Going out for breakfast is the best way to treat yourself to a great morning. Here are the chains where value and taste are at the forefront of the experience.

Mashed – Fast Food, Celebrity Chefs, Grocery, Reviews
Going out for breakfast is the best way to treat yourself to a great morning. Here are the chains where value and taste are at the forefront of the experience.

Mashed – Fast Food, Celebrity Chefs, Grocery, Reviews
For years, the post editor has lived a double life. The Site Editor renders your blocks inside an iframe. The post editor — where most people actually spend their time — renders them directly in the admin page. That split ends with WordPress 7.1: the post editor canvas will always be an iframe, on every theme, no matter what apiVersion your blocks declare. The Gutenberg plugin has been enforcing exactly this for months. If you ship blocks, assume the iframe.
If your block never touches the global document or window, you can probably stop reading after you’ve changed "apiVersion": 2 to "apiVersion": 3 in block.json. For everyone else — and especially anyone shipping blocks that wrap third-party libraries — the iframe changes where your code runs versus where your markup lives. That gap is where things break.
Quick reference guide: Are your blocks ready?

| Release | What happens |
|---|---|
| June 21, 2021 | The iframed editor was announced on make.wordpress.org |
| WordPress 6.9 (Dec 2025) | Console warning (with SCRIPT_DEBUG) when a block registers with apiVersion 2 or lower. The block.json schema now only validates apiVersion: 3. |
| WordPress 7.0 (Apr 2026) | The iframe decision now looks at blocks actually inserted in the post, not every registered block. All inserted blocks on v3+ → canvas is iframed. Insert a single v1/v2 block → the iframe is removed on the fly. Nothing is enforced yet. |
| Gutenberg 22.6+ | The iframe is enforced regardless of theme — this is the feedback-gathering phase. |
| WordPress 7.1 (Aug 19, 2026) | The iframe is enforced on every theme, regardless of apiVersion. The conditions are gone, not tightened. |
The WordPress 7.0 change is subtle but important: before 7.0, one apiVersion: 2 block registered by any active plugin — even one never used in the post — kept the entire editor out of the iframe for everyone. Now only inserted blocks count. Your v3 block gets the iframe until the user inserts a legacy one, at which point the editor quietly reloads the canvas without the iframe. The companion plugin ships a legacy-api-v2 block so you can watch this happen — insert it into an otherwise-v3 post and the iframe disappears. In 7.1, that escape hatch closes.
Worth knowing, as an aside: the “every theme” decision landed in WordPress 7.1 Beta 1, and it’s deliberately being tested in public. Gutenberg merged “Post editor: always iframe” (#74042) on July 10, 2026, deleting the theme and apiVersion conditions outright. The 7.1 release lead signed off on that merge on the condition that the team could “move to the softer approach” if Beta 1 feedback surfaced real problems — the softer approach being enforcement on block themes only, with everything else staying on the 7.0 rules. No specific mechanism is committed to; the plan is to respond to what the beta actually turns up.
Which is a reason to test harder, not to wait and see. If that rollback happens, the iframed and non-iframed editors both stay in the wild longer — and your block has to work in both regardless of which way it goes.
It’s also worth noting that blocks that will break with the 7.1 changes are most likely already breaking in the Site Editor.
This isn’t change for change sake. Rendering the canvas in an iframe gives the editor a real document boundary:
#wpadminbar-adjacent style resets, no more admin styles subtly changing how blocks render in the editor versus the front end.vw, vh, and @media rules resolve against the canvas, not the admin page — so tablet/mobile previews and zoomed-out views actually behave like the front end.The issue this raises for block developers? Your editor JavaScript runs in the admin page, but your block’s DOM lives in a different document. Every assumption baked into document.querySelector(...) and window.addEventListener(...) just became wrong.
Everything below is demonstrable with the companion plugin — each pattern ships as a broken/fixed pair of blocks: iframe-editor-examples on GitHub.
window and document referencesThe classic: a block that reads the viewport or listens for resize.
// ❌ Broken in the iframed editor
useEffect( () =>
const update = () => setWidth( window.innerWidth );
update();
window.addEventListener( 'resize', update );
return () => window.removeEventListener( 'resize', update );
, [] );
Editor scripts load in the admin page, so window is the admin window. In the iframed editor this reports the wrong width and never reacts to the canvas resizing — switch to the Tablet preview and the number doesn’t move.
