
Bachelor curse strikes again as another winning couple split
The winning couple of season 29 of The Bachelor, Grant Ellis and Juliana Pasquarosa, have called it quits.
Nearly three months the season finale aired, the pair announced that they have decided to split and ended their engagement.
'This is one of the harder things I've had to write, but I want to share it honestly,' Ellis wrote on his Instagram Story as he shared the news.
This comes after he made history on the franchise series and also received backlash, being dubbed the 'worst Bachelor ever,' for how he behaved in the finale episode.
'Juliana and I have decided to end our relationship,' he shared in his post announcing the end of their relationship.
'We both gave this our best and poured a lot of love into each other, but after a lot of deep conversations, we've come to the understanding that we're simply not the right fit long term.'
He reassured fans that their connection was 'real' but explained that they decided to separate because they are 'not the right fit' for each other.
He also wrote that they ended on good terms without 'negativity' nor 'resentment.'
'What we had was meaningful. The connection on the show was real, and so was the effort we made to continue once the cameras stopped rolling,' he wrote.
'There's no negativity here. No resentment. Just two people who care about each other and want the best for one another moving forward. I'll always be grateful for what we shared and for the growth that came with it.'
He concluded his post and wrote: 'Thank you to everyone who supported us and believed in our journey. This chapter is closing, but we're both walking away with love and respect in our hearts.'
Pasquarosa also shared the news in her own words on her Instagram Story.
Alongside a photo of them on The Bachelor, Pasquarosa gushed about their time together.
'It's a gift to find someone who sees the world in a way that resonates with you, while also encouraging you to grow. I've been grateful to share that experience with Grant.'
She then addressed the end of their engagement. 'Marriage is a commitment, and it's one we both still believe in deeply.
'After a lot of honest conversations and reflection, we've come to the decision that this chapter of our lives is meant to continue on separate paths,' she continued.
'We shared something meaningful, navigating a unique journey side by side, learning, growing, and showing up for each other the best we knew how.
'And while this isn't the ending we once imagined, it's one filled with mutual respect, care, and hope for what's ahead,' she added.
She concluded: 'We're still cheering each other on, just from different places now. I'm beyond thankful for all the love and support you all have given us. Please be kind.'
Just last month, Pasquarosa made an appearance on the Bachelor Happy Hour podcast and spoke about wedding planning without any seeming indication that their relationship was in on the rocks.
She said on the podcast that she was excited to start shopping for her dream wedding dress and spoke about how she wanted to get married in Italy.
During the season finale in March 2025, many fans thought Grant would end up alone after spotting awkward body language during the Women Tell All Episode two weeks prior.
However, during the finale he couldn't decide between the two women left - Juliana and Litia.
Litia had said that Grant had been telling her all along she was the one he wanted - even kissing her a few times before he broke the news to her that he was sending her home and choosing Juliana.
When Grant asked if she felt he had been misleading her, 'she said, 'The things you've said to me all along the way make this decision that you've made so much more devastating. For me, the switchup is crazy.'
While Grant insisted, 'I didn't switch up,' he ultimately took responsibility for that adding it came down to the 'final day and I had to make a decision.'
Juliana and Grant's breakup comes just days on the heels of another franchise spli t.
Earlier this week, it was revealed that The Bachelorette star Jenn Tran, who appeared on season 21 of the series, had called it quits with Dancing with the Stars pro Sasha Farber.
