Organic pumpkin seeds imported from Canada have been recalled because they could be contaminated with salmonella, according to the U.S. Food and Drug Administration (FDA). Advantage Health Matters, with headquarters in Ontario, Canada, is recalling its 8-ounce packages of Organic Traditions Jumbo Pumpkin Seeds. The seeds "have the potential to be contaminated with salmonella," the FDA said in its recall announcement. Salmonella is one of the leading causes of foodborne illnesses worldwide, according to the U.S. Centers for Disease Control and Prevention (CDC). Symptoms of salmonella include fever, diarrhea, nausea, vomiting and stomach cramps, the CDC said. It can also cause "serious and sometimes fatal infections in young children, frail or elderly people, and others with weakened immune systems," according to the FDA. The recalled pumpkin seeds were distributed in the states of New York, New Jersey and Virginia in retail stores and through mail orders. They come in an 8-ounce, clear plastic package with the lot number L250320200 on the back and an expiration date of May 2, 2027, stamped on the side. "This recall was triggered by a recall of a supplier in another country," according to the FDA. Although no illnesses have been reported, production "has been suspended" while the company investigates the source of the problem, the FDA stated. Anyone who has purchased the recalled pumpkin seeds is "urged to return them to the place of purchase for a full refund."

Over 150 years ago, rich women from all over the world came to 7 Rue de La Paix in Paris to be dressed by couturier Charles Frederick Worth, whose eponymous fashion house, founded in 1858, continued through three generations after his death in 1895. Widely credited by historians as the “father of haute couture,” Worth was the first designer to be known by his name, and not by who wore his clothes. He gained international acclaim and shaped the way fashion was marketed and worn. His legacy is now being documented in a new exhibition, “Worth: Inventing Haute Couture,” running until September 7 at the Petit Palais art museum in Paris. A collaboration between the Petit Palais and the Palais Galliera, it is the first retrospective of the House of Worth staged in France, and the second only in the world — the last being over 60 years ago at the Brooklyn Museum in New York — and coincides with Worth’s 200th birthday this year. The Worth family’s close ties to artists during the 19th and 20th centuries and the Petit Palais’s “flamboyant architectural testament to this period,” said the museum’s director and chief curator Annick Lemoine, made Petit Palais “the perfect setting,” she told CNN ahead of the show’s opening. The exhibition encompasses the house’s work from its inception to the 1920s — when famous actresses and singers, such as Sarah Bernhardt, Sophie Croizette and Nellie Melba, wore its clothes on-stage and off. Also on show are art and design items that belonged to the Worth family, including a black lacquer screen by French Art Deco artist and designer Jean Dunand and a series of nude photographs of Worth’s great-grandson Jean-Charles taken by American visual artist Man Ray. Fragrance has also been incorporated in the exhibition, where visitors can smell a recreation of “Je Reviens,” a light powdery, floral scent by Worth. While Osmothèque, the world’s largest scent archive, based in Versailles, remade the fragrance for the exhibition, the scent itself was relaunched in 2005 by perfumer Maurice Blanchet and continues to be sold. Original Worth perfume bottles designed by René Lalique are also on display. As some of the garments are too fragile, the show will not travel internationally, said Raphaële Martin-Pigalle, chief heritage curator of the Petit Palais’s modern paintings department. Designer knows best Worth was born in England in 1825, where he trained with two textile merchants before heading across the Channel to work for Maison Gagelin, a clothing store in Paris, as a salesperson and dressmaker, eventually working up to becoming a partner. He then went on to establish his fashion house — initially called Worth and Bobergh, named after himself and business partner Otto Bobergh, a Swede. Worth decided what women would wear, not by creating new silhouettes, but by changing the business model. Today, haute couture fashion shows take place twice a year as designers present the latest styles for clients to pick from. But this wasn’t always the way. Before Worth, “couturiers didn’t have much latitude to invent looks,” said Sophie Grossiord, Palais Galliera’s interim director and general curator in charge of the collections from the first half of the 20th century. At the time, aristocratic women brought fabric and ideas of what they wanted to wear to couturiers, who would then produce those garments. But that wasn’t how Worth operated; instead, he designed looks that customers, if interested, could buy — subsequently turning the role of the designer, as someone who would merely serve the wealthy, to one of authority whom clients would look up to and follow guidance on how to