'It’s great for people with my condition,' said Jonnie Irwin while sharing his experience of using hyperbaric oxygen at home

Tua Tagovailoa threw for 466 yards and three touchdowns and Tyreek Hill had 215 yards and two scores and the Miami Dolphins rallied for a 36-34 victory over the Los Angeles Chargers

Brian Gutierrez extends his stay with Chicago Fire.

Savannah Marshall and Franchon Crews-Dezurn go head to head in Manchester tonight, with the latter’s undisputed super-middleweight titles on the line. Marshall is aiming to bounce back from the first loss of her professional career, a points defeat by Claressa Shields in October, and to regain her status as a world champion. The Briton, 32, lost the WBO middleweight title in her clash with Shields, who became undisputed in the division by outpointing Marshall. Now, however, the Hartlepool fighter has another shot at becoming an undisputed champion herself, as she moves up a weight class. Like Marshall, Crews-Dezurn suffered the only loss of her pro career when she squared off with Shields, but that was back in 2016, in Crews-Dezurn’s pro debut. Since then, the American has won eight straight fights, most recently beating Elin Cederroos on points in April 2022. The 36-year-old, despite her sporadic bouts in recent years, took exception to Marshall’s claim this week that she is ‘lazy’, as the opponents took part in a heated press conference. Follow live updates from the main-event fight, and its undercard, below. Click here to subscribe to The Independent’s Sport YouTube channel for all the latest sports videos. Read More Savannah Marshall and Franchon Crews-Dezurn trade barbs before huge title fight Ben Whittaker on his life-changing moment: ‘I was bleeding and crying – it flipped a switch’ Anthony Joshua removes stumbling block in Dillian Whyte negotiations Anthony Joshua and Deontay Wilder’s teams meet in London for talks over Saudi Arabia fight

Nearly two weeks have passed since the coup in Niger, and the two men making competing claims to power have gone quiet in recent days

By Giuseppe Fonte and Valentina Za ROME Italy is reassessing how it plans to deal with billions of

By Lisa Richwine and Dawn Chmielewski LOS ANGELES (Reuters) -Striking Hollywood actors were due to join film and television writers

Slugger Jon Singleton is back in the majors for the first time since 2015 after his career was derailed by several failed tests for marijuana

Find out how to claim a $1,000 no-sweat first bet at Caesars Sportsbook today with a packed NFL Week 11 slate.

James Patrick, 48, was arrested on suspicion of murder of Jenean Chapman, Duchess Sarah Ferguson's personal assisstant

Stock markets rose strongly Tuesday as a key measure of US inflation slowed more than expected, raising hopes that the Federal Reserve...

Paintings aren’t always what they seem on the surface, as one team of restorers proved recently in surprising circumstances. In fact, many famous artworks feature layers and layers of paint as artists worked and re-worked their compositions in search of perfection. Now, a piece of art has been restored 230 years after it was first painted to reveal a spooky, hidden demonic figure hiding in the background. The painting in question is the 1789 work by English artist Joshua Reynolds titled ‘The Death of Cardinal Beaufort’. It’s been restored by the National Trust, and the work the team have done has revealed a very unusual new feature. The painting features a scene from the Shakespeare play Henry VI, Part 2. Henry says “O! beat away the busy meddling fiend” in the scene, as he begs for a merciful death for Cardinal Beaufort. At the time, Reynolds painted a demon in the background of the painting to reference the “busy meddling fiend” referenced in the dialogue. However, the painting wasn’t well received at the time and that was at least partly due to the depiction of the demon in the background. Three years after it was painted, people attempted to cover up the demon but left a blur on the canvas. Now, the cover up job has been removed and the painting presents as the artist originally intended to mark what would have been Reynolds’ 300th birthday. It wasn’t the easiest of tasks, with several layers of paint and six layers of varnish to uncover. The National Trust’s senior national curator for pictures and sculpture, John Chu, said: “It didn’t fit in with some of the artistic rules of the times to have a poetic figure of speech represented so literally in this monstrous figure. “When it was first shown at the Shakespeare Gallery in 1789 it generated more controversy than any other work on show.” Sign up for our free Indy100 weekly newsletter How to join the indy100's free WhatsApp channel Have your say in our news democracy. Click the upvote icon at the top of the page to help raise this article through the indy100 rankings