Hashtags

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


Daily Mail
20 minutes ago
- Daily Mail
Liam Neeson jokes that his favourite part of making The Naked Gun was filming 'sex scenes' with co-star Pamela Anderson
Liam Neeson has joked that his favourite part of making The Naked Gun was filming 'the sex scenes' with his co-star Pamela Anderson. Fans have not been quite sure of the status of the co-stars' relationship after he said he 'loved' her earlier this year - ahead of the new film being released on August 1. And now Liam has joked about their intimate scenes as The Sun reports the pair were given an intimacy co-ordinator on set. The star explained: 'I'd never had one before. But she was in the background. There was no kind of, 'OK! Excuse me!'. Pamela portrays a nightclub singer, who comes to Police Squad for help following the murder of her brother, in Akiva Schaffer's slapstick comedy continuation. Pamela added that the intimacy co-ordinator knew when to walk away and joked that she stormed off, with Liam claiming she threw her hands up in the air and said, 'I can't take this! This is too hot for me. I'm going for coffee'. Last week Pamela set the record straight on romance rumours between the pair as the Baywatch queen posed for Entertainment Weekly for their digital cover. And unfortunately there is no romance yet. 'I think I have a friend forever in Liam,' she said. 'And we definitely have a connection that is very sincere, very loving, and he's a good guy.' Neeson, 73, stars in the film as as Los Angeles Police Squad detective Frank Drebin Jr., son of Nielson's Frank Drebin. It comes after in October Neeson said he was 'madly in love' with the Playboy cover girl. 'She's just terrific to work with,' Neeson told People. 'I can't compliment her enough, I'll be honest with you. No huge ego. She just comes in to do the work. She's funny and so easy to work with. She's going to be terrific in the film.' 'Our chemistry was clear from the start. We have the utmost respect for one another,' Anderson told EW last month. 'I invited him and his assistant over for romantic dinners with me and my assistant so our relationship stayed "professionally romantic" during filming.' Pamela portrays a nightclub singer, who comes to Police Squad for help following the murder of her brother, in Akiva Schaffer's slapstick comedy continuation The Canadian-American beauty and Liam bonded over their shared 'love of literature and a good laugh' and she regularly left cookies, muffins, and homebaked sourdough bread in his dressing room. 'I am in awe of him, his experience, and work ethic. I soaked him in like a sponge,' Pamela gushed. 'I'm hoping people love it. We had so much fun making it. I think it's timely for a beloved comedy like this. I'm a fan of the originals. As Liam says, "We could all use a good giggle." I pray we do more.' And the feeling was definitely mutual for Neeson, who gushed to People last October: 'I'm madly in love with her. No huge ego. She just comes in to do the work. She's funny and so easy to work with. She's going to be terrific in the film.' The Naked Gun - hitting US/UK theaters August 1 - also features Paul Walter Hauser, CCH Pounder, Kevin Durand, Busta Rhymes, Cody Rhodes, Liza Koshy, and Eddie Yu. Jerry Zucker, Jim Abrahams, and David Zucker wrote and directed the original trilogy spanning 1988-1994, which amassed a total $476.4M at the global box office, following the short-lived ABC series Police Squad in 1982. The Oscar-nominated actor is technically five years older than original Naked Gun star Leslie Nielsen was when he shot the third film. Anderson previously worked with the late funnyman - who died, age 84, in 2010 - in Scary Movie 3 (2003) and Superhero Movie (2008), but they did not share any scenes together. This September, the Sonsie Skin co-founder will fly to England to shoot a mystery role in Sally Potter's upcoming funeral drama Alma alongside Dakota Fanning and Lindsay Duncan. In April, Pamela was in Australia filming her role as two-time divorcée Molly in Kornél Mundruczó's upcoming drama Place to Be alongside Ellen Burstyn and Taika Waititi. Last September, Anderson was hard at work on the Spanish set of Karim Aïnouz's dark satire Rosebush Pruning for Mubi alongside Elle Fanning, Callum Turner, Riley Keough, Jamie Bell, and Lukas Gage. The 15-time Playboy cover girl experienced a full-blown career resurgence last year after starring in Gia Coppola's drama The Last Showgirl, which earned her Golden Globe and SAG Award nominations.