dress. “Women come to see me to ask for my ideas, not to follow theirs,” Worth notably said to Blackwood’s Edinburgh Magazine, a literary and political periodical, in 1858. Worth “didn’t necessarily agree with what his clients wanted,” said Grossiord. At Worth and Bobergh, the clothes were already made, but embellishments — like woven borders, lace and fake flowers — could be added. The clothing could also be modular, with interchangeable parts such as different sleeve lengths for different times of the day, as seen in the “transformation dress” from the late 1860s. Belle of the ball The demand for Worth’s clothes was great: During the Second French Empire from 1852 to 1870, elaborate costume balls were all the rage — and paintings shown in the Petit Palais exhibition, including Jean Béraud’s “Une Soirée” (1878), depict Worth gowns at these events. Worth’s costumes ranged from the avant-garde — like an umbrella costume from 1925, which looks like a cross between waders and an upside-down closed umbrella — to those which referenced history, like the dress made for Madame Charles-Pierre Pecoul for Princess Sagan’s ball around 1893, modeled after a painting of the infant Margaret Theresa of Spain. The house only ever made one suit for a man outside of the family: It was for the Duke of Marlborough and the most expensive costume made. Supporters of Worth included Empress Eugénie, wife of Napoleon III and one of the leading trendsetters in Europe, who learned of Worth through her close friend, Princess Pauline von Metternich, and Valérie Feuillet (who was married to the writer Octave Feuillet), according to the show’s catalogue. As the French Empress threw her support behind Worth, he soon became the go-to name in fashion. “Worth is an authority,” French news magazine Le Monde Illustré wrote in 1868, describing him as “the absolute power in the world’s royalties.” Worth’s atelier doubled from over 500 workers in the 1860s to over 1,000 in the ’70s, as he sought to cater to clients, several of whom were European royals from across France, Russia, Austria, Spain, Portugal and Sweden. Though, a majority of Worth’s business came from customers further afield, in India, Japan, Hawaii and Egypt. American high society, which included the Astor, Morgan and Vanderbilt families, also provided a large source of income — as was emphasized towards the exhibition finale, where scenes from HBO TV series “The Gilded Age” are projected. (HBO and CNN share the same parent company, Warner Bros. Discovery.) Changing tastes As the Second Empire came to an end, so did Worth and Bobergh’s partnership — the company’s founding documents say it was intended to last 12 years. There is little known about Bobergh, so the exact reasons behind his departure are unknown. But Worth carried on, with the help of his wife, Marie, and later, his sons Gaston and Jean-Philippe. With the shift in French regime to the Third Republic, tastes changed — in fashion, crinolines were out, bustles were in. Worth adapted by bringing down the flamboyancy of his clothes. But another challenge soon emerged: In the 1890s, the US significantly raised its customs duties, creating the most consequential tariff of the 19th century and Worth’s clothes became extremely costly to export. That created an opportunity for copycats in the American market to create similar-looking pieces, for cheaper prices. “The copying phenomenon was a problem for all couturiers,” Grossiord said, noting: “the copiers pillaged their ideas.” In response, in 1868 Worth founded the Chambre Syndicale de la Haute Couture (it later became the Fédération de la Haute Couture et de la Mode and remains France’s governing fashion body) to protect the designs of French couture houses from copying and to promote the status of Paris as the fashion capital of the world. Worth also established practices that are now regarded as standard in fashion, such as using live models (Worth’s wife, Marie, was his first model) and runway shows to present new collections. Worth also photographed each of his looks and registered it by name or number. All of these were efforts to reduce the forgery of his designs. “There was a clientele we can’t even imagine,” Grossiord said, noting that while Worth’s own order books have largely disappeared, some records still exist from the early days of Louis Vuitton (whose trunks were used to transport Worth’s clothes) and Cartier (with whom the Worth family had two marriages). Among some of the most sumptuous dresses that feature in the Paris exhibition include those belonging to Countess Élisabeth Greffulhe, who was the inspiration of the Duchess of Guermantes, a character from Marcel Proust’s literary masterpiece “À la Recherche du Temps Perdu.” Worth himself was such a grand figure that he, too, has been immortalized in fiction: In his book “La Curée” (The Kill), French novelist Émile Zola based the character Worms on Worth, calling him, “the genius tailor, before whom the Second Empire’s rulers took to their knees.” Over 100 years later, thousands continue to marvel at Worth’s clothes. His legacy lives on.

