Kieran Culkin and wife Jazz Charton made good on their Emmys pact, recently welcoming their third child, according to the former’s “Succession” co-star.
Oscar and Emmy winner Culkin’s on-screen sister Sarah Snook, also an Emmy-winning actor, announced the arrival of the couple’s newest child while speaking to Access Hollywood on Monday. “I met the little baby, it’s so cute,” she said during the premiere of Peacock’s “All Her Fault.”
“They’re very happy and so cute,” she added.
A representative for Culkin did not immediately respond to a request for confirmation. Charton, a contributor for the Financial Times, has not yet publicly addressed the arrival of their littlest one.
“A Real Pain” star Culkin, younger brother of “Home Alone” star Macaulay Culkin, tied the knot with Charton in 2013. They share two children, Kinsey Sioux and Wilder Wolf, and lovingly teased a plan to grow their family during the 75th Emmy Awards in January 2024.
Culkin, 43, famously used part of his acceptance speech for the lead actor prize to remind Charton, 37, of the deal they had struck prior to the ceremony. As he acknowledged his wife and children, Culkin declared, “I want more.”
Charton confirmed that baby No. 3 was on the way in late September, sharing a cheeky Instagram post that also tapped into her well-documented fan love for “Matrix” star Keanu Reeves. “Saw Keanu Reeves on broadway and now I’m 9 months pregnant,” she captioned her post, which featured photos of her baby bump, “This is very on brand for me.”
She revealed she was expecting amid the debut of Reeves and longtime “Bill & Ted” collaborator Alex Winter’s production of “Waiting for Godot.” She quipped in her caption that she had “made a deal with this baby to let me make it to this [show] before labor, not sure what it wants in return but I’m CLEARLY a woman of my word.”
Snook, the first to break the couple’s baby news, has remained close to her “Succession” co-star since the hit HBO drama concluded two years ago. Culkin and Snook respectively starred as Roman and Shiv Roy, two of numerous potential — ahem — successors to media mogul Logan Roy (Brian Cox). “Succession” aired from 2018 to 2023 and won a total of 19 Primetime Emmy Awards, including acting prizes for Culkin, Snook and co-stars Jeremy Strong and Matthew Macfadyen.
With the arrival of Culkin and Charton’s third child, it’s clear that the “Succession” legacy now extends past powerhouse performances, viral memes and memorable lines. Anyone got a ludicrously capacious baby bag?
The NI squad she has returned to is markedly different to the one she was last included in a year and a half ago, given the influx of younger players.
That was necessitated by the retirements of Marissa Callaghan, Rachel Furness and Rachel Dugdale.
The only centurion in the current panel, McFadden knew her biggest selling point for getting back into the squad at this later stage of her career was the experience she has, and she hopes to pass on wisdom gained from over 20 years of playing to the younger generation.
“That is what I was saying when I was pleading my case to Tanya. I’ve always got that [experience], even if I’m not fit, I will always do the best for Northern Ireland and our group,” she added.
“I hope I’ve helped them this week, especially Abi Sweetlove. She’s at the start of her career, she’s unbelievable centre-half, she’s the future and hopefully I’ll be able to help her along because I have done it many a time and someone helped me along, so I want to help them.”
So, up next for McFadden and NI is building on a positive second-half display in Ballymena as they go to Reykjavik on Tuesday aiming to overturn the two-goal deficit.
The odds are against Oxtoby’s side given they failed to have a shot on target in the first leg, but McFadden still thinks they have an opportunity if they go there confident.
“We need a little bit more belief. We were able to get in their final third a bit more second half and with the belief, we have a chance.
“If we score early, they’re the big fish with the pressure on and hopefully we get a performance again.”
A HOST a A-listers were spotted leaving Kim Kardashian’s surprise 45th birthday party in London last night.
Model Kate Moss, Wedding Crashers actress Isla Fisher and singer FKA Twigs looked all partied out as they left the chic soiree.
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Kate Moss looked all partied out as she left Kim Kardashian’s 45thi birthday bashCredit: GoffKim was seen rocking a barely-there frock as she braved rainy London last nightCredit: SplashThe US star also slipped into a second cream sheer corset for the eveningCredit: SplashModel Kate was seen leaving the swanky eventCredit: Splash
The party was held at Kim’s close friend and photographer Mert Alas’ swanky London home.