The fix is to derive the document and window from your block’s own DOM element:
// ✅ Fixed — works iframed or not
import useRefEffect from '@wordpress/compose';
const ref = useRefEffect( ( element ) =>
const defaultView = element.ownerDocument;
const update = () => setWidth( defaultView.innerWidth );
update();
defaultView.addEventListener( 'resize', update );
return () => defaultView.removeEventListener( 'resize', update );
, [] );
const blockProps = useBlockProps( ref );
Two things to notice:
element.ownerDocument is whatever document the block is rendered into — the iframe’s document when iframed, the admin document when not. ownerDocument.defaultView is that document’s window. Code written this way is context-agnostic: it doesn’t care whether the iframe exists.useRefEffect (from @wordpress/compose) instead of useRef + useEffect: it re-runs the callback when the ref changes, so if the block ever moves between documents, your listeners re-attach to the right window.This one is my favorite because it fails weirdly. A dropdown that closes when you click outside, implemented the way every React tutorial teaches it:
// ❌ Broken in the iframed editor
useEffect( () =>
const closeOnOutsideClick = ( event ) =>
if ( ! containerRef.current.contains( event.target ) )
setIsOpen( false );
;
document.addEventListener( 'click', closeOnOutsideClick );
return () => document.removeEventListener( 'click', closeOnOutsideClick );
, [] );
In the iframed editor, clicks inside the canvas happen in the iframe’s document. They never bubble to the admin document, so the listener never fires. The result: click another block in the canvas and the dropdown stays open — but click the admin sidebar and it closes. Same code, same block, works perfectly in the non-iframed editor. This is the kind of bug report you’ll get from users that “can’t be reproduced” — because whoever tested it happened to have a v2 block sitting in their post, which quietly dropped the iframe and made everything work.
Fix: same principle, attach to element.ownerDocument instead of document (see the plugin for the full useRefEffect version).
If you’re styling your block’s editor experience with enqueue_block_editor_assets, those styles load in the admin page — outside the iframe. They silently stop applying the moment the canvas is iframed:
// ❌ Loads in the admin page — never reaches the iframed canvas.
function myplugin_enqueue_editor_styles()
wp_enqueue_style( 'myplugin-editor', plugins_url( 'editor.css', __FILE__ ) );
add_action( 'enqueue_block_editor_assets', 'myplugin_enqueue_editor_styles' );
The fix is to register editor styles through block.json, which WordPress injects into the canvas document, iframed or not:
"editorStyle": "file:./index.css"
(add_editor_style() also gets copied into the iframe, if you need theme-level editor styles.)
The demo plugin makes this visual: the same block carries a green banner from editorStyle and a red banner from enqueue_block_editor_assets. Count the banners — two means no iframe, one means you’re iframed.
The section above is about CSS loading into the wrong document. This one is the sneakier inverse: the stylesheet loads into the right document — injected straight into the canvas, exactly as intended — and still gets it wrong, because of what it was written to describe. These are the rules that quietly stop matching, or start over-matching, once the canvas becomes its own document. It’s the code that’s been sitting in themes and plugins for years, “working,” right up until the iframe is enforced.
The most common one, and it fails exactly like the “close on outside click” bug — silently.
/* ❌ The canvas body no longer carries these classes */
.wp-admin .my-block padding: 2rem;
body.block-editor-page .my-block__title font-size: 2rem;
Inside the iframe, the canvas <body> is a clean document — no wp-admin, no block-editor-page. The selector matches nothing and your editor styling just evaporates. Same block, same stylesheet, works perfectly in the non-iframed editor.
/* ✅ Scope to the block, not the admin chrome */
.my-block padding: 2rem;
.my-block__title font-size: 2rem;
.editor-styles-wrapper does still wrap the canvas content inside the iframe, so .editor-styles-wrapper .my-block keeps working if you need genuinely editor-only styling — but the admin ancestor was almost never necessary in the first place.
/* ❌ Subtracting the admin sidebar and adminbar from the viewport */
.my-fullwidth width: calc( 100vw - 160px ); /* 160px = admin menu */
.my-toolbar position: fixed; top: 32px; /* 32px = #wpadminbar */
This is the flip side of the win from earlier: now that 100vw resolves against the canvas instead of the admin page, there’s no sidebar to subtract — so the calc() overshoots, and top: 32px pushes your toolbar below an admin bar that doesn’t exist in this document.
/* ✅ The canvas is the viewport now — no compensation needed */
.my-fullwidth width: 100vw;
.my-toolbar position: fixed; top: 0;
/* ❌ Cranked up to beat leaking admin styles */
.editor-styles-wrapper .my-block p
font-family: Georgia, serif !important;
line-height: 1.6 !important;
box-sizing: border-box !important;
The iframe already stops admin CSS from leaking in — that’s one of the reasons it’s a good thing. These !importants and resets have no admin styles left to override, but they do now override the theme styles the iframe loads into the canvas. The result: your editor preview drifts away from the front end — the exact opposite of what the iframe is for.
