Sabrina Carpenter unveils mysterious teaser and billboard campaign for rumoured new song 'Manchild'
The pop star posted a 16-second clip on social media featuring her hitchhiking in micro denim shorts and heels, closing with a casual 'Oh boy.' The silent video captioned " we're READY" instantly went viral, sparking speculation over what's coming next.
Fans believe the clip is linked to a new track likely titled 'Manchild' after promotional billboards surfaced across Texas.
The billboards, credited to SC Entertainment, include phrases like 'HEY MEN,' 'AMEN,' and 'I SWEAR THEY CHOOSE ME I'M NOT CHOOSING THEM,' with one prominently featuring the word 'Manchild' in quotes alongside a 2025 copyright.
Photo: X
Carpenter has not confirmed if the new release is a single, a video, or both, but her timing is strategic. With the North American leg of her Short n' Sweet Tour resuming in July, a summer anthem seems imminent. Additionally, she will be headlining Primavera Sound Barcelona this weekend alongside Charli XCX and Chappell Roan.
In addition to her music, Carpenter is rumoured to be in talks for Mamma Mia! 3, potentially playing a character related to Meryl Streep's.
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After undergoing various socio-political and cultural controversies, and ups and downs, the new Indian film Sardar Ji-3, has been released globally except its parent country India. This leaves 1.5 billion film lovers deprived of enjoying this comedy feast starring Diljit Dosanjh, one of the most prominent and celebrated stars of India. Interestingly, the reason for this deprivation is that the film's female lead happens to be the famous Pakistani actress Hania Amir. Other stars in the cast include Neeru Bajwa, Manav Vij, Gulshan Grover, Jasmin Bajwa, Nasir Chinyoti (also Pakistani), Sammy Jonas Heaney, Daniel Khawar, Sapna Pabbi, and Monica Sharma. The project has been directed by Amar Hundal and produced by Gunbir Sigh Sidhu and Manmord Sidhu, while Rakesh Dhawan, Dheeraj Rattan and Manila Rattan teamed up as screenwriters. 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As the Punjabi diaspora is globally present and has exercised a great impact on broader-spectrum culture, the modern-day Punjabi films, plays and music are considered beyond the restraints of regional and political boundaries. Linking its roots to the previous two parts, Sardar Ji 3 continues the eccentric saga of the beloved ghost-hunting character Jaggi, portrayed by Diljit Dosanjh. This time, Jaggi finds himself entangled in a bizarre cross-border tale involving supernatural elements, mistaken identities, and an unlikely romance. This time the ghost is bigger and more horrible, and later on, it appears to belong to the dead body of the twin brother of the villain who has hired the psychic pair for getting their castle free from this weird and unearthly presence. It is unbelievable that for many years, the villain has kept the body of his brother inside the castle without any special procedure or treatment in a simple wooden-box. Set against a backdrop of fantasy and farce, the film attempts to blend comedy, action, and fantasy with a touch of patriotic sentiment. The plot weaves in a new twist through the character of a cute girl, which becomes the centre of both the romantic and political drama. However, despite the fresh setting, the storyline remains structurally similar to the earlier installments, leaning heavily on familiar tropes — bumbling heroes, exaggerated and even comic villains, and a chaotic narrative full of comic misunderstandings. Thematically, Sardaar Ji 3 appears to aim at promoting righteousness and relationship setting aside financial gains and pragmatism. It tries to wrap its message in humour and whimsy, hoping to soften complex realities through cinematic exaggeration. However, this intention is undermined by its lack of depth and over-reliance on slapstick humour. 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Despite commercial success in some overseas markets, the film feels creatively stale. There is little evolution in the narrative style or performance depth. What was once viewed as a unique blend of rural charm and urban wit has now become a predictable caricature. The clownish energy, which may have been endearing in the early years, now feels forced — almost as if Diljit is trying to meet the expectations of a role that no longer fits him naturally. The broader disappointment lies in the fact that Diljit has the talent and the presence to redefine Punjabi cinema, but Sardaar Ji 3 suggests he's stuck in a comfort zone. Instead of exploring new emotional ranges or bolder themes, he seems content repeating a formula that's well past its prime. As the global Punjabi film industry develops further and audiences become more discerning, actors like Diljit will need to take creative risks or risk becoming parodies of their former selves. Stardom is a gift — but it can become a burden when it resists reinvention. Switching to Neeru Bajwa, who plays the role of a ghost/witch named Pinky, we must say that she reprises her presence in the series with grace and seasoned charm, she has also done justice to her role with a few scattered deviations and lapses. Playing the role of a strong-willed and magnanimous female or feminine creature, she adds emotional balance to the otherwise chaotic and comedy-driven storyline. Her character acts as both a counterforce and a reality check to Diljit Dosanjh's over-the-top antics, grounding the narrative in moments of sincerity. While the film largely revolves around supernatural fun and cross-border humour, Neeru brings depth through her expressions and mature screen presence. Though her role isn't the central arc this time, her contribution adds a layer of continuity and credibility to the franchise. Her final understanding and decision to get aside, sacrifice her overwhelming love, and to bring Noor and Jaggi together adds to the positive emotional flow that runs through the theme of the film. Winding up, the film is just like a confection — sweet, effervescent, and unpretentious. It embraces its genre tropes joyfully, yet beneath that lies little narrative heft. Performatively, it struggles on Diljit's enduring appeal and music‑infused humour, which often rescues the experience. The insertion of Sikh spiritual text attempts emotional depth but highlights the film's tonal fragility. Meanwhile, its political entanglement inadvertently performs a cultural critique: the torn space where art and diplomacy collide. Muttahir Ahmed Khan is an author, literary critic and educationist, and can be reached at muttahirahmedkhan@ All facts and information are the sole responsibility of the writer