Kim put on a showstopping look in not one but TWO sexy mini dresses.
She was seen rocking a cut-out frock with her chest barely covered by a some loose material, while her black underwear was on show.
The KUWTK star was surrounded by her entourage and a member of her team who shielded her with an umbrella as she braved rainy London on Wednesday.
All’s Fair, which premieres on Hulu on November 4, follows a team of successful female divorce attorneys who start their own practice in Los Angeles, California.
Kim leads the cast in her second scripted series ever, following her acting debut in American Horror Story: Delicate in 2023.
FKA Twigs went all out in a faux fur jacket and satin trousersCredit: SplashMomager Kris Jenner also rocked the all-black and satin themeCredit: SplashKate was seen leaving the home of Kim’s best pal and photographer Mert AlasCredit: SplashSarah Paulson looked chic in a blazer and satin trousersCredit: SplashKate opted for a mini dress and satin coatCredit: SplashIsla Fisher was spotted wearing blue denim jeans and an orange t-shirtCredit: Splash
SHE was famously axed from one of the country’s biggest soaps after joining OnlyFans – and within weeks was among its top creators, earning hundreds of thousands from her racy snaps.
But Sarah Jayne Dunn‘s X-rated spark has fizzled out, according to pals who say the former Hollyoaks star – who faced accusations she was promoting “pornography” last week – has been left out in the cold. Now, The Sun can reveal things have gone from bad to worse.
Sarah was famously axed from one of the country’s biggest soaps HollyoaksCredit: SplashSarah has been ostracised from the showbiz world sinceCredit: Not known, clear with picture deskThe actress, pictured at the National Television Awards in 2020, before she was dropped from HollyoaksCredit: Getty
An insider told us: “There was a lot of fanfare when Sarah left the soap, and she made a big thing about why it was important to be on OnlyFans.
“It might look plain sailing, but it’s a real slog and actually very isolating. She knows people look at her at the school gates, and you only have to look online to see people’s disgust about what she does.”
Fans pay just over £11 per month to see Sarah strip off, and her posts have been liked more than 455,000 times since she joined the site four years ago this month. Her subscription numbers are no longer visible to fans.
But as the months have worn on, Sarah has had to deal with lewd, vulgar and creepy comments from her desperate subscribers, who constantly plead with her to flash more flesh.
In the last two weeks alone, her OnlyFans snaps have been littered with explicit remarks, piling on the pressure for even racier content – raising questions about what Sarah’s future on the site will look like.
Our insider continued: “Subscribers have naturally gone down, so Sarah has been working hard to produce more and more racy content. It’s a bit of a rabbit hole once you get started, and those who are still close to her are worried about how far it will go.
“Her son is getting older now, and it can’t be easy for him seeing her pictures and the headlines.”
Sarah has a nine-year-old son, Stanley, with her personal trainer husband, Jonathan Smith.
While she has previously shared a picture of Stan taking over her £20k pole-dancing room, which she had built in her garden, to play his video games, the ex-Oaks star tries to be careful around the youngster when it comes to her day job – because he is becoming “really inquisitive”.
She said last month: “He’s getting to that age where he’s really inquisitive about everything.
“I was sat in the bedroom the other morning doing my make-up, and he comes into the bedroom and goes, ‘Mum, what is p***y?’ I was racking my brain, going, ‘Oh my God, what has he seen?’ I’ve got this book next to my make-up mirror called P***y.”
Sarah – who played Hollyoaks’ Mandy Richardson from 1996 to 2021 – has made no secret of wanting to maintain her wealth and has recently trained as a pole dancing teacher to boost her income.
It was the latest blow for the star who has struggled to land TV work and has lost two of her closest friends in her bid to become a top content creator.
Showbiz bust-up
We can reveal she is no longer speaking to Stephanie Waring, who played her onscreen sister, following her fallout with glamour model Rhian Sugden.
The former soap star has a £20k pole-dancing room in her gardenCredit: InstagramSarah has a nine-year-old son StanleyCredit: InstagramShe shares her son with her personal trainer husband, Jonathan SmithCredit: Instagram
Raised eyebrows over her lifestyle choice is not something new for Sarah, who recently admitted she has constantly faced accusations she is baring all on OnlyFans.
