“I’m working late, because I’m Santa”: Sabrina Carpenter brings A Nonsense Christmas to Netflix, and Chappell Roan, Tyla, Shania Twain and Kali Uchis are coming along for the ride
“I am excited to bring my take to a classic holiday variety show,” says the star
Sabrina Carpenter has confirmed her ascension to the musical A-list with the announcement of a Netflix holiday special, A Nonsense Christmas.
Featuring duets with Chappell Roan, Tyla, Shania Twain, and Kali Uchis, this is billed as an old-school variety show with a subversive twist. So, comedy sketches are also on the menu, as are appearances from Nico Hiraga, Quinta Brunson, Cara Delevingne, Kyle Mooney, Megan Stalter, Sean Astin, Owen Thiele, and Jillian Bell.
And, if the whole thing isn't stuffed with double entendres, we'd be very surprised.
“The holidays have always been so special to me,” Carpenter told Netflix. “I am excited to bring my take to a classic holiday variety show - infusing my love of music and comedy to make something that is uniquely me.”
Long-time followers of Carpenter’s career will be aware that she’s had skin in the Christmas game before; she released a festive EP, Fruitcake, in 2023. Indeed, A Nonsense Christmas is the name of the opening track - you can expect performances of this and other songs from Fruitcake in the special, plus a selection of covers.
We’re also promised a surprise guest or two, which will inevitably lead to speculation that Carpenter’s friend Taylor Swift could make an appearance. Santa Claus hasn’t yet confirmed, but he does pop up at the end of the special’s trailer to riff on the much-quoted line from Carpenter’s 2024-dominating hit, Espresso. “I’m working late, because I’m Santa,” he quips, somewhat inevitably.
A Nonsense Christmas lands on Netflix on 6 December.
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
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