More than a decade after quietly becoming a cult favorite, As Above, So Below is getting a sequel. Universal Pictures is officially developing As Above, So Below 2, and this time the darkness beneath Paris may go even deeper.

Original writer-director John Erick Dowdle has confirmed that the script is nearly complete. The sequel will reportedly follow a brand-new team of explorers who venture into the Paris catacombs, only to discover that something far more sinister is waiting beneath the city of the dead.

For horror fans, this news feels long overdue. The first film did not explode at the box office when it was released, but over the years it gained a strong following. Viewers were drawn to its suffocating atmosphere, its clever use of found footage storytelling, and the unsettling blend of religious symbolism, Dante-inspired imagery, and psychological horror. Few films have captured the terror of being trapped underground quite the way As Above, So Below did.

One of the most memorable aspects of the original film was its descent structure. As the characters traveled deeper into the catacombs, the environment itself seemed to transform. The tunnels became narrower, stranger, and increasingly impossible, blurring the line between physical space and psychological nightmare. By the time the explorers realized they were no longer dealing with simple tunnels but something resembling a literal descent into hell, the audience was already fully immersed in the dread.

The sequel opens up an interesting creative question. Should the story expand the mythology that the first film hinted at, or should it focus even more intensely on the raw, claustrophobic terror that made the original so effective?

There is a strong argument for both approaches. Expanding the mythology could allow the sequel to explore the deeper lore of the catacombs, the alchemical themes introduced in the first film, and the idea that the underground labyrinth functions as a kind of spiritual or psychological purgatory. There is a lot of storytelling potential in uncovering why the catacombs behave the way they do and what forces truly govern them.

At the same time, part of what made the original so powerful was its restraint. The horror worked because it felt immediate and personal. The found footage format placed viewers inside the experience, making every dark corridor, distant echo, and flickering light feel real. Leaning harder into that dread could make the sequel even more terrifying, especially with modern filmmaking techniques that can push immersion even further.

Another major advantage for the sequel is the setting itself. The real Paris catacombs remain one of the most eerie and fascinating locations in the world. Miles of tunnels lined with human bones create an atmosphere that is already unsettling before any supernatural elements are added. Returning to that environment with a new story and new characters gives the sequel a strong foundation.

Cult horror sequels can be difficult to get right, especially when the original gained its reputation over time rather than through massive commercial success. Expectations tend to be high among fans who connected deeply with the first film’s tone and atmosphere. However, having the original creator involved in shaping the story is an encouraging sign.

For now, details about casting and release timing remain under wraps, but one thing is certain. The catacombs are opening again, and whatever waits in the darkness may be even more disturbing than before.

And the real question for fans remains simple. Should the sequel dig deeper into the mythology, or should it trap us in the darkness and let pure fear do the work?

Rumors about Cardi B and NFL wide receiver Stefon Diggs have intensified after fans noticed that the two no longer follow each other on Instagram. The social media move came shortly after the Patriots’ Super Bowl loss, leading many online to speculate that the couple may have quietly split.

Neither Cardi B nor Diggs has officially confirmed a breakup. However, Cardi’s brief response when asked about him added fuel to the speculation. When questioned, she simply said, “I wanna wish him good luck,” declining to elaborate further. The short and measured reply stood out to fans, many of whom interpreted it as a sign that the relationship may have ended or at least cooled significantly.

As often happens with high-profile relationships, social media reactions were immediate and intense. Some fans expressed support for Cardi, commenting that they hope she finds someone who truly shows up for her and treats her well. Others went further, comparing Diggs to people from her past relationships and arguing that she deserves better.

It is important to note that these reactions reflect public opinion circulating online and not verified facts about the situation. Much of the commentary comes from fans reacting emotionally to limited information, and neither Cardi nor Diggs has publicly addressed the nature of their relationship or the reason behind the unfollow.

Breakup speculation tied to social media activity has become increasingly common in celebrity culture. Following and unfollowing can be interpreted in many ways, from personal disagreements to simple changes in privacy or online habits. Without confirmation from the individuals involved, the real story often remains unknown.

Cardi B, who has always maintained a strong and outspoken presence online, is no stranger to public scrutiny surrounding her personal life. At the same time, Stefon Diggs has largely kept his private relationships out of the spotlight, making any small online change feel larger than it might otherwise be.