She recently said: “Whenever I get stick, it’s because of people going, ‘Well, you’re getting your fl**s out,’ and I’m like, ‘I’m actually not, thank you very much.’
“People just associate the platform with porn. That’s fine, because the platform does have that content, but it doesn’t mean everyone on there is doing that.”
Hollyoaks bosses clearly had a similar view, and we can reveal that since joining OnlyFans, Sarah has had a bust-up with her former co-star Stephanie Waring.
An insider told us: “Sarah and Steph were always very close, but when Sarah started posting online, things between them started to change.
“They have barely spoken since, and Sarah definitely didn’t rush to support her when she was axed from the show last year.
“They don’t even follow each other anymore. It’s very sad it’s come to this.”
Steph has previously said she wouldn’t dream of using her body to make money – unlike Sarah.
Sarah is convinced Steph is one of the people who grassed her up to Hollyoaks bosses
An Insider
She told the Secure The Insecure podcast: “I don’t think I could ever sexualise myself in that way.
“I’m nearly 50 and I just don’t think that’s my angle… never say never, though. People change all the time.”
One of Sarah’s post-Hollyoaks ventures saw her co-host podcast Hot and Bothered alongside Page 3 legend Rhian Sugden, in which the pair discussed everything from sex toys to fetishes.
We can reveal Sarah is no longer pals with Stephanie Waring – who played her sister on HollyoaksCredit: GettyShe has also fallen out with Rhian Sugden after launching a podcast togetherCredit: David Cummings – Commissioned by The Sun
Sarah and Rhian even took part in a joint lingerie-clad photoshoot to promote their sex podcast – but the pair have since fallen out.
Rhian claimed she had been dropped from the joint podcast, despite reportedly investing thousands in it, and the pair are no longer thought to be on speaking terms.
In 2023, a friend close to the pair said: “Rhian reached out to Sarah after the whole Hollyoaks sacking drama, and she became a real source of support for her.
“They went in on the podcast together and had loads of fun making it – and had loads of listeners.
“It came as a real shock to everyone when Sarah just cut her out. There’s been no contact since, and it’s all very sad.”
Last weekend, she made it clear to her OnlyFans followers how much she wants to land a spot on her dream show – Strictly.
She posted a picture wearing a see-through red bra with sequins, with her nipples clearly visible, and asked her followers: “Who’d like to see me on Strictly?!”
Sarah received just one response. The follower wrote: “People would [black love heart emoji] to see you on Strictly!”
The star also has her heart set on appearing in I’m A Celebrity, which is filmed in the Australian jungle.
A source told us: “Sarah has made no secret of the fact she would love to head into the jungle, or on the Strictly ballroom, but neither shows have come calling yet.
“They are dream paydays for most out-of-work actors and content creators, and she is desperate to appear on one.”
Another pal close to Sarah insisted: “Sarah is under no pressure around her OnlyFans work, she is able to be fully in control of her life, work as and when she wants, and it’s afforded her numerous wonderful opportunities.
“With regards to any mention of a fall out with friends, there is certainly no falling out from Sarah’s side, so this is news to her. Sarah is a huge fan of Strictly Come Dancing, so naturally would love to be on the show!”
It doesn’t look like BBC bosses will be calling her to swap pole dancing for the ballroom just yet, so for now, Sarah may have to stick to the sexy snaps.
Followers pay just over £11 per month to see Sarah strip off on OnlyFansCredit: Sarah Jayne DunnSarah played Mandy Richardson on Hollyoaks from 1996 to 2021Credit: Channel 4
One of the first things Sarah Paulson’s character does in the new trailer for “All’s Fair” is call Kim Kardashian’s character a vulgar slang term for female genitalia. One of the last things she does is call her a “whore lawyer.”
Hulu released the latest look at its upcoming legal drama Tuesday and it appears that, much like contentious divorces, the show will get vicious and personal.
Created by Ryan Murphy, “All’s Fair” will follow a group of female divorce attorneys who leave a male-dominated law firm to start their own practice. According to the synopsis, these “fierce, brilliant, and emotionally complicated” women will “navigate high-stakes breakups, scandalous secrets, and shifting allegiances.”
The trailer shows several women — including those portrayed by Brooke Shields, Elizabeth Berkley and Judith Light — seeking the services of “the best divorce lawyers in town.” Most of the men in the clip, meanwhile, seem to represent the most unsavory examples of their gender.
