came out. That's why it's so funny to me. People were like, 'Say something back.' And I'm like, 'What am I going to say? I've not seen her.' On my side, we're good. I have no idea where this is coming from.' Hewitt played the lead character of Julie James in I Know What You Did Last Summer and reprised her role in the 1998 sequel, I Still Know What You Did Last Summer. The actress made a surprise return to the franchise in its fourth instalment, I Know What You Did Last Summer, which was released Friday. Gellar's husband, Freddie Prinze Jr., who portrayed Julie's love interest, Ray Bronson, in the original films, also reprised his role in the 2025 sequel. Neither star appeared in the direct-to-video 2006 stand-alone sequel, I'll Always Know What You Did Last Summer, or the short-lived 2022 TV series, I Know What You Did Last Summer. Gellar and Ryan Phillippe co-starred in the original movie alongside Hewitt and Prinze Jr. However, they did not return for the following I Know What You Did Last Summer projects after the first movie since both of their characters, beauty queen Helen Shivers and boyfriend Barry Cox, were killed off. However, Gellar made a brief cameo appearance during a dream sequence in the latest instalment. On Monday, The Ghost Whisperer star accompanied Prinze Jr. to the premiere of the movie, which was also attended by Hewitt. During Hewitt's interview with Vulture ahead of the premiere, the actress was asked if she planned to see Gellar at the event. 'I hope so,' she told the outlet. After the premiere, social media users pointed out that Gellar and Hewitt did not appear in red carpet photos together. After being questioned by fans about the rumoured feud, Gellar later confirmed she didn't encounter Hewitt at the event, though she praised her former co-star. 'For everyone asking - I never got to see @jenniferlovehewitt who is fantastic in the movie,' Gellar wrote on Instagram. 'I was inside with my kids when the big carpet happened. And unfortunately JLH didn't come to the after-party. 'If you have ever been to one of these it's crazy,' she added. 'I sadly didn't get pics with most of the cast. But that doesn't change how amazing I think they all are. Unfortunately some things happen only in real life and not online.' Speculation of a feud between actresses began to swirl in December 2024, when Gellar was asked by an Extra reporter about Hewitt's potential return for the 2025 movie. 'I have nothing to do with that,' she said before abruptly ending the interview. Gellar later took to her Instagram story to explain her response was due to her wariness over violating a nondisclosure agreement that prohibited her from spoiling casting announcements. 'Aspiring actors, please note: This 'deer in the headlights' reaction is perfect for when you are excited to see so many old friends in one project but have already stupidly forgotten what NDA means once this month,' she wrote alongside a photo taken on the movie's set. That same month, Hewitt confirmed she would be reprising her role in the sequel with a post on Instagram. In April, Gellar further fuelled speculation of bad blood between her and Hewitt when she shared the trailer for 2025's I Know What You Did Last Summer, tagging members of the main cast, including Prinze Jr., Madelyn Cline, Gabbriette Bechtel, Sarah Pidgeon and Chase Sui Wonders and director/screenwriter Jennifer Kaytin Robinson and co-screenwriter Sam Lansky but notably leaving out Hewitt. While some fans on social media took the omission as a definitive sign of a feud between the stars, a few Reddit commentators noted that Hewitt has activated an Instagram feature that prevents her account from being tagged by other users.

Sydney Morning Herald
2 hours ago
- Sydney Morning Herald
‘A lot of wacky stuff goes on': Eric Bana goes wild, again, for Netflix murder mystery
A brooding cop, troubled by his past. Stunning wilderness. Long-held secrets in a tight-knit community. A murder investigation. Eric Bana. Share these details with an Identikit artist, and you'll probably get something that looks like The Dry, or its sequel Force of Nature, the Australian feature films in which Bana starred as Jane Harper's detective Aaron Falk. But that, insists the 56-year-old whose star turn on the other side of the law as Chopper Read is now, remarkably, 25 years old, would be wide of the mark. 'I just love working outdoors. It's been a pretty consistent theme, that I'm always drawn to big outdoor shows,' he says. 'But I don't think they have too much in common after that.' In Netflix's six-part crime series Untamed, Bana plays Kyle Turner, a detective with the Investigative Services Branch. 'It's kind of like the FBI of the National Park Service,' he explains of the real-life ISB. 'There aren't that many of them [investigators], and they move around from park to park, depending on the workload.' Kyle is based in Yosemite, where he's lived for years. His ex-wife Jill lives nearby, and though she has repartnered, they are bound – not especially healthily – by trauma. Neither of them can, or will, move on. When a young woman drops to her death from a cliff (almost collecting a couple of climbers along the way, in one of the more spectacular opening sequences in recent memory), Kyle suspects foul play rather than an accident. Soon, he realises the dead woman is linked to a case he had investigated many years earlier, and that the sprawling wilderness he holds dear also hides a whole range of nefarious activities besides illegal campfires. The spark for the show was lit when screenwriter Mark L. Smith read an article about a real-life crime in a park, and the ISB investigation that followed. 