Ever wonder why that pounding headache seems worse after consuming red wine as opposed to drinking white or sparkling? Researchers have been investigating this mystery and identified potential head-pounding provocateurs. One theory suggests that a flavanol called quercetin, found in higher concentrations in red wines compared to white, may be responsible. "In two studies, the total flavanol content in white wines [is] almost 10-fold lower than [in] red wines," researchers from the University of California, Davis, said in their 2023 study published in the journal Scientific Reports. Quercetin is a healthy antioxidant found in grapes, but it can interfere with alcohol metabolism. This can lead to an accumulation of a toxin called acetaldehyde, which results in facial flushing, nausea and headaches, Apramita Devi, the lead author of the study, said in a news release. The study also noted that certain individuals, including about 40% of those with East Asian origin, may have an enzyme variant that hampers the elimination of acetaldehyde, making them more at risk for red wine headaches. "We postulate that when susceptible people consume wine with even modest amounts of quercetin, they develop headaches, particularly if they have a preexisting migraine or another primary headache condition," Morris Levin, a co-author of the study and director of the Headache Center at the University of California, San Francisco, said in the study's release. Growing methods may play a role Grapes produce quercetin in response to sunlight. This means flavanol levels can vary in red wine depending on how grapes are grown, according to the study. "If you grow grapes with the clusters exposed, such as they do in the Napa Valley for their cabernets, you get much higher levels of quercetin," Andrew Waterhouse, one of the UC Davis researchers involved in the study, said in the news release. "In some cases, it can be four to five times higher." The way wine is made, including time length of skin contact, aging methods and fining processes, also affect quercetin levels, according to the study. Further research is needed in human clinical trials to explore this potential link, the study said. Other potential culprits In addition to quercetin and overindulgence of alcoholic beverages, experts noted other possible culprits for red wine headaches. "Alcohol, in general, is a diuretic. This can lead to dehydration – especially if you consume too much – and when you are dehydrated, you have headaches," Caroline Susie, a registered dietitian nutritionist in Texas and spokesperson for the Academy of Nutrition and Dietetics, told Fox News Digital. "The high alcohol content in red wine can exacerbate this." "There are many factors, genetic and otherwise, that contribute to our symptoms during and after alcohol ingestion." Histamines can also play a role. "Red wine contains a higher level of histamines than white wine," Susie said. "People with histamine intolerance can get headaches when consuming red wine." The dietitian said grape skins also contain tannins, which have antioxidant properties and help give red wine a distinct flavor, but they may also be linked to headaches. "There are many factors, genetic and otherwise, that contribute to our symptoms during and after alcohol ingestion," according to Dr. Frances Lee, who specializes in alcohol-related liver disease at Mount Sinai Health System in New York City. Lee told Fox News Digital that "while headaches are unpleasant, they may curb overall alcohol intake, which is better for our health and well-being." There are some alternatives for wine drinkers who want to avoid a wine-induced headache without abstaining. "Champagne has lower alcohol content and less tannins and histamine." "White wine has lower histamine and tannin content," Susie said. "Champagne has lower alcohol content and less tannins and histamine." Susie suggested opting "for a lighter-bodied wine such as a Pinot noir instead of a big cabernet" and limiting intake. She said hydrating before, during and after consumption is important. Levin hopes his future research will provide red wine drinkers with safer choices and possibly help "winemakers reduce headache-inducing properties," according to a UC San Francisco news release.

