Turns out those Beyonce pregnancy reports are more than just speculation.

Multiple sources have confirmed to E! News that the “Epic” star and her rapper husband, Jay-Z, are expecting baby number two. While the couple have yet to comment or confirm, fellow hip-hop mogul Russell Simmons tweeted his congratulations to the couple. Hmm, interesting. Very interesting.

Speculation about whether Blue Ivy’s mom was again with child began after photos of Bey looking a little bit bigger in the tummy region while on tour popped up on the Internet. The NY Post then reported that sources had confirmed to them that the singer was, in fact, pregnant.

As you may recall, Beyonce announced her first pregnancy without saying a word — she just showed up at the MTV Video Music Awards sporting an unmistakable baby bump and rubbed her belly. In other words, there’s no telling when or how Beyonce will announce baby number two.

We’ll be waiting!

[via E! News, NY Post]

Cue the Boyz II Men, ’cause our days with the Wolf Pack are almost over.

First, let’s remember the good times with Phil, Stu, Alan, Doug, and all the other miscreants they ran into. This video, narrated by Zach Galifianakis, is like a balm to soothe our wounds. Remember that time with the tiger? How about the smoking monkey? What about when Mr. Chow jumped out of the car trunk naked? Inappropriate baby jokes! Mike Tyson being himself!

Of course, “The Hangover Part III” ups the ante even more — angry chickens, an exotic animal (this time a giraffe), Tijuana, probably some dead bodies, and lots of jokes about wieners. What more could you ask for?

Put on your headphones if you’re at work — or turn the computer speakers down real low if your mom is home — and enjoy.

“Hangover 3″ hits theaters May 23.

Even superheroes need a makeover sometimes. It’s happened before, with Batman and Iron Man and plenty of other comic book characters; even Superman isn’t immune. For the upcoming “Man of Steel,” director Zack Snyder and co-writers David S. Goyer and Christopher Nolan made sure to distance their movie from previous installments by not putting “Superman” in the title, and giving the movie some technological tweaks and a grittier vibe.

Goyer explained by in an Empire podcast a few weeks ago. “We always knew we would be using the Superman glyph or the shield as we call it. But ‘Man Of Steel’ was also supposed to represent our take, which was he’s a man, but he’s not made of flesh and blood, metaphorically he’s a man of steel. So that was sort of the whole thing wrapped up in a nutshell.”

It doesn’t hurt that a 2006 attempt to bring Supes back to the big screen, directed by Bryan Singer and starring Brandon Routh, didn’t exactly turn the world on its ear.

Even with a new name, it will be hard for fans to shake the mental image of a lantern-jawed Christopher Reeve as Superman. However, Henry Cavill could do a pretty darned good job of giving us a fresh look at an old friend. And a bad-ass General Zod will be pretty cool, too.

[via Empire]

It’s almost impossible to compare a small, independent film with today’s no-holds-barred superhero blockbusters. However, if there’s one thing that Noah Baumbach’s “Frances Ha” manages to have in common with, say, “The Avengers,” is secrecy.

For the film — which was shot in secret during 2011 and 2012 — Baumbach decided to withhold parts of the script from the cast, providing them with only the scenes in which their characters appeared. This method appears to have paid off, as critics have been swooning over “Frances” since it premiered at Telluride Film Festival last fall.

Of course, the secrecy factor is where the blockbuster comparisons end for “Frances Ha.” The black-and-white movie follows Frances (Greta Gerwig), an aspiring 27-year-old dancer who is looking to come to grips with adulthood as she struggles to keep a job in New York City.

Here, Baumbach offers some tips on shooting a secret film, talks about why all of his movies have great soundtracks, and reveals how he ended up writing “Madagascar 3.”

Moviefone: You didn’t set out to shoot this in secret. But, either way, it seems like a tough thing to do.
Noah Baumbach: We gamed the Internet! It was deliberate to keep the low profile, but I didn’t think Oh, we won’t be reported [in the media] somewhere down the line. We just didn’t announce ourselves and then that was really it. But it’s like, we were [in New York City] doing it. If people had walked by us and recognized us, they would have discovered something.

Was shooting low-profile a good experience? It seems like it worked to your benefit.
I mean, we could have done the same work and everything we did, even if we had been [more official]. But I think there’s something kind of nice, particularly in 2011-12, to be the only ones who know about it. Writing is a private experience and filmmaking is sort of necessarily a communal group thing, but it’s kind of nice in a way for the crew to feel sort of focused and private about it; it was our thing and nobody else’s.