/* ✅ Let theme styles through; set only what your block truly owns */
.my-block p font-family: Georgia, serif;
Two things to notice:
.wp-admin, #wpadminbar, or .block-editor-page is reaching for chrome that isn’t in the canvas document anymore.The biggest real-world hazard. Masonry layouts, sliders, lightboxes, maps — a generation of libraries was written assuming there is exactly one document:
// Inside some-legacy-lib.js
const targets = document.querySelectorAll( selector ); // finds nothing in the iframe
Your block calls the library, the library queries the admin document, finds zero matches, and silently does nothing. No error, no warning — the block just stops being enhanced.
Your options, in order of preference:
lib.init( element )), hand it the block’s element from useRefEffect and you’re usually fine.patch-package is the pragmatic answer: edit the module in node_modules to resolve document/window from the element (node.ownerDocument), run npx patch-package <pkg>, commit the patch, add a postinstall script. The official migration guide walks through a real patch for @panzoom/panzoom.defaultView before using it: if ( ! defaultView.jQuery ) return;apiVersion: 3 actually do?Less than you might think — and that’s the point. Declaring "apiVersion": 3 in block.json doesn’t change how your block renders; it’s a signal that your block is iframe-ready. All core blocks have been on v3 since WordPress 6.3. For most blocks the migration is literally a one-line change… followed by the actual work: testing that nothing in your edit component (or the libraries it pulls in) touches the global document/window.
And to be clear about 7.1: the iframe will be enforced there regardless of apiVersion. Staying on v2 doesn’t opt you out anymore — it just means you get the console warning and the breakage.
You don’t need to wait for 7.1. What you’re testing is that your block works in both states — iframed and not — because both will exist in the wild for a while yet.
Iframed: install the Gutenberg plugin 22.6+. It enforces the iframe regardless of theme, so this is the fastest way to live in the future. 7.1 Beta 1 does the same — I’ve confirmed it forces the iframe on a classic theme, which is the merged behavior shipping in August.
Not iframed: run WordPress 7.0 without the plugin and insert a v1/v2 block alongside yours — the canvas drops the iframe on the fly. The companion plugin’s legacy-api-v2 block exists for exactly this. Any theme will do: core 7.0 has no theme check in the iframe decision at all, so you don’t need to hunt down a classic theme to reproduce this.
Confirm which state you’re in: element.ownerDocument !== document, or look for iframe[name="editor-canvas"] in devtools.
The Site Editor has been iframed for years — if your block already behaves there, you’re most of the way home.
The companion plugin ships a wp-env setup, an example override file that adds Gutenberg for enforced mode (copy it to .wp-env.override.json), and two Playground blueprints — one per state, so you can flip between iframed and not in two tabs without installing anything.
"apiVersion": 3 in every block.json.window. and document. — every hit is a suspect. Replace with element.ownerDocument / .defaultView via useRefEffect.enqueue_block_editor_assets — move canvas-affecting styles to editorStyle in block.json..wp-admin, #wpadminbar, and .block-editor-page , admin chrome offsets and !importantSCRIPT_DEBUG on — the deprecation warnings tell you which registered blocks are still on v1/v2.Resources
WordPress Planet
Spam is no stranger to making new and interesting flavors of its canned meat, but you might be surprised by the absolute best flavor available.

Food Republic – Restaurants, Reviews, Recipes, Cooking Tips
Caylee Hammack took a break from preparing for her upcoming trip to Alaska, where she’s set to perform this week, to catch up with Country Now about her new song, “Must Be Nice,” and share how it marks the beginning of a new musical chapter.
As she enters this next season of her career, Hammack reveals that she is embracing a more fan-driven approach to releasing music. Rather than keeping new songs under wraps until they’re finished, she’s been sharing small snippets of them on social media on the very same day they’re written. This allows her to get a feel for which ones resonate most with listeners.
“Must Be Nice” was a song that immediately raised its hand. When she posted the teaser, it quickly gained traction, racking up millions of views as fans flooded the comments asking her to release the full version.

“It’s kind of just my first endeavor, I guess, in letting the fans pick what they really want to listen to. I started sharing a lot of acoustic songs that I’ve been writing and I’m just sitting in my garden playing it with my dog walking around, posting on Instagram, posting on TikTok. And it has been wild to see the response to certain ones, to see how certain ones have led them to find other songs along the way on my page,” she explained.
With fans making it clear they wanted more, Hammack said she opted to take advantage of the momentum it was gaining and release it as soon as possible.
It’s not a mystery why “Must Be Nice” quickly captivated her listeners. Through clever lyrics and plenty of humor, the song playfully touches on the often-overlooked work done by a wife that keeps a household running.