New York’s Metropolitan Museum of Art came alive with tributes to Black history, culture and style as the annual Met Gala got underway Monday evening. The rain did little to dampen spirits on fashion’s big night out, where designers, models and stylists ascended the Met’s iconic — and for the night, blue-carpeted — stairs alongside A-list names from sports, arts and entertainment. This year’s hotly anticipated dress code, “Tailored for You,” was inspired by the Costume Institute’s accompanying exhibition “Superfine: Tailoring Black Style,” which explores the history of Black dandyism. The Met says its annual theme is designed to “provide guidance and invite creative interpretation.” It did both, with many attendees putting a contemporary spin on zoot suits, the wide-shouldered, high-waisted suits popularized by African American men in the 1940s. Speaking to CNN ahead of his arrival at the gala, fashion designer Dapper Dan said “real dandyism” began with zoot suits, jazz and the Harlem Renaissance movement. “It’s when Black artists and creatives began to dress the way they felt,” he added. This year marked the first Met Gala dress code centered on menswear, challenging designers to reinterpret tailoring traditions for their female clients. The red carpet was awash with exaggerated suiting, from the broad shoulders of Doja Cat’s 1980s-inspired Marc Jacobs blazer to the wide-lapeled jackets sported by everyone from actor Tessa Thompson to rapper Doechii. Janelle Monáe wowed with a suit-within a suit — an outerwear jacket, printed with a blazer and necktie, that she removed to reveal an actual suit (she completed the look with a bowler hat and a clock monocle with spinning hands). Other standout tailored looks included Zendaya’s Louis Vuitton three-piece and Lupita Nyong’o’s all-aquamarine Chanel look with a matching chiffon cape and hat. The evening’s men also embraced colorful, theatrical suiting: “Bridgerton” actor Regé-Jean Page in all red, Henry Golding in — fittingly — gold and musician Bad Bunny in a loose-fitting brown two-piece paired with a Puerto Rican pava hat. Elsewhere, attendees used the theme to pay homage to individual Black icons. In the first of two red-carpet looks, Oscar-nominated actor Colman Domingo, one of the Met Gala’s co-chairs, arrived in a blue Valentino cape that evoked Vogue’s former editor-at-large André Leon Talley. Formula 1 driver (and fellow co-chair) Lewis Hamilton said his patent leather shoes were also a reference to the late fashion journalist — as was Anne Hathaway’s white-button down shirt and Carolina Herrera column dress. Others looked closer to home, with “The Bear” star Ayo Edebiri telling Vogue that her Ferragamo look nodded to the dandy men in her life, including her father. Supermodel Gigi Hadid’s Miu Miu dress was inspired by Zelda Wynn Valdes, a pioneering Black fashion designer who dressed the likes of Josephine Baker and Ella Fitzgerald, while Jodie Turner-Smith channeled equestrian Selina Lazevski. And then there were the Black icons themselves: Diana Ross, making her first appearance at the gala since 2003, arrived in a 60-pound, 18-foot-long train embroidered with the names of all her children and grandchildren.

Six years after their original outing, actors Blake Lively and Anna Kendrick are back for “Another Simple Favor.” This time, a destination wedding on a sun-drenched Italian island is the backdrop to intrigue, murderous intent, and floppy hats the size of small parachutes. The sequel to 2018’s dark comedy “A Simple Favor” sees the cunning Emily (Lively) reunite with frenemy Stephanie (Kendrick) after the former’s early release from prison for double murder. The simple favor in question this time? “Will you be my maid of honor?” Emily asks — a surprising turn as Stephanie played a key role in the arrest and conviction of Emily years prior. Nonetheless, the two jet off to Capri, Italy, for the lavish wedding of Emily and the very suave and wealthy Dante (played Michele Morrone) where betrayal, snappy dialogue and vintage mob boss-inspired suits await them. Fans of Emily and Stephanie’s wardrobe in 2018 can look forward to more bold, opulent statement pieces and elevated looks, according to the film’s costume designer Renee Ehrlich Kalfus. “I’d say the whole of the picture was to attain more of a grand and over the top style,” Kalfus told CNN over email. “The costumes altogether were designed to be imposing and memorable.” When we first see Emily, her outfit leaves us in no doubt where she’s been these last few years. Her jumpsuit is a couture twist on the cartoonish striped getup of a jailbird. Her hooped earrings resemble separated handcuffs, and her belt reminiscent of one you might see on a member of a chain gang. Wedding bells and whistles Then there’s the highly-anticipated wedding itself. For the extravagant nuptials, director Paul Feig (who clearly knows a thing or two about on-screen weddings, having directed 2011 comedy “Bridesmaids”) took particular inspiration from one real life union. “Paul came to me and his team to tell