It seemed pretty secret within the production itself. You withheld some of the script from the actors.
Yeah, I didn’t show the script. No actor — except Greta [who co-wrote the film] — had the script beyond their scenes. And what we’d do, we would send them — and we shot chronologically, so we could do this — the pages for that week, maybe a few days in advance, but not past that. So not only did they just get their scenes, they got them as those shooting days approached. And I think it just kept people in the moment and not overly concerned with the movie as a whole. It’s my job to be concerned about that. And because the movie was in chapters, and some people are kind of in a chapter and then disappear for awhile and then come back in another chapter, it kind of made that easier, too.

Actors didn’t really need to know what they were doing in the meantime or anything like that. And, if they asked, I would just make something up for them [laughs].

It’s funny to hear that method being used for an indie film. Most of the time you hear about those techniques used on a giant superhero movie (withholding the entire script from actors, shooting in secret, etc.).
Yeah, who the villain is is not important here [laughs]. But, you know, I suppose in our own way, we’re looking for some of the privacy that [those films have].

A lot of people are going to have David Bowie’s “Modern Love” stuck in their heads after this movie.
That’s a good one to get stuck in your head.

Was that always the song you had in mind?
I thought about a few different things, but I think that song’s kind of perfect. It’s so joyful. I feel like everything about it sounds great — his vocal is so great, the way he kind of shout-sings it. It just feels so immediate. When I was a kid and I got the “Let’s Dance” record for the first time, it was the first song on it and I remember just hearing that song; I don’t think I’d heard a better song and I would just play it over and over again.

All of your movies have really great soundtracks: “Margot at the Wedding” had Steve Forbert, “Greenberg” had a James Murphy score. Even movies you wrote but didn’t direct, like “Life Aquatic With Steve Zissou,” have great music.
Yeah, although we wrote the David Bowie into the [“Life Aquatic”] script because it was always written that Seu Jeorge’s character, Pele, would play David Bowie. I mean, it’s always interesting. With “Greenberg” I was listening to LCD Soundsystem’s “The Sound of Silver” while I was working on it. I didn’t necessarily feel like that music was tonally right for “Greenberg,” but I felt like the guy who made this music should probably score “Greenberg.” So I met James Murphy, and we became friends and he wrote a score, which is awfully different from LCD Soundsystem. I thought they were beautiful. I really love what he did.

With “Frances,” I had this instinct that, when I was cutting it, it could really hold a big, bold score, and I started to put in all these old French New Wave scores. It felt like the movie was so strong and flexible that it could hold it, and I really pushed it. I felt like it really elevated and broadened the movie. You almost couldn’t get too big or too romantic.

Fans of your work were pretty surprised that you ended up writing “Madagascar 3,” since you had really only done smaller indies up to that point. How was that experience?
It was a great experience. I really enjoyed it. I learned a lot about the animation process, which was really interesting to me, because you work over such a long period of time. And I liked those guys so much and I think they’re so good at what they do. I have a movie that I am developing there that I would direct. But yeah, I loved it. It’s not altogether different from when I work with Wes [Anderson]. It’s like I felt my job there was to help make the movie as good as possible. And there’s something nice about that as an alternate to what I do with the movies I direct, which is so rigourous and I am involved with every part of it until the very end. It doesn’t stop until you let go of it, which I probably need to do.

Did they approach you?
They came to me, and I worked with Ben [Stiller] on “Greenberg,” so Ben, I think, liked the idea, and I really liked the other two movies and I like Chris Rock a lot, too. It seemed like fun. That said, when I started it, I didn’t know how long the process was — I had never done animation.

Earlier on Moviefone: Greta Gerwig, ‘Frances Ha’ Star, Isn’t Interested in ‘Being a Great Actor in a Sh– Movie’

The follow up to J.J. Abram’s 2009 “Star Trek” reboot hit theaters yesterday (a day earlier than previously planned) and has been getting both good and not-so-good reviews. If you read what the critics have to say before seeing a movie, you may be confused as to whether “Star Trek Into Darkness” is really worth it.

Is it as good as its predecessor? Should it be seen in IMAX 3D? Do Chris Pine and Zachary Quinto continue to do Captain Kirk and Spock justice?

If those are the questions consuming your thoughts today, Moviefone has your answers.

Mr. Moviefone (aka Russ Leatherman) joined HuffPost Live host Jacob Soboroff to discuss the big sci-fi release. Watch the latest Moviefone Live above to hear what they had to say!