Hammack sings from the perspective of a woman who reflects on how great it must be to live the life of a husband who can go to the bars and have a carefree time knowing that the wife has dinner cooking at home or that their socks will be all be matching or that his bed will have fresh sheets every week. It might seem like all these little tasks get accomplished “like magic” but the truth is, it’s the wife behind it all.
Even though the story itself shines a light on a reality many wives know all too well, its sassy lyrics and upbeat, catchy melody keep the tune fun, lighthearted and impossible not to sing along to.
She sings, “It must be nice/ well it must be something to just show up in life/ And worry about nothing/ Well it all gets done just like its magic/ Must be nice/ To have a wife.”

Hammack shares that the writing session that day was certainty a memorable one. The Georgia native sets the scene as she recalls showing up to Meg McRee’s in an old denim dress that was two sizes too big with her rain boots on amid the hot yet rainy day. With McRee and their other co-writer Brit Taylor both keeping an eye on their babies and Hammack with her guitar in hand, they began reflecting on the many different hats women wear in life.
“It was the most wholesome way of writing a song, especially from a woman’s point of view that we’re able to sit there with these two babies gurgling and cackling and crying in the background,” she explained. “And we’re recording these work tapes about being a mother, being a wife and having to take on all of the expectations that come with being a woman in today’s society. I’ve always heard it said that a man’s life gets better when he gets married, but a woman’s life you have more things to do. I don’t know if I 100% agree. I think a great partner makes any life better. It’s kind of funny that I sound like a man hating wife even though I’m not man hating or a wife yet, but it’s one of those things where it’s a true, honest story.”
There will also be an accompanying music video filmed in Hammack’s backyard and around her house that she says is expected to be “so much fun” and will add even more humor to the song.
“Must Be Nice” gives fans a preview of the plethora of new music Caylee Hammack has been working so hard on. On top of building out her next album, which is slated to be a very personal one, she revealed a duets album is also in the works. These collections will mark a major shift in Hammack’s career as she drops her first full-length project without the support of a label and moves away from trying to be someone she’s not just to please others.
“I remember going into that first record and trying to be almost less country and more what I would consider into that country pop side, thinking it would get me better tours as far as what was popular at the time in 2018…But I was just desperately trying to make something that I thought people would accept and give me a second of their time for. I was just so desperate to try to prove myself and get my one shot and not blow it,” she admits.
It took five years for Hammack to finally find the right songs to put together and create her next record. Bed of Roses ended up being a project that changed her life as it allowed her to run free with her creativity. This time around, she is free of a label and has ditched the “security blanket” that has been weighing her down for all these years.
“I’m going to spend my own money. I’m going to save every single penny I have, and I’m going to own my own masters for this moment. I’m going to know where every dollar goes, every single person’s role and what it is. And I’m going to just believe in myself more than I’ve ever believed in myself to make this happen because that’s the only way I can. And I found such strength in it,” she admitted.
In doing so, she let go of the pressure to be anything but her authentic, country music loving self, cut out the “middleman” and stopped taking things so seriously. These next set of songs will clearly reflect where she is at in her career right now.
“For the first time ever…I’m going out on my own and I’m going to figure this out and I’m going to figure out what I want to say, when I want to say it, and I’m going to give it to y’all and I’m cutting out the middleman just to see what happens. It’s been crazy. It’s almost like opening that door has opened another door to my fans of, I feel like we’re in a battlefield together.”
She continued, “I took everything very seriously in my first two albums, so scared I was going to mess up, so scared my label would be disappointed in me, that someone would be disappointed in me that I wouldn’t do good enough. And then something has happened that I realized I am enough. And that is not something that I take lightly because I think we all struggle with that sometimes.”
Caylee Hammack is taking her new music to the UK for a special four-show solo acoustic stint this July, kicking off in London on July 27, and later joining Brooks & Dunn’s NEON MOON TOUR 2026 this fall.
The post Caylee Hammack Gets Candid About ‘Must Be Nice’ and Making Music on Her Own Terms [Exclusive] appeared first on Country Now.
Country Now
Not everybody who walks into a Culver’s has a hankering for frozen custard and hot beef patties. However, ordering this alternative may not be your best bet.

Mashed – Fast Food, Celebrity Chefs, Grocery, Reviews
Reading Time: 2 minutes
The girls are fighting? Maybe?
Sydney Sweeney’s clothing line is SYRN. And her latest eye-popping underwear promo looks like a shot across Taylor Swift’s bow.
Many people make nods to Swift’s songs.
But when your boyfriend is Swift’s #1 enemy in the world, at least in Swifties’ minds, people pay attention.

Using her Instagram Story, Sweeney is showing off SYRN’s new underwear line.