In addition to Paulson and Kardashian, the show’s all-star cast also includes Naomi Watts, Niecy Nash-Betts, Teyana Taylor, Matthew Noszka and Glenn Close.
“All’s Fair” will mark Kardashian’s second scripted television project since her role in “American Horror Story: Delicate.” While the reality TV star and businesswoman will be playing a fictional attorney in the show, she has also studied to be one in real life. Earlier this year, Kardashian celebrated completing her legal studies with a single-student graduation party.
Instead of attending a traditional law school, Kardashian apprenticed with attorneys for six years under California’s Law Office Study Program. She passed the Multistate Professional Responsibility Exam, commonly known as the “baby bar,” in 2021. That doesn’t mean you can retain Kardashian as an attorney, however. She has yet to pass the state bar.
Kardashian’s most recent real-life legal tangos includes filing a lawsuit with her mother, Kris Jenner, against ex-boyfriend Ray J for defamation and false-light publicity.
Former Coronation Street star Sarah Lancashire ‘knew when to stop’ doing Happy Valley despite its major success, according to the show’s creator Sally Wainwright
19:42, 28 Sep 2025Updated 19:42, 28 Sep 2025
Sarah Lancashire ‘knew when to stop’ doing Happy Valley despite its major success, according to the show’s creator (Image: BBC/Lookout Point/Matt Squire)
Sarah Lancashire ‘knew when to stop’ doing Happy Valley despite its major success. The actress, 60, starred as Catherine Cawood in Sally Wainwright’s hit drama over the course of three series that were filmed over a decade, and even helped write its final episode, which pulled in almost 10 million viewers.
Despite the show’s incredible popularity, creator Sally, 62, insisted that a short run had always been agreed upon. She told The Sunday Times: “Sarah’s good at knowing when to stop and when to say no. There were a couple of things in the script that she wanted to question, and it was a good process.”
However, fans of the programme need not be disappointed as seasoned television writer Sally explained that she and Sarah, who won a BAFTA for her portrayal of policewoman Catherine, are already working on a new project together, insisting that they are ‘still friends’ and the character is ‘still there’ in their minds.
As well as Happy Valley, Sally is also the creator of several other hit series such as Last Tango in Halifax and Gentleman Jack. She started out writing episodes of radio soap The Archers before going on to work on Coronation Street, which turned Sarah into a household name when she was cast as barmaid Raquel Wolstenhume, in the late 1990s.
Following the advice of late TV writer Kay Mellor, she went on to create At Home With The Braithwaites, which starred Amanda Redman as a woman who had won the lottery but tried to keep it all a secret from her dysfunctional family. Reflecting on those early days of her career writing episodes of the long-running ITV soap, Sally admitted that she worked with some ‘fabulously clever’ people at the time.
She said: “The Coronation Street storyline meetings were amazing. There were some fabulously clever story-makers. Dialogue comes easily, characters come easily, but story is relentlessly hard. I have to just really bash it out. With Happy Valley, I do pride myself on the last episode being just as good as the first episode.”
The scriptwriter previously admitted that she got ‘bored’ of writing for the soaps because of how all the stories had become so similar, and acknowledged that viewing habits have changed dramatically in recent years as streaming services have become the norm.
“I think one of the reasons I got bored of the soaps (is that) all the stories got a bit samey,” she admitted. Referencing the amount of choice TV viewers now have, Sally added: “There is so much content, it is increasingly easy for people to turn over.”
She explained: “You’ve got to be captivating your audience moment by moment… its seems increasingly important.” Discussing her time on Corrie, Sally revealed that she did not initially have the ‘confidence’ to contribute to storylines at Coronation Street.
Sally said she was ‘in awe’ of everyone who worked in the writer’s room when she joined, which had two women within its 15-writer team at the time. Wainwright recalled that it was a time when writers would go to the pub at lunch which she said would mean the afternoon could be a ‘bloodbath’
She added: “It wasn’t a nasty atmosphere, it was very lively and often fun.” Wainwright revealed that writing is how she can ‘make sense of the wppr;d’. In a discussion with broadcaster Adrian Chiles, she reflected on how she began writing as a child with her sister creating strip cartoons and plays.
“It’s just a childhood habit that has continued,” Sally explained. “I make sense of the world by writing about it. I also love the idea of writing dialogue, creating characters, I love the idea of making people say things, I love the actors and love the whole process of drama.”