us to look at this video of fashion editor, Giovanna Bataglia, marrying Oscar Engelbert,” Kalfus says of the lavish gathering, also held on Capri. “He wanted his movie to have the look of grandeur, and he wanted us to create an ostentatious and gorgeous wedding.” One of the film’s most memorable garments is Emily’s one-of-a-kind wedding dress — complete with 40-foot veil — designed by Kalfus herself. The gown features a bustier and leggings made of latex courtesy of designer Renee Masoomian, with a satin skirt by Tirelli Costume House. “It is an unexpected mix of beauty and harshness,” Kalfus says — the garment an embodiment of how Emily herself could be described. The extravagant veil was bordered with hundreds of crystals dipped in blood-red as a “harbinger of things to come,” according to Kalfus. The dress — latex aside — is a surprisingly traditionally feminine look for Emily. Fans may remember her appearing in several tailored (and largely monochromatic) suits throughout “A Simple Favor” — a look which was inspired by the way Feig dresses in real life. “We were trying to figure out what Blake’s look was,” explained Feig in an on-set interview during the production of the first film. “Over the course of trying to figure it out, she became enamoured with the way I dress,” he added. Kalfus, who designed the looks for both films, adds that, “Both Blake and I, we looked at each other and go ‘somebody should dress like Paul, don’t you think?’ Every day he wears a three-piece suit.” Emily’s outfits ended up making their way off screen, with Lively promoting the first film in tailored pantsuits by Ralph Lauren, Roland Mouret and Vivienne Westwood among others. In the sequel, “Emily’s style is pushed, much more heightened,” according to Kalfus. Her dresses, accessories, and that hat — the striped number worn while descending a hotel’s grand staircase (that could block out the sun for a small village) — have all increased in size. Emily’s black and white lines, neckties and waistcoats are juxtaposed with Stephanie’s colorful floral sweaters and flowing skirts. You also see Emily’s dramatic couture going toe to toe with an often dressed down Stephanie — appearing in sweatshirts and sweatpants, “showing her reluctance to be part of the wedding,” Kalfus says. When Stephanie is in more formal attire, it errs towards a more youthful femininity, while Emily’s appears more mature and domineering, lending a “psychological edge” over Stephanie, Kalfus says. That “edge” may be the key as to why Emily’s looks are so striking. However, as Dante’s mother Portia (Italian actress Elena Sofia Ricci) says, “No amount of fashion can save this wedding from being a disaster.” She may just have a point.

The first bottle of "whisky" matured in casks submerged in Scotland's Loch Ness has sold at auction for more than $1,000. Domhayn, named after the Gaelic word for "deep," was submerged 702 feet beneath the surface of the legendary Scottish freshwater on Valentine's Day, according to news agency SWNS. The inaugural "Loch Ness edition" bottle, which comes from a 2010 single malt barley spirit with 55.5% alcohol by volume (ABV), recently sold at auction for £850, or about $1,133. ''We're thrilled that someone out there is now going to have that incredible experience of tasting a spirit that has touched the bottom of Loch Ness," founder James Patterson told SWNS. Patterson said he hatched the idea while watching swimmers in Loch Ness. "This is about pushing the boundaries of how we understand spirit maturation," he said. "We know the environment a cask matures in has a huge impact, but no one has explored the application of pressure like this before." The results, Patterson said, were "astounding." "When we retrieved the cask, the difference was undeniable," he said. "The spirit had developed a distinctly different aroma and smoothness – something traditional maturation simply couldn't achieve in the same timeframe." With only six bottles existing, the spirit can't legally be called "whisky" (the Scottish spelling of whiskey) because its submersion in water alters its molecular profile, as SWNS reported. "Submersion causes the cask to compress and decompress, triggering a unique interaction between the wood and the spirit involving both extraction and absorption," Patterson said. "It's a one-off opportunity – each cask can only withstand one dive before the pressure permanently alters it." To ensure authenticity and quality, the spirit from each cask undergoes molecular-level analysis by the Department of Chemistry at the University of Oxford. "The technique measures differences in the compounds found in samples," Patterson said. "The results showed a different molecular composition in the processed samples, providing evidence that our process alters the molecular level profile of the spirits compared to control samples." Patterson said he expects "collectors and enthusiasts to be very curious about how this method compares to conventional maturation." He said the technique is also being applied to wine, rum and vodka.