The photo shows an unmistakable pair of panties, soft pastel colors and even with a teeny little bow.
Embroidered upon the fabric in pink thread are the words: “But daddy, I love him.”
Sweeney included the same text written on the screen, also in a pink font.
“Panty packs with some of my lil sayings. Hehehe,” she wrote alongside the SYRN teaser.
Sydney Sweeney’s underwear teaser could be a dig at another famous blonde … or maybe just bait for her fans?
— fanana hammock (@fananahammock.bsky.social) July 17, 2026 at 11:24 AM
Is that a “lil’ saying” of Sweeney’s? Maybe.
However, “But Daddy I Love Him” is one of the songs on Taylor Swift’s 2024 album, The Tortured Poets Department.
That could be a coincidence or, some might argue, an homage. Certainly, Swift was not the first to speak or pen that specific phrase.
But Sweeney is, for reasons known only to her, dating controversial music mogul Scooter Braun.
In case you missed it, Swift and Braun have been locked in a very public feud since 2019.
In 2019, Braun purchased Swift’s masters — and felt the wrath of Swifties all over the world.
There are other reasons to dislike the guy (and things to say in his favor — for one thing, he’s arguably why Justin Bieber is still alive after the singer crashed out about a decade ago), but for Swift, it’s about buying her music rights before she had the chance to.
You know those “Taylor’s Version” editions of her classic songs? Yeah, that’s part of the fallout from that.
Swifties on social media have called out Sweeney for her “audacity” in taking this shot across Swift’s bow.
A number of them have suggested that Swift (who is famously litigious) should sue Sweeney.
Others have reasoned that, not only is “But Daddy I Love Him” not an original phrase to Swift, she’s not even the first to use it in a work of art.
For one example, The Little Mermaid — which came out a few weeks before Swift was born — features that exact line.
Now, the legality of using the line doesn’t really address whether this was a direct, intentional reference to Swift.
If it was a swipe, it was a subtle one.
Many believe that it was not really aimed at Swift at all. Instead, it made headlines and gathered attention to SYRN, in part from Swifties and their outrage.
If that was the plan … it worked.
Sydney Sweeney Swipes at Taylor Swift With Panties Promo was originally published on The Hollywood Gossip.
The Hollywood Gossip
It’s safe to say that the 2026 World Cup was an excellent platform for young players to shine under the brightest of spotlights. Many of these players laid the foundation to be dominant figures in the international game for years to come. Here are the 10 best players ages 21 and younger from the 2026 World Cup: Age: 18 Position: Central midfielder Club: Lille Ayyoub Bouaddi is one of the key reasons behind Morocco’s rise in international soccer. Born and raised in France, Bouaddi previously represented French youth teams but made the switch to represent Morocco shortly before the World Cup. Bouaddi has already impressed at the club level with Lille since he was 16. One of his career highlights was starting in a win over Real Madrid in the Champions League on his 17th birthday. At the World Cup, he impressed and helped Morocco control the midfield in a 1-1 draw with Brazil. He is likely soon to be transferred to a top club for an enormous sum. For Morocco, he will ensure the Atlas Lions are a top team for years to come. Age: 19 Position: Central defense Club: Barcelona Most fans knew of Cubarsí heading into this tournament after the 19-year-old anchored Barcelona’s backline to the LaLiga title. But this World Cup has put Cubarsí on the brink of becoming a global superstar. Entering the final, Spain conceded just one goal and Cubarsí has been a huge part of that. Despite being a teenager, he might be the best central defender in the world. Age: 19 Position: Winger Club: RB Leipzig After a stellar club season with RB Leipzig where he was named the Bundesliga Rookie of the Season and is now reportedly nearing a move to Paris Saint-Germain, expectations were very high for Diomande heading into this tournament. He did not score and only had one assist in a win over Curaçao. But there were plenty of times his elite dribbling was on display, and it helped to open the game up for his teammates. In particular, he was explosive in the Ivory Coast’s win over Ecuador and was dangerous in the narrow loss to Germany. Age: 21 Position: Winger Club: Paris Saint-Germain Doué is one of the many top young French players to move from the 2024 Olympic team and into the 2026 World Cup team. He has won Ligue 1’s Young Player of the Year twice and has won the UEFA Champions League twice. He has also won the award for the top young player in both the Champions League and the Club World Cup. At this World Cup, he played well in the wins over Senegal, Norway, Paraguay, and Morocco to live up to what is already a remarkable résumé of a player of his age. He scored in France’s win over Norway and then assisted on the opening goal in the win over Morocco. Age: 21 Position: Attacking midfielder Club: Freiburg Aside from the first game, Switzerland was very good in this World Cup. If Johan Manzambi was healthy and able to play against Argentina, it might have been a different tournament entirely. Unfortunately for Switzerland, Manzambi was injured just before the Colombia game in the round of 16 and did not play in the final two games. But what Manzambi showed against Bosnia & Herzegovina, Canada, and Algeria was enough to easily make him one of the top young players of the tournament with three goals and two assists in those three games. Manzambi can play every position in the attack, and he combines elite athleticism with a high level of skill that makes him tough to defend. He is rumored to be joining Newcastle United in the near future. Age: 17 Position: Attacking midfielder Club: Club Tijuana Although it did not advance to the quarterfinals, Mexico enjoyed many positives from this World Cup. It won its group convincingly and then easily defeated Ecuador in the round of 32, and it was not until its dramatic 3-2 loss to England that it finally conceded a goal. But the arrival of Gilberto Mora on the international stage was perhaps the biggest positive for El Tri as Mora was outstanding as he started Mexico’s last three games. He handled the pressure well of starting knockout games at home and at times was leading his team’s attack. Club Tijuana has a very valuable player on their hands. It will be interesting to see Mora’s next steps. Age: 21 Position: Winger Club: RB Leipzig Everything Norway wants to do in the attack revolves around finding ways to get Erling Haaland the ball. That typically happens through the team’s wingers and, fortunately for Norway, Antonio Nusa has developed a solid chemistry with Haaland that will only continue to pay dividends into Euro 2028 and the next World Cup. Nusa was contained in the quarterfinal loss to England, but he was key to the team’s success earlier in the tournament. In the 2-1 win over the Ivory Coast in the round of 32, Nusa scored an important goal. Age: 21 Position: Left back Club: Manchester City O’Reilly started five of England’s games at this World Cup, which were the ones that the Three Lions won. He plays the fullback position in a very modern way, which requires a lot of athleticism to both defend well and push aggressively into the attack. His absence from the starting lineup against Argentina was surprising, but he will be an important part of the team for years to come. As a starter with Manchester City, he has now played well in the World Cup, in the Champions League, and in the Premier League to make him one of the top left backs in the world. Age: 21 Position: Right back, central defender Club: Villarreal Just 18 months ago, Alex Freeman was a second team player with Orlando City in MLS with no national team experience and limited history at U.S. youth national teams. Since then, he became one of the league’s best defenders, earned a transfer to Villarreal, and became a lock starter with the full national team. At this World Cup, Freeman offered head coach Mauricio Pochettino a lot of tactical flexibility with his ability to defend and move into the attack. His elite athleticism was on display at several moments, and he even scored an important goal in the win over Australia. Age: 19 Position: Winger Club: Barcelona As a runner-up to the Ballon d’Or in 2025, Yamal is the most exciting young attacking player in the world. Entering Sunday’s final, Yamal has just one goal in this tournament, but he has been instrumental in opening the game and making Spain’s attack more dangerous. Against France, he drew a penalty and helped in the build-up to the team’s second goal. He fits Luis de la Fuente’s system beautifully. Honorable Mentions Rayan (Brazil) João Neves (Portugal) Lucas Herrington (Australia) Ibrahim Mbaye (Senegal) Mbekezeli Mbokazi (South Africa)Latest Sports News from FOX Sports
In Driver’s Eye with James Hinchcliffe, the six-time INDYCAR winner will bring you inside the mind of a racer while breaking down the nuts and bolts of the sport for fans. After back-to-back road course races, INDYCAR switches gears again this weekend in Nashville, heading to the tricky concrete superspeedway oval just outside the Music City. McLaren dominated the last stretch of road-course races with Christian Lungaard and Pato O’Ward taking a win apiece. But heading back to an oval means all eyes are on one man this weekend: Josef Newgarden. The Team Penske front man has put up an absolute masterclass on ovals since very early in his career. Lately, however, it’s been on another level. Newgarden’s last 11 INDYCAR wins have been on ovals, including his two victories so far this season at Phoenix Raceway and Gateway (a.k.a. World Wide Technology Raceway). His last non-oval victory was at Road America back in 2022 — of course, not counting St. Petersburg 2024 when he was DQ’d after crossing the finish line first on track. In the span of those 11 oval wins, there have been 27 oval races, meaning Newgarden has a win rate higher than 40% on this type of track. That is quite simply astounding in the most competitive era of the sport. His oval prowess was evident from his first days in the series. He had strong showings at the Indianapolis 500 from his rookie season, and he took his first of many wins at Iowa Speedway in the predecessor to the current ECR squad back in 2015. That checkered flag opened the floodgates for Newgarden on ovals. It is interesting — despite them being the same cars week in and week out — how different the skillsets can be for success racing on ovals vs. street courses vs. road courses. Oval racing requires such a unique feel and understanding of the car, what it wants and how to drive it. This was something Newgarden figured out quickly and to devastating effect. On an oval, the speeds are significantly higher, so the inputs are so much