For now, the situation remains unclear. Fans continue to watch both of their accounts closely, waiting to see whether either of them addresses the rumors directly or whether this remains another unanswered chapter in the world of celebrity speculation.

Singer Chappell Roan has announced that she is no longer represented by the Wasserman talent agency, explaining that the decision was guided by her personal values and the standards she expects from the teams she works with.

In a statement shared publicly, Roan said that no artist, agent, or employee should ever be expected to defend or overlook actions that conflict deeply with their moral beliefs. She emphasized that representation in the entertainment industry should be built on trust, safety, and dignity, and that meaningful change requires accountability from leadership.

Her announcement comes at a time when the entertainment industry has been facing renewed conversations about ethics and responsibility, particularly following media reports and public discussions around figures connected to the Jeffrey Epstein case. Roan did not focus on speculation but instead framed her decision as a personal and professional choice about the environment she wants to be part of.

Roan also made it clear that her decision was not directed at the hardworking agents and staff who support artists daily. She expressed appreciation for those individuals, while drawing a distinction between the work of many professionals and the leadership decisions that ultimately shape an agency’s culture and reputation.

The move reflects a broader shift happening across music and film, where artists are increasingly treating their business relationships as extensions of their identity and values. Fans today are paying closer attention not only to the art but also to the systems and partnerships behind it.

Online reactions to Roan’s statement were largely supportive, with many fans praising her for standing by her principles. Others noted that it is still relatively uncommon for artists, particularly those in the middle of a fast-rising career, to publicly step away from major representation on ethical grounds.

Chappell Roan, known for her theatrical pop style and rapidly growing fanbase, has built her career on authenticity and bold self-expression. This decision, in many ways, continues that pattern. Rather than staying silent, she chose to draw a clear boundary about what she expects from the people and institutions she works with.

Whether this moment leads to wider conversations inside the music industry remains to be seen, but one thing is clear: for Chappell Roan, representation is not just about career strategy. It is about values, accountability, and the kind of industry she wants to help shape.

BLACKPINK’s Jisoo has officially marked her Super Bowl debut — not on stage, but on screen. The global K-pop star appeared in a high-profile Pokémon commercial that aired during the Super Bowl at Levi’s Stadium in Santa Clara, California, on February 8 (local time). The one-minute advertisement celebrated Pokémon’s 30th anniversary and featured a star-studded lineup of global icons.

The commercial is part of The Pokémon Company’s yearlong campaign titled “What’s Your Favourite?”, which brings together well-known personalities from different fields to share their favourite Pokémon. The ad opens with comedian and 2026 Grammy Awards host Trevor Noah asking the central question, “What’s my favourite?”, before cutting to celebrities across the world revealing their choices in multiple languages.

One of the most memorable moments features Lady Gaga, who sings alongside Jigglypuff while humorously praising the balloon Pokémon’s “12-octave vocal range.” Jisoo, meanwhile, charms viewers by choosing Eevee as her favourite, telling audiences in Korean, “I think she resembles me a bit.” Trevor Noah picks Psyduck, joking that its quirky personality reminds him of himself.

The commercial also includes appearances by Formula 1 driver Charles Leclerc, Puerto Rican rapper Young Miko, Spanish football sensation Lamine Yamal, and Never Have I Ever star Maitreyi Ramakrishnan, who select Arcanine, Gengar, Zygarde, and Luxray respectively. Together, the diverse lineup highlights Pokémon’s universal appeal across cultures and generations.

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Jisoo’s collaboration with Pokémon doesn’t end with the Super Bowl ad. The company has also announced an exclusive merchandise line created in partnership with the BLACKPINK member. Inspired by her favourite Pokémon, Eevee, the collection will feature plush toys, keychains, hats, and other collectible items. Jisoo promoted the collaboration by sharing a series of photos on Instagram, where she wrote, “My fluffy little companion and adventurer is also my favourite Pokémon: Eevee. What’s yours? #Pokemon30.”

Speaking to Rolling Stone, Jisoo reflected on her childhood connection to Pokémon, recalling how she used to watch the animated series when she was young. “It felt fun and a little strange in a good way, like a small world I could step into after a long day,” she shared.

Explaining her love for Eevee, Jisoo added that fans often told her the character reminded them of her. “Hearing that over time made me feel a personal connection with Eevee,” she said — a bond that has now turned into a global collaboration.

