carried

England manager Sarina Wiegman is “not very positive” about the injury to forward Michelle Agyemang, who was carried off on a stretcher with what appeared to be a knee injury during England’s 3-0 win against Australia.

Agyemang, 19, went down with an off-the-ball injury just 13 minutes after being brought on as a second-half substitute before being replaced by Chloe Kelly and left Pride Park on crutches.

In her post-match news conference in Derby, Wiegman said she had not yet received any information on the injury but expressed concern.

“Of course it was an awful moment, it doesn’t look good,” she said. “We don’t know yet but I’m not very positive about what I’ve seen.”

Former Arsenal defender Jen Beattie said Wiegman’s comments to the media were not a good sign.

“Sarina’s comments said a lot because the manager will always be the first person that gets a little nod from the medical team. I think her whole demeanour spoke volumes,” Beattie said on BBC Radio 5 Live.

“I don’t want to speculate I just hope she’s OK.”

Agyemang, who is currently on loan at Brighton from Arsenal, played a key role for the Lionesses in their Euro 2025 triumph.

Goals from the bench in the quarter-final against Sweden and in the semi-final against Italy forced extra time and gave England a platform for victory.

Her exploits in Switzerland led to her being nominated for the Kopa trophy, an award given to world’s best under-21 female footballer.

She has featured in five of Brighton’s six Women’s Super League games this season, starting each of those matches.

WASHINGTON — Defense Secretary Pete Hegseth announced that the U.S. military carried out three strikes Monday in the waters of the Eastern Pacific against boats suspected of carrying drugs, killing 14 and leaving one survivor.

The announcement made on social media Tuesday, marks a continued escalation in the pace of the strikes, which began in early September spaced weeks apart. This was the first time multiple strikes were announced in a single day.

Hegseth said Mexican search and rescue authorities “assumed responsibility for coordinating the rescue” of the sole survivor but didn’t say if that person would stay in their custody or be handed over to the U.S.

In a strike earlier in October which had two survivors, the U.S. military rescued the pair and later repatriated them to Colombia and Ecuador.

Hegseth posted footage of the strikes to social media in which two boats can be seen moving at speed through the water. One is visibly laden with a large amount of parcels or bundles. Both then suddenly explode and are seen aflame.

The third strike appears to have been conducted on a pair of boats that were stationary in the water alongside each other. They appear to be largely empty with at least two people seen moving before an explosion engulfs both boats.

Hegseth said “the four vessels were known by our intelligence apparatus, transiting along known narco-trafficking routes, and carrying narcotics.”

The death toll from the 13 disclosed strikes since early September is now at least 57 people.

There were three television characters who really mattered to me as a kid: Michael, Leroy and Theo.

In elementary school, “Good Times” was the television show that most closely resembled my family. And seeing reruns of Ralph David Carter’s portrayal of a precocious young boy learning what it means to be poor, gifted and Black is what moved his Michael from fiction to family for me.

By middle school, I was no longer wearing cornrows like Gene Anthony Ray, but I tried everything else to be like his character Leroy from the television show “Fame.” For some of my classmates, the performing arts were a fun way to express themselves, and the show was inspirational. For me, it was my way out of the hood, and Leroy was the blueprint. Through the Detroit-Windsor Dance Academy, I was able to take professional dance lessons for free and ultimately earned a dance scholarship for college.

But it wasn’t a linear journey. Despite being gifted, I struggled academically and required summer classes to graduate from high school. That’s why I connected with Theo, whose challenges in the classroom were one of the running jokes on “The Cosby Show.” The family never gave up on him, and more importantly, he didn’t stop trying.

Through the jokes about his intelligence, the coming-of-age miscues (and the dyslexia diagnosis), the storylines of Theo — like those of Leroy and Michael — often reflected struggles I foolishly thought no one else was experiencing when I was growing up. It is only through distance and time are we able to see moments like those more clearly. In retrospect, the three of them were like knots I held onto on a rope I had no idea I was climbing.

This is why the Black community’s response to the death of Malcolm-Jamal Warner this week isn’t solely rooted in nostalgia but also in gratitude. We recognize the burden he’s been carrying, so that others could climb.

When “The Cosby Show” debuted in 1984, there were no other examples of a successful two-parent Black family on air. We were on television but often trauma and struggle — not love and support — were at the center of the narratives. So even though Black women had been earning law degrees since the 1800s — beginning with Charlotte E. Ray in 1872 — and Black men were becoming doctors before that, the initial response from critics was that the show’s premise of a doctor-and-lawyer Black couple was not authentically Black.

That narrow-minded worldview continued to hang over Hollywood despite the show’s success. In 1992, after nearly 10 years of “The Cosby Show” being No. 1 — and after the success of “Beverly Hills Cop II” and “Coming to America” — the Eddie Murphy-led project “Boomerang” was panned as unrealistic because the main characters were all Black and successful. The great Murphy took on the Los Angeles Times directly in a letter for its critique on what Black excellence should look like.

However, Black characters like Michael, Leroy and Theo had been taking on the media since the racist film “The Birth of a Nation” painted all of us as threats in 1915. It could not have been easy for Warner, being the face of so much for so many at an age when a person is trying to figure out who he is. And because he was able to do so with such grace, Warner’s Theo defined Blackness simply by being what the world said we were not. This sentiment is embodied in his last interview, when he answered the question of his legacy by saying: “I will be able to leave this Earth knowing and people knowing that I was a good person.”

In the end, that is ultimately what made his character, along with Leroy and Michael, so important to the Black community. It wasn’t the economic circumstances or family structure of the sitcoms that they all had in common. It was their refusal to allow the ugliness of this world to tear them down. To change their hearts or turn their light into darkness. They maintained their humanity and in the process gave so many of us a foothold to keep climbing higher.

YouTube: @LZGrandersonShow