smaller. If you’re driving your road car at 10 miles an hour, a big swerve of the steering wheel doesn’t upset things too much. Do that same input at 70 miles an hour, and you’re barrel rolling into a ditch. That same concept applies in INDYCAR. At the speeds we see on ovals, you have to recalibrate your senses to feel the smallest and most subtle feedback markers the car is giving you. You crank up your sensitivity to the feedback from the car and pull way back on the severity of the inputs you respond with. It’s not easy and it’s not natural. It’s a talent that has to be refined. Josef has an uncanny ability to feel what his race car is telling him. Combine that with an astute understanding of what the car needs to be fast, and it makes him almost unstoppable. Another key to success on ovals is trusting the car. Josef is piloting a machine bolted together by some of the best in the business. He and his engineers work tirelessly on perfecting the setup. When he straps in on Sunday, he has limitless trust in the car’s and his team’s capabilities, which gives him the kind of confidence that makes you devastatingly quick. But speed isn’t the only key to oval racing. The race craft — where to put your race car and when, how to set up passes laps in advance, exploring the grip in different and non-conventional lanes — has to be honed, too. And this may be where Newgarden’s true advantage lies. He doesn’t always qualify up front on ovals. But after three-quarters of a race, you can be sure that not only is he up in the fight for the win, but he’s also spent every second up to that point carefully tuning his car to be what he needs it to be to beat you at the end. When a driver has that kind of speed on a certain type of track, beating them there feels so much more satisfying. I was able to out-duel Newgarden at Iowa Speedway — a track he’s won at more than anyone else — back in 2018, and it remains one of the sweetest victories. THE GOOD, THE BAD AND THE FAST: NASHVILLE INDYCAR takes on Nashville Superspeedway this weekend, and this is a very different oval compared with others we’ve raced on so far in 2026. Phoenix Raceway and Gateway are short ovals, while Indianapolis Motor Speedway is longer as a 2.5-mile superspeedway. At 1.33 miles, Nashville is unique not only in its length, but also because of its surface. Concrete instead of asphalt means the tires react differently here than they do on other ovals, so setups from one oval track don’t necessarily translate to another seamlessly. That element makes it tough and crucial for the engineers to get on top of how to create the most mechanical grip possible. Dampers, spring packages and suspension geometries will be the name of the game. From there, it’s up to the drivers to figure out where the biggest bumps are — and in Nashville there are plenty — so they know what to avoid when trying to make a pass. You have to work hard in practice to run up on the high line and get comfortable being up there to have any shot at winning on Sunday. That’s where guys like Christian Rasmussen, Santino Ferrucci and Marcus Ericsson usually shine. But don’t count out the other two Penske drivers in Scott McLaughlin and David Malukas — one with short oval wins on his resume and the other with that first INDYCAR win in his sights. Or maybe the McLaren train will keep chugging down the tracks. In the two years since we moved this race from the streets of downtown to the superspeedway outside the city, O’Ward has led more laps than anyone, and he was leading comfortably last year before a blown tire took him out of contention and paved the way for, you guessed it, Newgarden to steal a popular hometown win. Some drivers prefer ovals, some road courses, some the streets. Yes, results play a part in that, but so does the feeling you get when driving them. I loved racing in INDYCAR specifically because there were all these different types of tracks to race on, and they all challenge, reward and punish you in different ways. While some drivers will be rubbing their hands together salivating because we’re back on an oval, and others will be wishing the road course streak was continuing, I always felt that whatever type of track I was driving into on a Thursday was, well, my favorite type of track! And that is one of many reasons I love INDYCAR racing! MORE DRIVER’S EYE:Latest Sports News from FOX Sports
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Back in February of 2025, beloved actress Michelle Trachtenberg passed away unexpectedly.
The star of such popular films and television series as EuroTrip, Buffy the Vampire Slayer, and Gossip Girl was just 39 years old.
Trachtenberg got her start as a child star in films such as Harriet the Spy, and now, her co-star in that film, Rosie O’Donnell, is opening up about Michelle’s final days.

The actress and comedian shared emotional new details in a candid interview with Variety, revealing that addiction had taken a devastating toll on Trachtenberg before her death.
O’Donnell said she remained in contact with Trachtenberg during her final years and tried to support her as her health declined.
“In the last few years, when she was in pretty bad shape, she would call me, and we would talk,” O’Donnell said.
Concerned about what she was witnessing, O’Donnell even reached out to Trachtenberg’s mother for answers.
“I also called her mother to find out what was going on, and her mother told me what was happening, and how long it had been happening,” she said.