A resurfacing story from a former Justin Bieber fan account has ignited conversation online about the power of fandom, PR strategy, and the ways narratives can be shaped in the entertainment industry.

In a series of posts, the account claimed that Scooter Braun allegedly reached out in 2017, asking the fan to help post emotional content aimed at persuading Justin Bieber not to cancel his tour at the time. According to the account, Braun encouraged posts highlighting devoted fans, including images of children excited to see Bieber perform, with captions emphasizing how much fans depended on him.

The fan account also shared what they said were messages in which Braun discussed helping the page become an “official” fan account and even suggested the possibility of hiring the person behind it. The individual says they were also paid in some instances for Bieber-related posts and promotions, describing that period as both exciting and overwhelming, especially at a young age.

It is important to note that these claims are unverified allegations shared by the individual online and have not been publicly confirmed by Scooter Braun, Justin Bieber, or their teams. Still, the posts have sparked widespread discussion about how closely fan communities, management teams, and online narratives can sometimes intersect.

The person behind the account described feeling proud of what they achieved during that time, saying their work with fan communities eventually helped shape their career. At the same time, they reflected on the pressure and intensity of being so involved in the online ecosystem around a major global pop star.

The discussion has also revived older debates about celebrity PR tactics. Some fans online have speculated that if such coordination did happen, it raises broader questions about whether other narratives in celebrity culture, both positive and negative, are influenced by behind-the-scenes strategy. Others have pointed to past industry controversies, including public disputes between artists and management teams, as reasons why fans are more skeptical today about how media stories emerge.

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However, much of this conversation remains speculative. While the fan account’s story has gained traction, there is currently no independent verification of the broader claims circulating online about other celebrities or media narratives.

What the situation does highlight is the evolving relationship between celebrities and fandom in the social media era. Fan accounts today are no longer just observers; in some cases, they become part of the promotional machinery surrounding artists, blurring the line between organic fan culture and organized marketing.

Whether these latest claims lead to further responses or remain part of online speculation, they have once again drawn attention to how powerful digital communities have become and how much influence narrative-building can hold in modern pop culture.

The Academy of Motion Picture Arts and Sciences has been quietly reshaping the way Oscar voters watch nominated films, and the changes are bigger than they first appear.

For decades, theatrical screenings and private industry showings were a major part of awards season. Studios hosted special screenings, Q&A events, and in-person viewings designed to help Academy members experience films on the big screen. But in recent years, the voting process has moved steadily toward digital platforms and verified viewing systems, fundamentally changing how films are consumed during awards season.

One of the most significant rule changes now in place requires Academy voters to confirm that they have actually watched all nominated films in a category before they are allowed to cast their final votes. Ballots only unlock once viewing has been verified, either through the Academy’s internal screening portal or official attendance records.  

This move signals a broader transition away from traditional screening culture toward centralized digital viewing. Many members already rely heavily on secure online screening rooms rather than attending physical screenings, especially as the industry continues to adapt to post-pandemic viewing habits and the global nature of the Academy’s membership.

The change is meant to improve credibility and fairness in voting. For years, critics argued that some voters cast ballots without seeing every nominee, which could skew results and disadvantage smaller films or international titles. The new verification requirement is intended to ensure that every nominee is judged on equal footing.  

The shift also reflects a larger transformation in how the film industry itself operates. Streaming platforms now dominate awards campaigns, and many films premiere digitally or reach voters through secure screeners rather than traditional theatrical runs. Even eligibility rules have evolved over time to accommodate films released via streaming, provided certain requirements are met.  

At the same time, the Academy continues to update voting procedures and enforcement measures, including stricter verification policies beginning with the upcoming ceremony cycle.  

For filmmakers and studios, these changes alter the entire awards-season strategy. Campaigns that once depended on lavish screening events and in-person networking now increasingly focus on digital accessibility, targeted outreach, and online engagement with voters.

For audiences, the change may not be visible on the surface, but behind the scenes it marks the end of an era. The Oscar race is no longer driven primarily by the glamour of private screenings and industry theaters. It is now shaped by digital platforms, verified viewing, and a more structured voting process.

And while the Academy insists these reforms are about fairness and credibility, they also raise new questions. Does watching films at home change how voters respond to them? Does the loss of the theatrical experience affect how performances, cinematography, and sound are judged?

Awards season has always evolved with the industry. Now, as the line between theatrical cinema and digital viewing continues to blur, the Oscars themselves are evolving too.