'And it was just like, 'We haven't seen this on film before, a murder mystery thriller investigation in a national park',' Bana says. 'That's where the idea began, and then he just started fleshing it out. 'Well, who would this person be?' Loading 'He's not based on a real character,' he hastens to add of Kyle. 'It was just the germ of the idea.' Bana is a producer as well as star of the series, and as it was in development, a real-life story was unfolding in the Australian wilderness – the so-called High Country Murders of Russell Hill and Carol Clay, for which former Jetstar pilot Greg Lynn was ultimately convicted. For Bana, that duality of the remote wilderness was part of the appeal of the Untamed story. 'A lot of wacky stuff goes on, and that plays into the psyche,' he says. 'Even if you love the outdoors, there's the element that you always feel a little bit exposed.' There's the natural aspect – which, in Australia, often means the threat of bushfire or flooding or extreme heat or cold, or simply wandering off track and becoming hopelessly lost. 'But then there's also that thing of, well, what if there's someone else out here? What about the humans, you know? So on a subconscious level, I think everyone relates to that, and we definitely were trying to tap into that.' Bana read a script for the first episode in 2018, and was immediately onboard. But it took years to get it made. Why the delay? Loading 'COVID, strikes, trends, quality, making sure we had everything right. Just all the normal things – and the abnormal ones. I've lived with Kyle for a long, long time, probably one of the longest gestation periods I've had for a character.' ISB officers generally 'don't work as part of a massive team, and they are often highly skilled in their particular areas, used to working alone', Bana says. And Kyle has that lone-wolf vibe dialled up to 11. Basically, he just doesn't like people very much, himself included. Though the park is a major character too, the series was actually shot in Canada's Whistler, which Bana had previously visited on skiing holidays with his wife and kids a couple of times, but had never seen in the warmer months. 'In the middle of summer you can't get into Yosemite because of the tourists, and the restrictions,' he says. 'We just had more freedom of movement in British Columbia.' For Bana, much of that movement was done on the back of a horse. He first learnt to ride for Troy, more than 20 years ago. 'That was a pretty intensive training period because we were bareback, no stirrups for that film. So from there, everything's pretty easy afterwards.' Sometimes he'd get to set in the backwoods by car, sometimes by chairlift. And on one memorable day, he and co-star Sam Neill rode their horses to location. Loading 'They weren't in the scene, we were just using them as transpo,' he says of their trusty steeds. 'He's not even on camera today, my guy, but I'm using his saddlebag for packing some stuff. You'd just pinch yourself every day you were up on a horse on top of a mountain somewhere at the back of Whistler, and realise it was actually a job. It's just amazing.' Untamed marks Bana's second TV series out of the States, following Dirty John (based on the true-crime podcast) in 2018. Those with long memories will recall that he got his start as part of the cast of sketch-comedy show Full Frontal in the mid-1990s, had a brief eponymous solo show, Eric, from 1996, and played Joe Sabatini in the ABC's weeknight serial Something in the Air in the early 2000s. But post- Chopper, he has almost exclusively been a movie actor. Untamed doesn't represent a major shift, he insists. 'It doesn't feel that different. I mean, there are some days when you feel like, 'OK, we're really having to go quickly', but generally, there's not a huge difference between making a TV show and making a movie. ' On Dirty John, we had one director over the eight episodes, so that just felt like a big film. This, because I worked so closely with [creators] Mark and Elle, felt like a big film shoot, with three directors. It was amazing and incredible to work on and to put together an incredible cast for this.' That includes Rosemarie DeWitt (Mad Men, United States of Tara, The Boys) as Kyle's ex-wife, Jill, and Lily Santiago (La Brea) as Kyle's offsider Naya Vasquez. And, of course, it includes Sam Neill, aka The Prop (see the NZ actor and winemaker's prolific social media output for further detail). 'Sam Neill's a legend,' Bana proclaims happily. But, remarkably, this was the first time the pair had ever worked together. In fact, he adds, 'We'd never even met prior to this project, ever been in the same room. 'We have mutual friends, and the first day we met, we're both like, 'How is this possible?' 'He said, 'I feel like I've known you my whole life'. And I said, 'I feel the same'.' Of course, they got on like a house on fire. And, of course, Neill brought out a few bottles of his Two Paddocks pinot noir at the end of long shooting days. 'Absolutely, my word. He wasn't getting away from the job without some of that,' Bana says. But tell me, Eric – did he open the really good stuff, his top-of-the-line Fusilier, or First Paddock offerings? 'Oh,' Bana says with a laugh. 'I'm going to have to go through my picture library this afternoon and find out just how close a friend I am.'