“LOVE, MONEY & BABY PLANS”: Bachelor In Paradise’s Kat Izzo ADMITS She and Dale Moss Are Putting Prize Money Into Her Business Instead of a Shared Home, While Strategically Saving for a Baby Next Year Amid Rumors of Tension Over Finances

Kat Izzo is opening up about the financial decisions behind her high-profile romance with Dale Moss, revealing a side of their relationship that fans haven’t seen on screen. While many expected the couple to splurge their Bachelor in Paradise prize money on a shared home, Kat revealed that the duo is investing it into her business ventures instead, sparking speculation about potential tensions.

Business Over Bricks

“We decided to put the money into my company first,” Kat admitted in a candid conversation with friends. “It’s about building something lasting together before making big purchases like a house. We’re planning strategically — everything we do now sets us up for the next chapter.”

Sources close to the couple claim that while Kat is focused on growing her brand, Dale is supportive but cautious, making sure their future — including plans for a baby next year — remains financially secure.

Saving for the Future

Despite rumors of disagreements over spending, Kat emphasized that the couple is actively planning for parenthood, carefully budgeting and saving for the arrival of a child.

“A baby is our next big goal,” Kat shared. “We want to make sure we’re financially ready, emotionally ready, and that we’re building the foundation properly. That’s why the prize money is going into the business first — it’s all about the bigger picture.”

Rumors of Tension

Fans have speculated that the choice to prioritize business over a shared home could hint at underlying financial disagreements, but insiders insist the couple is aligned in vision, even if their approach differs from the typical Bachelor in Paradise romance.

“They’re a smart team,” the source said. “It’s not about conflict; it’s about making calculated moves. Kat’s ambitious, Dale respects that, and together they’re planning something bigger than just a house.”

A Love That’s Strategic

While their romance may not fit the traditional mold of instant Bachelor in Paradise fireworks, Kat and Dale appear to be playing the long game, turning prize money into an investment in both their business and family future. Fans can expect a relationship built on careful planning, love, and ambition, proving that not all reality TV romances are just about glamour — some are about building a life together from the ground up.

How The Last Of Us Season 3 Can Avoid The Many Mistakes Of Season 2

Warning! This article contains spoilers for The Last of Us Part II.

The Last of Us

season 2 was well-received as a season of television, but it was disappointing as an adaptation of the video game. With The Last of Us season 3 on the way to adapt the other half of the game, following the same three days in Seattle from Abby’s perspective, there are a few mistakes it needs to avoid repeating.

Somehow, The Last of Us managed to pull a Game of Thrones in just its second season. Critics and show-only viewers seem to still be enjoying it, but as a fan of the source material who’s used to a much better version of the story, I was very underwhelmed.

Neil Druckmann and Halley Gross, the original writers of the game, conspicuously left the writing staff of the TV series soon after the fan backlash to season 2. They both made diplomatic public statements about leaving the show to give more time and attention to other projects, but Druckmann specifically threw shade at season 2 in a recent interview.

Druckmann said, “My hope for season 3… is to make sure it’s as deeply faithful as season 1 was, because I feel like that is the gold standard for this kind of adaptation.

” He’s acknowledging that season 1 nailed it, which it did, but season 2 was a step down, which it was. But how can season 3 avoid season 2’s mistakes and recapture season 1’s greatness?

The Last Of Us Season 3 Needs To Be More Faithful To The Game

Making The Last of Us season 3 better than season 2 is a lot easier said than done. Craig Mazin has to actually figure out a way to turn this crazy, ambitious, groundbreaking video game into a TV show — and now, he has to do it alone.

For starters, I think he should follow Druckmann’s advice: stay faithful to the source material. Since he no longer has Druckmann or Gross there keeping him in check, Mazin needs to remember that this isn’t really his story; he’s retelling someone else’s story, and he needs to stay true to that.

He can make the TV show his own, of course, but it’s an adaptation above all. He can deviate from the source material like season 1 did, but he shouldn’t actively betray its themes and intentions like season 2 did.

Mazin can expand on interesting concepts that the game didn’t have time to explore, like Isaac’s mentorship of Abby and the rift in Owen and Mel’s relationship, but he shouldn’t go against what makes those dynamics compelling. Ellie being excited about becoming a dad completely deflates the tension; if she’s not worried about the baby or angry about the secret, then it flattens one of the game’s best twists.

The same thing will happen in season 3 if Owen is excited about raising a kid with Mel, and he’s not constantly taking off-site assignments to get away from her. Season 1’s Bill and Frank episode is one of the best episodes of television I’ve ever seen, and a perfect example of what this show can do that the games couldn’t.

Mazin can use that freedom to tell the origin story of the Seraphite prophet, or adapt the saga of Boris Legasov, or go back and show how Lev and Yara became disillusioned with the bureaucracy of the Seraphites and eventually decided to run away. But make sure it still fits with the story you’re telling; don’t put in any expansions that undermine the things you’re expanding on.

In theory, the town council meeting where Jackson’s residents vote on whether to send a revenge party after Joel’s killers is a neat idea for a scene to give us a deeper insight into Jackson’s democratic process and get a wider range of perspectives. But in execution, it just became an excuse for Mazin to vocalize all the themes of the story before the story even got going.

The Last Of Us Season 3 Can’t Dumb Down Abby’s Character Like Season 2 Did With Ellie

One of the most egregious things that The Last of Us season 2 did was dumb down Ellie’s character. In the game, she’s blinded by vengeful rage, but she’s still a tactical genius. In the TV show, she sets off on a cross-country journey without medical supplies, she throws a tantrum when she doesn’t get her way, and she survives by sheer luck.

Mazin wrote 19-year-old Ellie to be just as immature and impulsive as 14-year-old Ellie; he can’t do the same to Abby. Abby is smart, resourceful, and has incredible courage under fire.

The Last of Us season 3 needs to capture that instead of showing Abby to be reckless, dim-witted, and lucky.

The Last Of Us Season 3 Shouldn’t Tone Down The Brutality Of The Game

In The Last of Us Part II, Ellie and Abby kill dozens of people on their respective quests. But in season 2, Ellie only killed one person on purpose, and made sure to clarify that the others were accidents. Season 3 shouldn’t tone down the brutality of the game; it should lean into it, because that violence and moral ambiguity are what make this world so compelling.

The Last Of Us Season 3 Needs More Subtext & Subtlety

From a writing standpoint, The Last of Us season 3 needs to let subtext be a thing. Don’t just have every character tell the audience exactly how they’re feeling at any given moment. Trust the viewers to pick up on subtle cues in the actors’ body language or in the disingenuous things they say.

Leave some room for nuance. In season 2, Ellie and Jesse are always angry at each other — it’s not believable that they’re actually friends; they seem to despise each other. You need to allow for a more well-rounded dynamic.

Throughout Abby’s section of the game, Mel is disturbed by Abby’s actions and quickly growing resentful of her closeness with Owen, but that doesn’t mean they’re at each other’s throats in every single scene. There’s still room for them to joke around with each other and confide in each other, despite this undercurrent of growing resentment.

If anything, that resentment shines through more when they’re trying to act like everything’s normal between them and they make awkward small-talk and force laughs at each other’s jokes. Mazin tends to lay out all this stuff in dialogue, but The Last of Us season 3 needs to just chill out and leave some of that stuff to the actors’ faces.