This Morning’s Tom Swarbrick didn’t hold back when discussing the royals on the ITV daytime show, saying that many of them should ‘get a job’ and stop ‘hanging on’
A friend of Sarah Ferguson, Duchess of York, has spoken out after Prince Andrew’s former wife came under fire following an email she wrote to Jeffrey Epstein being leaked
Sarah McLachlan’s singing voice is one of the wonders of the pop music world.
It has alternately belted out and whispered hit songs (“Adia,” “Building a Mystery”) as well as the most devastating Disney song of all time (Randy Newman’s “When She Loved Me” from “Toy Story 2”) and is a pristine musical instrument. It can elegantly vault octaves, scoop notes without a croaky glottal fry and crack words into multi-note, velvety yodels. It can be breathy and ethereal or a searing flamethrower — and she transforms into an angelic chorus of one when she tracks layers of her own harmonies.
So it was downright terrifying when McLachlan almost lost this voice last November, when a viral infection silenced it while she was preparing for the Canadian leg of her “Fumbling Towards Ecstasy” anniversary tour. She had already finished recording the vocals for her new album, “Better Broken” — out Friday — and she was uncharacteristically proud of the results.
“It was this whole last winter of, like, ‘OK, I love this record so much, and I might not be able to sing it,’” says McLachlan, 57. “I might never be able to sing like that again.”
“Better Broken” is McLachlan’s first record of new songs in 11 years. She’s spent the past decade, not in exile, but just living a normal life in West Vancouver, raising her two daughters; India is 23, Taja is 18. “I was a very busy parent,” she says. “My little one is a big dancer, so I was full-on dance mom.”
Sitting casually in an office space in Century City, the veteran songstress had just dropped her youngest at college 24 hours earlier. (“I’m still OK,” she insists. “When I have to fly home, I’m gonna be a mess — but right now I’m good.”)
The two girls are “wildly different, they’re night and day,” McLachlan says. Both sing with her on a fiery feminist anthem, “One in a Long Line,” on the new record. “They’re both beautiful and strong and fierce in their own ways, and I’m still amazed that they came out as well as they did. I tried so hard to be the opposite of my mother. And it turns out I was a lot like her in so many ways, in the end.”
She has also been busy as a maternal figure (and until recently, principal fundraiser) for the Sarah McLachlan School of Music, a free after-school program with three locations in Canada. She launched the foundation that begat her school in 2002 with some of the funds she earned from Lilith Fair — the all-female music festival, also her brainchild — as a way to keep the spirit of that phenomenon going.
McLachlan had already donated much of the profits of Lilith Fair to women’s charities, and “I wanted that energy to be transferred to something,” she says, “and to be able to create that same kind of safe space where everybody has a voice, everybody is seen, heard and valued, and they all have agency in what they’re doing and how they’re creating.”
A new Hulu documentary, “Lilith Fair: Building a Mystery,” will premiere Sept. 21. McLachlan was interviewed alongside Sheryl Crow, Jewel, Natalie Merchant and many others who were involved or inspired by the late ’90s movement — which was somewhat rebuked in the early 2000s by a wave of plasticky, image-based corporate pop, but which more or less prophesied our current musical moment dominated by soul-baring women singer-songwriters.
McLachlan is an admitted Swiftie (“Folklore” and “Evermore” are her favorites), and it’s impossible not to see her own influence on the likes of Swift, Brandi Carlile, Olivia Rodrigo and Billie Eilish. When I interviewed Eilish about her song “What Was I Made For” in 2023, I suggested that her gossamer vocals reminded me of McLachlan’s.
“I love, love, love Sarah McLachlan,” Eilish said, beaming. “I always have.”
So, plenty of talented acolytes filled the void McLachlan left during her lengthy hiatus, and “it was really an easy shift for me to step out of the limelight,” she admits. “I’ve never liked being famous.”
Sarah McLaughlin.
(Allen J. Schaben / Los Angeles Times)
Growing up in Nova Scotia, the third child (all adopted) of an unhappy marriage, McLachlan found her voice and her confidence in music. Her mother was a voice of discouragement and defeatism, and McLachlan feels she was “raised by wolves”: “I left the house at 9 a.m. and didn’t come home until I absolutely had to, and I was on my own. I had to pick myself up and figure out how to soothe myself — and thank god for music, because that was the thing that got me through. Music was my mother, really.”
