Hunter

The Rams never found a way to consistently deploy speedy receiver Tutu Atwell. But they apparently can’t quit him.

On Thursday, the Rams traded second-year running back Jarquez Hunter to the Miami Dolphins in exchange for Atwell, the team announced.
ESPN first reported the trade.

Hunter, 24, was a 2025 fourth-round draft pick from Auburn. He played in five games as a rookie, all on special teams. On a Super Bowl-favorite team that includes Kyren Williams, Blake Corum and Ronnie Rivers, who is also a special teams ace, Hunter was not going to play unless there were a series of injuries.

Rams running back Jarquez Hunter carries the ball during a preseason win over the New Orleans Saints at SoFi Stadium on Aug. 22.

(Allen J. Schaben / Los Angeles Times)

Atwell, who will turn 27 in October, was selected by the Rams in the second round of the 2021 NFL draft out of Louisville. He was sidelined much of his rookie season because of a shoulder injury, and was subsequently used sparingly the next three seasons. In 2024, he caught a career-best 42 passes for 562 yards.

Before the 2025 season, the Rams signed Atwell to a one-year, $10-million contract. But with Puka Nacua and Davante Adams getting the majority of targets, Atwell caught only six passes for 192 yards, 88 coming on a winning touchdown pass play against the Indianapolis Colts.

In March, Atwell signed a one-year, $1.4-million contract with the Dolphins, according to Sportrac.com.

Atwell joins a receiver corps that includes Nacua, Adams, Jordan Whittington, Konata Mumpfield, rookie CJ Daniels and Xavier Smith, who was the punt returner last season.

Christian metal band Demon Hunter is suing Netflix, alleging trademark infringement associated with the streamer’s hit film “KPop Demon Hunters.”

The lawsuit was filed Tuesday by Hyde Lane, the corporate entity for Demon Hunter, against Netflix, Netflix Studios and AEG Presents, the live-entertainment division of AEG, with claims that the defendants have “created a substantial likelihood of confusion” among consumers.

The metalcore band — which was formed in 2000 out of Seattle by brothers Ryan and Don Clark — claims the success of the 2025 urban fantasy flick has “eclipse[d]” the group’s “established identity” and “commercial fate,” especially as plans for a KPop Demon Hunters global concert tour were announced in May in partnership with AEG Presents.

Hyde Lane originally trademarked “Demon Hunter” in 2014 under entertainment, namely live performances. To date, the band has released 12 studio albums and amassed more than 348,000 monthly listeners on Spotify. Several of its early music videos, including popular tracks like “Dead Flowers” and “Someone to Hate,” have garnered millions of views on YouTube.

In 2022, the company submitted other trademark protections for recorded music and merchandise.

By comparison, Netflix filed 10 applications under the U.S. Patent and Trademark Office for “KPop Demon Hunters” for merchandise purposes starting in August 2025.

Hyde Lane has “been forced to surrender control over its commercial identity simply because Defendants have greater resources and a larger marketplace footprint,” the lawsuit states.

In the suit, the plaintiffs cite instances where there has been “consumer confusion.”

On Feb. 26, 2026, someone requested a refund after purchasing $500 tickets to a Demon Hunter show in Albany, N.Y., believing it was for a KPop Demon Hunters concert, according to the suit. “If I dont get it refunded I will not be able to purchase tickets to the actual ‘K pop demon hunters show,’” the email read.

On March 16, 2026, a producer from “Inside Edition” emailed Demon Hunter manager Ryan J. Downey to request an interview with songwriter Yu Han Lee (of KPop Demon Hunters) following the Oscar win for original song, the lawsuit states.

Additionally, the plaintiffs say the Christian band has been incorrectly tagged in connection to various KPop Demon Hunters content.

“Due to Defendants’ wrongful actions, Demon Hunter’s established identity is becoming increasingly obscured within recorded music, live touring and merchandise-related channels due to overlapping use by the KPop Demon Hunters brand,” the lawsuit states.

Hyde Lane is requesting Netflix and Netflix Studios be held liable for infringement, although no specified amount was listed in the suit.

The complaint arrives a year after the 2025 animated musical “KPop Demon Hunters” — which centered on Huntrix, a music trio who hunt demons — reached unprecedented heights, becoming Netflix’s most-watched animated original movie. Earlier this year, the film’s focus track, “Golden,” became the first K-pop song to win an Oscar.

Plans for the “KPop Demon Hunters” sequel are already underway as the lawsuit makes its way through the California court system.

Hunter Biden has told the BBC he is “the most privileged person there is” after receiving a presidential pardon from his father, former US President Joe Biden, acknowledging it was not a good choice for America or his father’s legacy.

In a wide-ranging interview with the BBC’s Newsnight, Hunter Biden defended the controversial pardon, reflected on his father’s declining health, ruled out seeking elected office and spoke about helping others recover from addiction.

Asked about the 2024 pardon, he said he understood the criticism but noted: “What would you have thought of my dad if he did not do that for me.”

“It’s something that is easily criticised and for good reason,” he added.