According to O’Donnell, the two repeatedly made plans to spend time together, but those visits never came to fruition.
“We were supposed to see each other three or four times, and she just never showed up — sometimes at restaurants, other times at my house where we’d had someone prepare the whole meal,” she recalled.
“I would call her and go, ‘Honey, are you heading over?’ and she’d go, ‘Was that today?’ She was not in good shape.”
Looking back, O’Donnell admitted she wishes she had been able to do more for Trachtenberg.
“I tried to help her as much as I could, but she was inaccessible toward the end, and it was tragic.”
She also reflected on Trachtenberg’s remarkable talent, remembering the actress as an exceptionally gifted child performer.
“She was a real genius child who was able to memorize anything, pick up her lines, you could improvise with her, and she was connected and right there.”
O’Donnell added that Trachtenberg had once been incredibly close with her mother, Lana, and her ballerina sister before, she believes, substance abuse changed the trajectory of her life.
O’Donnell said Trachtenberg’s death was especially difficult because she never expected it to happen.
“I didn’t think that she would die.”
She ended with a sobering reminder about the dangers of addiction.
“With most people suffering from addiction, their loved ones think that they’ll survive it, but you can die from your addiction to drugs or alcohol, and it happens too often that it must be taken seriously.”
Clearly, Trachtenberg’s death still weighs heavily on O’Donnell’s mind.
And millions who have lost loved ones to addiction can relate to her feeling that she wished she could have done more.
Rosie O’Donnell Says Michelle Trachtenberg ‘Got Into Drugs and Alcohol’ … was originally published on The Hollywood Gossip.
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The greening of the Reflecting Pool. Slapping his name onto the Kennedy Center. The partial demolition of the White House. The fighting arena on the White House lawn.
Even his face on some people’s passports!
Donald Trump’s latest tribute to himself is in on American money. And no, we don’t just mean skyrocketing prices.
The commemorative token is a vanity $1 gold coin featuring his face, ostensibly to celebrate 250 years of America.

This week, the Trump regime unveiled the final design for what is supposedly an America 250 commemorative token.
It is a $1 gold coin, The Guardian details.
One side is fairly straightforward, reading “United States of America” and “One Dollar” around the Great Seal of the United States.
The other side bears an approximation of Trump’s face, giving him more hair and less face-and-neck than the real thing.
Next to his stern countenance it conspicuously reads “In God We Trust.” That’s on all money, Constitution be damned, but it’s a little brazen when placed right beside Trump’s approximate likeness.
The US Mint will begin striking a $1 gold coin featuring President Trump, announces Treasury Secretary Bessent.
— Steve Herman (@newsguy.bsky.social) July 15, 2026 at 6:56 AM
There are, obviously, so many issues with this.
The first has to be that no living President in United States history has been depicted on money in this manner while alive. It’s also pretty specifically illegal.
In 1866, the Thayer Amendment outlawed the appearance of any living person on “the bonds, securities, notes, or postal currency of the United States.”
However, there was a close call on a half-dollar coin in 1926, depicting then-President Calvin Coolidge alongside President George Washington. Coolidge was alive at the time, but it was a commemorative coin — seemingly an exception.
In 2005, the Presidential $1 Coin Act specifically prohibited any coin from bearing “the image of a living former or current President.”
A couple of years ago, SCOTUS effectively declared that Trump was a king of sorts.
In recent years, the conservative majority on the court have consistently ruled that Trump, specifically, has broad executive powers and is largely immune to prosecution for acts taken in office.
It turns out that Nixon was kind of right: in the eyes of these six individuals, if the president does it, it’s not illegal.
(Of course, this is the same crowd who said that Biden couldn’t forgive student loans. These broad executive powers don’t seem to apply to every POTUS.)
We mention this to point out that Trump is doing this because he doesn’t expect to get into any trouble for it. And his cronies are helping him for the same reason.
One funny tidbit about these hideous little tokens is that they are not, in fact, gold coins.
Despite the initial concept, the revised version is merely gold-finished. Just like Trump’s hideous redecoration of the Oval Office and other aspects of the still-standing portions of the White House.
(To be fair, at the current value of gold, there would have been a rush to acquire these and then melt them down — however illegally — if they had been solid gold. Alas.)
Like the Reflecting Pool’s Greenwater scandal, this appears to be heavy-handed symbolism about Trump and his deleterious impact upon the United States in every way, shape, and form.
It’s likely that no one can stop him from printing all of the ugly gold-finished coins that he wants. Perhaps, as with the meme coin that he has pumped and dumped to ten-figure profits, his sycophants and stans will rush to collect them.
Does Donald Trump $1 Coin Violate Federal Laws? was originally published on The Hollywood Gossip.
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