Throughout her childhood, she formally studied piano and guitar and had years of classical voice training. But “honestly, I just faked it,” she says of the voice lessons. “I could pretend to sing opera. I can mimic anything.” She didn’t much care for classical vocal music, but her golden voice won her a record contract at 19, which took her out to Vancouver. During those early album sessions, where she was also learning how to write songs, she kept blowing out her voice “because I didn’t really know how to control it.”
She contacted a local singing coach, who told McLachlan to run around the block as fast as she could. “I came back panting, and she goes, ‘Lie on the floor. Now breathe for me. Do you recognize that feeling? That’s your diaphragm actually working. Now sing me something with that feeling in mind.’”
Initially, McLachlan styled her singing after Kate Bush and Peter Gabriel, which most reviews of her debut album (1988’s “Touch”) pointed out. With her sophomore album, “Solace,” she “purposely made a concerted effort to move away from that,” McLachlan says, “because I wanted to know what I sounded like.”
She gives credit to her longtime Canadian producer, Pierre Marchand, “who was instrumental in creating that foundation for me. Because at the beginning of the second record, he’s like, ‘I know you can do all that flowery stuff. I want to hear what you sound like. I want you to sing low.’ So he forced me to sing way lower than I normally do, and that’s kind of where my natural register came up.”
With Marchand, McLachlan climbed the charts of ’90s pop; “Aida” and “Angel” were top 10 mainstays, and the albums “Surfacing” (1997) and “Afterglow” (2003) both went platinum.
“Afterglow” — which featured such addictive bops as “World on Fire” and “Train Wreck” — was made right as she started her journey as a mother. “I tried to get as much of it done while I was pregnant,” she says, “knowing that life was going to completely change.” Nine months after giving birth and “starting to feel human again,” she returned to a studio in Los Feliz to finish it, while renting Dan Aykroyd’s house in the Hollywood Hills — “and punctuated by, you know, I have to go home and breastfeed.”
“Better Broken” is a bookend to that moment, coming out right as her children are emptying the nest. It, too, was made in Los Angeles — but this time without Marchand.
“I wanted to be put out of my comfort zone,” she says. “I wanted to be challenged. Pierre and I worked beautifully together, but we have our complacencies and our habits, and I wanted to be pushed out of that, and try something new. It’s like dating! I felt a little bit like I was cheating on him … but he gave me his blessing.”
She turned to Tony Berg and Will Maclellan, two California-based producers who have shaped albums by Swift, Phoebe Bridgers, boygenius and other young stars.
“I went in with a ton of trepidation,” she says, “and a ton of, not insecurity, but just like: Well, I think these are really good songs, but it’s been so long since I made a record…”
“Three days in, I’m like: Oh, this is going to be great.”
And she has discovered new parts of herself.
The years away from making new music and the experiences of life, both joyful and scarring, have refined her voice like a barrel-aged wine. The new songs are diary entries about an unpleasant breakup (“Wilderness”), loving a teenage daughter who is filled with rage (“Gravity”) and surrendering at the apocalypse (“If This is the End…”). Berg and company wrapped lo-fi textures, warm and wobbly, around McLachlan’s vocals (and piano, and guitar) in a way that simultaneously feels very much like 2025 and an old, unearthed vinyl.
The title track, which McLachlan started writing 13 years ago, is an instantly unforgettable melody; the chorus (“Let it be / all it is / small and still…”) has her incrementally climbing, climbing — then athletically pirouetting in midair on the line “and better left alone.”
She says she writes her songs through exploration, just playing piano and making sounds with her voice: “And because I have a relatively versatile instrument in my voice, I just try things and see where it goes. Melodies often appear with a couple of chord progressions, and that’s usually the start of things. It’s melody long before lyrics — you sort of say random things, and it’s about how vowels and consonants roll off your tongue.”
“I don’t know how to be any other way,” she adds. “I like to see what my voice can do and where it can go, and push it to the edges of pretty, and make it sound gruff and unpleasant and ‘how ugly can I make that with it still sounding kind of cool?’”
Leaving the limelight, getting broken and finding new love — and then almost losing her voice — Sarah McLachlan found new depths and heights in her priceless voice. It was worth the wait.