Daily Mail
20 minutes ago
- Daily Mail
Fans furious after Osher Günsberg's fiery Dancing With The Stars meltdown: 'Check your ego'
Osher Günsberg dramatically clashed with the Dancing With The Stars judges on Sunday night after he received harsh criticism over his tango, which saw him sent home. Now, fans are taking to the social sphere to slam the Australian TV host's behaviour on screen, as well as his ability to dance. 'WTF was that attitude from Osher? The judges are there to give you constructive criticism, you think you danced amazingly and you just didn't, mate. Check your ego bro,' one viewer wrote on X, formerly Twitter. Another similarly chimed in: 'Osher is kinda annoying stop fighting with the judges.' One person saw his outburst as a sure nail in the coffin of his DWTS journey: 'Well, I guess Osher's a goner tonight, unless the audience take great pity on him.' From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop. Other fans of the show pointed out that Osher was never good enough on the dance floor to warrant his behaviour. 'Thank goodness Osher's out. He was voted to stay the first couple of weeks due to his popularity, but the man can't dance,' one person penned. Another added: 'Osher seems to have trouble accepting reality, he's just a bad dancer.' However, there were a few fans of The Bachelor host who raced to his defence. 'I don't think Osher has ever said he could dance. He is giving it a go and Craig is just downright rude,' one person levelled. Another person wrote: 'Poor Osher, he's trying so hard but he's just not good.' The fan favourite was shown the exit door during a heated episode of Dancing With the Stars on Sunday. Taking to the ballroom with a Tango routine backed by David Bowie 's 1980 hit Fashion, the TV host put in a feverish performance that failed to impress the judges. One person saw his outburst as a sure nail in the coffin of his DWTS journey. But there were a few fans of The Bachelor host who raced to his defence Taking his cue from the evening's 'Kings and Queens of song' theme, judge Craig Revel Horwood did not mince words when delivering his verdict. 'Well, that was a right royal mess! I don't know what that step was, coming down the ramp, darling, but it was fumbled...' Craig began, but a furious Osher interrupted. Visibly annoyed, Osher snapped, 'Would you like to try going down that Perspex ramp in those heels, sir? You're more than welcome to show me.' He continued to rage: 'But I need you to be doing it in a tango step while the person next to you is on one foot kicking, and you're holding their momentum against you. After you!' Craig seemed taken aback by the fiery exchange, replying to a fuming Osher, 'That is not my job.' He then continued on with his critique despite the tense atmosphere, which had host Sonia Kruger visibly shocked. 'It was completely erratic,' Craig said, after dismissing Osher's remarks. Craig told the frustrated TV personality, 'You were making mistakes left, right and centre.' Fellow judge Mark Wilson did offer Osher some words of encouragement, telling him that he admired his determination to improve his dancing skills. However, the final score was a dismal 15 points, and Osher was sent home.


The Guardian
26 minutes ago
- The Guardian
What the culture war over Superman gets wrong
We've entered the era of the superhero movie as sermon. No longer content with saving the world, spandex saviors are now being used to explain, moralize and therapize it. And a being from Krypton has shown up once again in a debate about real life; about borders, race and who gets to belong. Superman. Of all symbols. I've read reactionary thinkpieces, rage-filled quote tweets and screeds about the legal status of a fictional alien – enough to lose count. This particular episode of American Fragility kicked off because James Gunn had the audacity to call Superman 'the story of America'. An immigrant, by definition, as he was always meant to be. What set things off wasn't just the sentiment – it was who said it, and how plainly. Gunn, now headlining DC's cinematic future, told the Sunday Times that Superman was 'an immigrant who came from other places and populated the country'. He spoke of Superman's inherent kindness as a political statement in itself, noting that the film would play differently in some parts of America before adding, bluntly, that 'there are some jerks out there who are just not kind and will take it as offensive just because it is about kindness'. 