Jake Shane has addressed online backlash nearly two weeks after a viral clip from his Kacey Musgraves podcast interview circulated on social media.

Shane spoke with Musgraves on his Therapuss podcast on May 6, discussing her career and her 2026 album Middle of Nowhere.

During the conversation, Shane asked the singer to explain a lyric from her 2018 song “Slow Burn,” referencing the line: “In Tennessee, the sun’s goin’ down / But in Beijing, they’re headin’ out to work.”

Musgraves appeared surprised by the question, explaining that the lyric simply refers to different time zones rather than a deeper meaning.

The exchange quickly went viral, with social media users reacting to Shane’s confusion and flooding comment sections with jokes and criticism. Some questioned whether he understood the concept of time zones, while others expressed surprise that the lyric needed clarification.

One TikTok user wrote, “Why did this need to be explained??” while another joked, “Time zones baby. They’re real.”

Shane later responded to the backlash in a lighthearted manner, resharing posts from the online conversation on X (formerly Twitter) and Instagram Stories.

He wrote, “Like I’m ready to laugh, we can laugh,” indicating he was taking the situation in stride.

Musgraves’ album Middle of Nowhere was released on May 1, 2026.

The Jonas Brothers are launching a podcast, and by the sound of it, no topic is off limits.

Hey Jonas! premieres on Wednesday, 20 May under an exclusive deal with iHeartMedia, and will be available on the iHeartRadio app, YouTube and major audio platforms. 

The weekly show is executive produced by Kevin, Joe and Nick themselves, and promises an unfiltered look at their lives both on and off the stage.

The trailer gives a pretty good sense of the tone. Kevin deadpans that the whole thing came about because “everyone in the world had a podcast, so we just felt left out.” 

Nick, ever the more earnest of the three, offers a rather different take, suggesting it was about finding quality time together between soundcheck and showtime. 

Kevin’s response: “Where we have to be together in a closed environment even more.” The dynamic, in other words, is exactly what fans would hope for.

Topics teased in the trailer include whether any of the brothers shower in a particularly unconventional way, tattoo ideas, and the eternal debate of flowers versus an Edible Arrangements fruit basket as a romantic gesture. 

It’s that kind of show.

Beyond the banter, Hey Jonas! will feature guests who know the brothers well, family members, close friends and long-term confidantes, as well as bonus episodes and exclusive interviews. 

In a nostalgic touch, listeners can also call a dedicated hotline at 1-84-HEY-JONAS to leave questions, which the brothers may address on air. It’s a nod to the old-school fan phone lines that feel very on-brand for a group that has always kept a close relationship with their fanbase.

The podcast is the first title in a broader slate of original programming from the brothers’ production company, Powered by Jonas, in partnership with iHeart.

It arrives at a milestone moment for the trio. 

This year marks the 20th anniversary of the Jonas Brothers, and recent months have brought a string of celebrations, a star on the Hollywood Walk of Fame, induction into the New Jersey Hall of Fame, and their starring roles in the 2025 Disney+ holiday film A Very Jonas Christmas Movie. 

The group has sold more than 20 million albums and earned two Grammy nominations over the course of their career.

A podcast, then, feels like the natural next move. They’ve done pretty much everything else.

The Housemaid is heading to the stage, and given the story’s track record, it’s hard to bet against it.

Lionsgate has announced it is developing a stage adaptation of the psychological thriller, based on Freida McFadden’s best-selling novel and the hit film of the same name. 

British production company Melting Pot, led by Simon Friend and Hanna Osmolska, the team behind the stage versions of Life of Pi and Paranormal Activity, will produce, with playwright Bekah Brunstetter, best known for Broadway’s The Notebook, writing the script. 

A production timeline has not yet been confirmed.

The move makes considerable commercial sense. 

The film, directed by Paul Feig and starring Sydney Sweeney and Amanda Seyfried, quietly became one of the more remarkable box office stories in recent memory, grossing $400 million worldwide on a production budget of just $35 million. 

A sequel, The Housemaid’s Secret, is already in the pipeline, with production expected to begin later this year ahead of a planned theatrical release on 17 December 2027.

The stage version will draw on both the novel and the film, which tell broadly the same story, a young woman with a hidden past takes a live-in housekeeping position with a wealthy family whose seemingly perfect life conceals some very dark secrets. 

The endings of the book and film differ slightly, though the core story remains the same.

For Friend, the material is a natural fit for theatre. 

“When I first read The Housemaid, it was exhilarating,” he said. 

“What occurred to me is how truly theatrical the story is, not only happening largely in a single, claustrophobic location, but the twisty elements which contemporize what has long worked in potboiler stage thrillers.” 

He has spoken of wanting to “heighten its intensity” for live audiences, a logical ambition given that much of the film’s appeal came from experiencing its campier moments and jump-scares in a crowd.

Brunstetter is equally enthused. 

“I’m so thrilled to be bringing this gripping, emotional, strange, and even funny story to the stage,” she said. 

“I’m extremely excited to dig into The Housemaid’s incredibly universal themes of jealousy, the pain of desire, and the traumas that connect us.”

The Housemaid joins a growing slate of Lionsgate properties making the leap from screen to stage. 

Productions based on Dirty Dancing, La La Land and Wonder are all in development, while a stage version of The Hunger Games is currently running on London’s West End. 

It is, by any measure, an ambitious expansion, and The Housemaid, with its built-in audience and proven commercial appeal, looks like one of the stronger bets in the bunch.