Sorghum is ready for its time in the spotlight. This made-in-America heritage grain has twice the amount of protein as quinoa, according to experts, and is seeing a sharp spike in interest as consumers seek homegrown products. From popcorn to biscuits to drought-resistant livestock feed and gluten-free pastries, the grain is a perfect substitute for more traditional grains. It's also jam-packed with antioxidants, fiber and other crucial elements, promoting a balanced, healthy food. The sorghum belt in America — stretching from South Dakota to Texas — is "a region that often faces drought and tough growing conditions," Lanier Dabruzzi, director of nutrition and food innovation at the United Sorghum Checkoff Program, told Fox News Digital. "Its ability to thrive with limited water makes it an ideal crop for farmers looking to manage risk and protect long-term productivity." While the ancient grain was domesticated in Africa around 8,000 years ago, it has become a staple crop in Kansas, according to the Kansas Grain Sorghum Commission (KGSC). The grain is drought-tolerant, non-GMO (genetically modified organism) and requires less resources like water and fertilizer than other grain crops. "This U.S.-grown grain is already a quiet staple in items like whole-grain breads, cereals and granola bars." Different varieties of sorghum are grown for different uses. Grain sorghum can be used for gluten-free baking products, according to the KGSC. Whole-grain sorghum is a great source of fiber and protein that adds a "hearty, nutty flavor" to recipes and can be used in foods like salads, cooked dishes and snacks, according to Sorghum Checkoff. Forage sorghum is used for feeding livestock, and sweet sorghum is used for creating a syrup that resembles molasses, per the KGSC. How to incorporate it "While many Americans may not recognize it by name, this U.S.-grown grain is already a quiet staple in items like whole-grain breads, cereals, granola bars and baby puffs," Dabruzzi said. "And the innovation doesn't stop there. Sorghum is also making its way into gluten-free baking mixes, prebiotic snacks and even craft beers." Sorghum comes in a variety of forms, so its uses are only limited by a person's imagination, according to Sorghum Checkoff. Sorghum can be used like any other grain or flour, so it's really a matter of substitution. For any dish needing rice or quinoa or for any baking recipe that calls for traditional flour, try sorghum instead. "A growing body of evidence shows that eating sorghum can help improve overall health and well-being, when incorporated into a healthy lifestyle," Dabruzzi said. Why it's a good option Cooked whole-grain sorghum is a source of tryptophan, an amino acid that research has shown may be an effective approach to decreasing anxiety and increasing positive mood in healthy individuals, according to Dabruzzi. "A serving of cooked whole-grain sorghum is an excellent source of protein, zinc, selenium and copper, which may contribute to a healthy immune system," she said. Whole-grain sorghum is perfect for soups, pilafs or grain bowls, she said. "A serving of whole-grain sorghum provides about a whopping 10 grams of plant-based protein, twice the protein as quinoa. It's also higher in protein than an ounce of beef or chicken," notes the Cleveland Clinic. Sorghum flour is ideal for muffins, coating for fried chicken and for thickening gravies and sauces. Dabruzzi said it can even be popped like popcorn — and it won't get stuck in your teeth. Unlike rice and similar grains, according to the Cleveland Clinic, sorghum keeps its taste and texture when you freeze and reheat it. "More consumers are looking for foods that support their health and support American agriculture – and sorghum delivers on both fronts," Dabruzzi said.

The company behind Jimmy Dean and Hillshire Farm food products is making a key ingredient change amid a push from U.S. Health and Human Services Secretary Robert F. Kennedy Jr. Tyson Foods will remove all petroleum-based synthetic dyes from its products by the end of this month. Donnie King, president and chief executive officer of the Arkansas-based company, announced the news during an earnings call on Monday. "As a recognized leader in protein, none of the products Tyson Foods offers through our school nutrition programs include petroleum-based synthetic dyes as ingredients," King said. Most of the company's retail-branded Tyson products, including its chicken nuggets, "do not contain any of these types of dyes, and we have been proactively reformulating those few products that do," he said. "We expect that our work to eliminate the use of petroleum-based synthetic dyes in production will be completed by the end of May." That's ahead of the U.S. Food and Drug Administration's (FDA) deadline for food manufacturers "to eliminate six remaining synthetic dyes – FD&C Green No. 3, FD&C Red No. 40, FD&C Yellow No. 5, FD&C Yellow No. 6, FD&C Blue No. 1 and FD&C Blue No. 2 – from the food supply by the end of next year," he said. The FDA previously called for the removal of red dye from foods, dietary supplements and ingested medicines in January, as Fox News Digital reported at the time. PepsiCo's chair and chief executive officer announced on April 24 that its popular snack foods like Lay's and Tostitos "will be out of artificial colors by the end of this year." Tyson Foods, along with its subsidiaries, operates several major brands, including Ball Park, Hillshire Farm, Jimmy Dean and Wright Brand.