'But screw them,' he added. It was that line – less the immigrant metaphor, more the unapologetic framing – that sent the usual outrage machine into motion. Enter Dean Cain, a former TV Superman. Cain accused Gunn of politicizing the character, which is remarkably foolish, considering Superman's been swatting at fascism since 1941. Meanwhile, over at Fox News, it's been a full meltdown over the idea that Superman, canonically not of this Earth, might be played as … not of this Earth. Liberal brainwashing, they suggested. Identity politics in a cape. But have they actually looked at David Corenswet? The man looks like he was made to sell oat milk in a Ralph Lauren ad. All cheekbones and cleft chin. If this is the foreign body in question, no wonder middle America has historically shrugged over Supes being an immigrant by definition. Even still, there's something telling about any collective gasp over a white, blue-eyed man with an immigrant backstory. The scramble to defend him says more than intended. For all the hand-wringing over Superman's alienness, what rarely gets named is how meticulously his story was crafted to cushion the unease of the topic at hand: otherness itself – the very thing people pretend was always central to his character. There are plenty of ways to frame the ridiculousness of this argument, clever ways to connect the dots, but the real fracture in Superman's myth hits, oddly enough, during a quiet scene in Tarantino's meditation on vengeance, Kill Bill: Vol. 2. In the scene, the villain, Bill (David Carradine) unpacks what makes Superman different from every other hero. 'What Kent wears – the glasses, the business suit – that's the costume,' Bill says. 'That's the costume Superman wears to blend in with us. Clark Kent is how Superman views us.' It's one hell of a tell – the kind of observation that pulls back the curtain on how Superman was engineered to understand the world, and how the world, in turn, reinforced how he should fit within it. From the start, Superman was never meant to be an outsider. His creators, Jerry Siegel and Joe Shuster – sons of Jewish immigrants – didn't craft him as a symbol of difference but as a projection of pure Americanness. They gave him a midwestern upbringing, an Anglo name in Clark Kent, and that square-jawed charm. Siegel and Shuster were working against the backdrop of unchecked antisemitism, at a time when Jewish immigrants faced hostility. But instead of exploring immigrant 'otherness', the artists imagined a version of America where that alienness could be easily discarded via an outfit change. Superman wasn't an outsider – he was the ideal immigrant, effortlessly slipping into a world that required no resistance. His story wasn't about struggling to belong, but about the fantasy of belonging, with the privilege of choosing whether or not to fight for it. That projection of safe, silent Americanness hasn't remained confined to the pages of comic books. Today's immigration politics run on the same fantasy. The myth of the 'good' immigrant – quiet, grateful, easy to assimilate – still runs wild. It's the same story that fuels the strange spectacle of politicians praising white South African farmers as victims of racial persecution, all while demonizing migrants from Latin America, the Middle East or sub-Saharan Africa. The notion of who deserves to stay has always been racialized, selective and violent. Tom Homan, Trump's border czar, has said that a person's physical appearance could be a factor in the decision to question them. He later said it could not be 'the sole reason'. But in April, Juan Carlos Lopez-Gomez, a US-born citizen from Georgia, was detained in Florida even after his mother showed authorities his birth certificate. In New York, Elzon Lemus, an electrician, was stopped because he 'looked like someone' agents were after. Maybe he didn't wear his suit and glasses that day. Superman, the immigrant who makes people comfortable, has never been just a comic book character. He's been a metaphor and living testament to the kind of 'other' that wealthy nations have always preferred: those who blend in, assimilate and rarely challenge the systems that demand their silence. If you're still not convinced that Superman's assimilationist fantasy is alive and well, just look at a White House meme from 10 July 2025: Trump dressed as Superman, with the words 'Truth. Justice. The American Way.' It's a glaring example of how cultural symbols are repurposed – hijacked, really – to serve a narrow and self-congratulatory vision of America. That's the trick of Superman: he's been a blank canvas of a both-sides heroism, which makes everyone feel seen. You don't even need to like or dislike Superman for the Maga debate to pull you in, as it was always meant to. The culture war still appointed a celebrity to govern the most powerful nation on Earth. It still turned a corporate diversity initiative into a national crisis. And it took a serious conversation about immigration and made a polished, all-American character its face. The culture war distorts, and it continues, relentless as ever. Noel Ransome is a Toronto-based freelance writer