“It’s not fair… All I know is that I’m grateful that he did it for me,” he said, acknowledging the pardon was “not good” for the American people, the Constitution – or his father’s legacy.

He argued to the BBC that his father ultimately acted out of concern that he would become a target under Donald Trump’s incoming administration.

“I was the only one in the world that could have gotten what I got from the only person in the world who could give it, my father.”

Hunter Biden also insisted he and his father had never discussed the possibility of a pardon before it was granted.

“There is no way that you can have those kinds of discussions that would not become public,” he said.

President Biden granted his son a full and unconditional pardon in December 2024, despite repeatedly saying beforehand that he would not use the powers of the presidency to intervene in his son’s legal cases. In announcing the decision, the former president said his son had been “selectively and unfairly prosecuted”.

The pardon covered his son’s federal gun conviction, a tax case he’d pled guilty to and any federal offences committed between 2014 and 2024.

Georgia Hunter Bell is eyeing an ambitious sweep of gold medals in 2026 after winning the 800m Commonwealth Games title in Glasgow.

England’s Hunter Bell dominated the field to add Commonwealth gold to the 1500m world indoor title she won earlier this year in Poland.

The 32-year-old, a training partner of 800m Olympic champion Keely Hodgkinson, will also race at next month’s European Championships and the inaugural Ultimate Championships in September.

“There are four opportunities to win gold this year,” Hunter Bell told BBC Sport.

“I am two golds down and two more to go.”

Hunter Bell is blossoming later in her career.

Having taken five years out from the sport before returning during the Covid-19 pandemic, she took 1500m bronze at the Paris Olympics before pipping Hodgkinson to silver at last year’s World Championships in the 800m.

This, though, is her first outdoor title – in the event Hodgkinson is Olympic champion.

“Every medal is a landmark moment but my first outdoor gold is huge,” she said.

Hunter Bell and Kenya’s world champion Lilian Odira were the favourites for this title after Hodgkinson opted not to compete. The final was barely a contest with Hunter Bell setting the pace and then kicking on with 200m to go to win by more than a second.

Hodgkinson has instead taken time off before the European Championships in Birmingham, which start on 10 August.

Hunter Bell is only running in the 1500m in that event, denying the chance to see an intriguing race between the pair, but took her opportunity in her friend and training partner’s absence.

Though she said the win validates her decision to come to Glasgow, she defended the decision of others to withdraw.

In Australian writer-director Adrian Chiarella’s knotty roller coaster of a feature debut “Leviticus,” about a demon tormenting a pair of queer teenage boys, the fear is more insidious than the external threat of a violent bigot or shunning parent.

In an abandoned mill in their blighted industrial town, quiet new kid Naim (Joe Bird) and brash hunk Ryan (Stacy Clausen) allow a friendly, mischievous connection to turn into something more. But when Naim later secretly observes his new crush fiercely locking lips with another classmate, Hunter (Jeremy Blewitt), son of a leader in the tight-knit church that Naim’s single mom (Mia Wasikowska) just joined, hurt gets the better of Naim’s instincts and he secretly informs on the pair.

The church’s punishment, however, delivered in front of the congregants, is an eerie ritual performed by a gaunt, severe visitor (Nicholas Hope). Called a “deliverance healer,” his fire-and-brimstone method — making incarnate the title’s Biblical book, regularly used to justify anti-LGBTQ viewpoints — leave Ryan and Hunter writhing in agony. Afterward, Naim, sensing he might have unwittingly set into motion something awful, notices bizarre behavior in the stricken-looking Ryan. When they try to furtively rekindle their passion, it becomes violently clear they are not alone. Or even, it seems, themselves.

The feeling that nowhere is safe is a durable horror concept, the backbone behind such classics as “Nightmare on Elm Street” and “It Follows.” In “Leviticus,” which is expertly paced by editor Nick Fenton, it comes with a flair for open-space unease and unexpected claustrophobia that puts director Chiarella in a long line of savvy Australian mood-setters like Peter Weir and Fred Schepisi. These filmmakers knew how to fold tactile dread into a worthy narrative, rather than treat genre as if it were a kit with instructions.

But most urgently and bleakly, Chiarella is giving religious-based conversion therapy its devilish due as a warping of the soul designed to sow distrust in one’s own desires. He’s careful, however, not to tell a tale that would speak to homophobes. As distressing as their circumstance is, Naim and Ryan are unmistakably positioned as heroic lovers, not victims-to-be. Chiarella takes time between bouts of danger to show affection and intimacy that, in defiance of teen-slasher formula, isn’t immediately penalized with sadism. But their fraught relationship will decidedly keep you nervous, so score one for multilayered storytelling.

Points, too, for the solid casting, from the leads’ tricky pivoting from openness to caginess, to the criminally underseen Wasikowska, who navigates maternal complexities of worry and compassion that confound easy pigeonholing. If anything, the movie could have used more of her, although it’s better overall that “Leviticus” prioritizes Naim and Ryan as queer protagonists caught in a chilling loop of escape and reunion. We already know what’s out there, ready to do harm. This movie’s nail-biting, sorrowful power comes from what internalized destruction looks like.