Channeling your inner dinosaur while eating greens has become a trending social media hack to sneak more vegetables into your diet. "Dinosaur time" is the latest TikTok food trend. It involves grabbing handfuls of greens like lettuce, spinach or kale, stuffing them into your mouth and then chewing them quickly, mimicking how herbivores ate during the Mesozoic era. Social media user @sahmthingsup is believed to be behind the viral videos and said on her TikTok account that it's a way to boost your consumption of greens. "I just grab a large handful. I eat everything I grab," she said in part in a post. The TikTok food trend encourages chewing greens as quickly as possible to get that less palliative task of eating part of your recommended daily quota of vegetables out of the way. You can then move onto eating a more enjoyable meal. "Dinosaur time is more about the goal than the process," the TikTok user shared on her social media site. "That goal is simply to eat at least a full serving of green veggies before a meal, ideally quickly and whilst channeling a hungry dinosaur." She did note that it "is not a meal replacement." Many of the influencer's social media followers seemed excited to incorporate this lifestyle hack into their meal routines. Some said that even their children are asking to eat vegetables now in this dinosaur-style feeding frenzy fashion. Some registered dietitians told Fox News Digital that dinosaur time is a unique way to get nutrients. "If pretending to be a dinosaur or a bunny to scarf down washed leafy greens brings you joy and more green vegetables, there's likely no need to hold back on participating in this fun trend," said Julie Stefanski, a Pennsylvania-based registered dietitian nutritionist and spokesperson for the Academy of Nutrition and Dietetics, a trade group. Stefanski said plants are an important source of non-digestible material that helps with elimination in the digestive process. She also noted these greens provide nutrients like vitamin C and fiber needed for gut health. "Vegetables also provide a high source of B vitamins, such as folate, which help support our immune systems and decrease the risk of issues such as birth defects and the development of cancer," Stefanski told Fox News Digital. Another expert told Fox News Digital that while she preferred that people enjoy eating vegetables, the trend's focus on consuming green leafy vegetables can have a widespread positive effect. "Prioritizing veggies is great," Caroline Susie, a registered dietitian nutritionist based in Texas, told Fox News Digital. "Especially since less than 10% of American adults meet the recommended daily intake of vegetables." Susie warned that eating greens as quickly as shown in some TikTok videos could lead to discomfort from gas and bloating. She also said that green, leafy vegetables contain fat-soluble vitamins, "meaning you need to pair a fat with them [for your body] to absorb them." Dinosaur time involves eating raw vegetables, which may pose a problem for individuals who do not tolerate raw vegetables as easily as cooked ones, Stefanski noted. "For individuals with gastrointestinal issues [GI] or those recovering from a GI illness, cooked vegetables may cause less gas and digestive upset," she said. "Over time, people can adjust to eating larger amounts of fiber and vegetables, but it does take a period of adaptation." When it comes to social media food trends, Stefanski cautioned that just as with "any generic dietary advice that you see online, it's important to consider whether taking the steps to carry that practice out in your own life is best for your own health goals."

The official coronation portrait of Britain’s King Charles was made public on Tuesday, two years after he was crowned, in a tradition dating back more than 400 years to a time when such a painting often became the defining image of a monarch. The portrait of Charles, in his Robe of State standing beside the Imperial State Crown, and one of his wife, Queen Camilla, will go on display in London’s National Gallery for a month before being moved to Buckingham Palace, their permanent home, Buckingham Palace said in a statement on Tuesday. Charles, 76, who was diagnosed with an unspecified form of cancer early last year some 10 months after his coronation, has been sitting for the portrait while he undergoes treatment. The king and queen commissioned the paintings shortly after the coronation ceremony at London’s Westminster Abbey, choosing different artists. Charles was painted by Peter Kuhfeld, while Camilla selected Paul Benney, Buckingham Palace said. “I have tried to produce a painting that is both human and regal, continuing the tradition of royal portraiture,” Kuhfeld said in a statement of the image of the king whose backdrop is the Throne Room in St James’s Palace. Camilla is seen wearing her Coronation Dress of ivory colored silk, next to a different crown. Benney said he wanted to acknowledge the historic nature of the coronation while also showing “the humanity and empathy of such an extraordinary person taking on an extraordinary role.” Historically, the paintings were used as a show of power. The earliest example in the royal collection is the state portrait of James I of England, James VI of Scotland, from 1620.