Report: La Memorial For Russell Remedy Looking For Wednesday

La, Calif. -- A memorial service for Russell Remedy, the late estranged husband of Real Average women of Beverly Hillsides castmember Taylor Remedy, is placed to occur in La now, according to an alternative report. The services are scheduled to become held in the Chapel from the Hillsides at Forest Lawn Hollywood Hillsides on Wednesday, based on Radar Online. Russells body continues to be cremated and the remains are apparently being split between his family in Texas and the estranged wife, Taylor, based on the website. As formerly reported on AccessHollywood.com, Russell was discovered accurate Monday evening after carrying out suicide at age 47. Russell, a good investment banker, have been featured alongside Taylor on Bravos The Actual Average women of Beverly Hillsides as well as their relationship worries were recorded on the program. Taylor declared divorce from Russell recently. The pair tied the knot in 2005 and it has one daughter, Kennedy, 5. Bravo intends to re-edit the show within the wake of Russells dying. We haven't thought we would change our original premiere date but we're along the way of re-editing the show, stated network leader Frances Berwick. The 2nd season from the reality show is placed to premiere Sept. 5. Copyright 2011 by NBC Universal, Corporation. All privileges reserved.These components might not be released, broadcast, rewritten or redistributed.

West Memphis 3 Docu Directors Will Leave Film Intact For Toronto Film Festival Debut

While Paradise Lost documentary directors Joe Berlinger and Bruce Sinofsky told me last night they intended to change the ending of Paradise Lost 3: Purgatory to reflect today's stunning developments before they premiered the movie at next month's Toronto Film Festival, the filmmakers have instead decided to leave the film alone for Toronto and install a new ending for the New York Film Festival in October, or even for its January debut on HBO. The filmmakers rushed to Arkansas last night to film defendants Damien Echols, Jason Baldwin and Jessie Misskelley Jr. as they tasted freedom after 18 years. Berlinger and Sinofsky were nearly done with their third documentary on the case, which they feel was a tremendous travesty of justice that left Echols on death row and the other two serving life terms for the brutal murder of three 8-year old boys in 1993. Those convictions were made without any physical evidence. "We've made the decision to let the film play as is in Toronto," Berlinger just told me. "We worked on it for a long time and it didn't seem right to rush a new ending. We'll tack on one more scene that changes the ending from a question mark to a joyous triumphant moment, but we'll aim for the New York Film Festival or for HBO." Berlinger said he and his film making partner were elated by today's developments but disappointed the trio had to plead guilty with time served in order to get out of prison. "That the state of Arkansas did not have the courage to exonerate them and admit they made a mistake was shameful," Berlinger said. "These guys still have murder convictions hanging over their heads, and that will be there for the rest of their lives. And at the Arkansas press conference, they maintained these guys were guilty, and washed their hands of accountability. The real killers are still out there. It was a cover your ass deal to make sure there would be no lawsuit for a wrongful conviction. Damien was on death row for 17 years, hasn't seen sunlight in the last 7 or 8 years and was by all reports terribly treated. To not be able to seek compensation is just wrong. But we're about to go to a party for them in the penthouse of a hotel, and it is quite surreal." Berlinger said that while he was in the courtroom today, he brought in a small camera he wanted to turn on at the end of the hearing. "There was a pool feed but no cameras allowed but I anticipated there would be big applause and wanted to capture it at the end," Berlinger said. "I was grabbed by a sheriff's deputy, pulled out of the courtroom, made to stay in a corner flanked by two sheriff deputies. Everybody exited to go to the press conference while I had to wait to explain myself to a judge. I thought it might be the ultimate irony that after all these years, Damien and the other two would be free men while I would be forced to spend the night in an Arkansas jail. I was able to persuade the judge that I hadn't violated the court order and I was finally let go."

'Hysteria' Trailer Has Maggie Gyllenhaal, Vibes

We have always were built with a soft place for Maggie Gyllenhaal, since her co-starring turn opposite brother Mike in 'Donnie Darko,' through 'Secretary' (ahh, yes, 'Secretary'), through 'SherryBaby' and, obviously, 'Crazy Heart.' Her next film is Tanya Wexler's 'Hysteria,' an english romantic comedy concerning the invention from the vibrator in Victorian England which will unspool in the approaching Toronto Worldwide Film Festival. Gyllenhaal stars opposite Hugh Dancy, Jonathan Pryce, Rupert Everett, Ashley Jensen, Sheridan Cruz, Gemma Johnson, Felicity Johnson and Anna Chancellor. You should check out the brand new trailer affect the jump, however let us have a look in the word "hysteria." "Hysteria" is definitely an unmanageable episode of emotion or fear, frequently indicated by irrationality, laughter, weeping, etc. Its etymology: It had been initially understood to be a neurotic condition peculiar to ladies and regarded as triggered with a disorder from the uterus. Through the 1800s, hysteria found be understood to be a far more generalized sexual disorder that may be treated by rubbing the patient's genitalia through the physician and, later, by vibes or water oral sprays to result in orgasm. Now -- following the official synopsis -- you are ready for the clip. Maggie Gyllenhaal and Hugh Dancy star within this cheeky romantic comedy concerning the invention from the vibrator. Victorian London is introduced to existence in vivid colour like a youthful physician (Dancy) struggles to determine themself while facing the gutsy daughter of his boss (Gyllenhaal). Rupert Everett and Felicity Johnson play supporting roles.

Deadline Advisory: Email Alert UPDATE

FRIDAY UPDATE: Tech staff say they have found and reduced the problem. Interesting persistence. THURSDAY: Sometimes our email alert system works easily. It sometimes does not send anything whatsoever. And often it transmits exponentially increase alerts at any given time. Like now. Please realize that our tech department is focusing on the issue. Meanwhile we apologize for that inconvenience.

Emmys 2011: Comedy Actress Nominees Recall Their Favorite Funny Moments

Not to take away from the demands of working in series TV, but after talking to seven of this season's nominated comedy actresses, we say they all have it pretty damn good. And why shouldn't they? Among this throng are two Broadway veterans (Edie Falco, Martha Plimpton), a movie star in the making (Melissa McCarthy), dueling co-stars (Julie Bowen, Sofia Vergara), a 2010 winner hoping for a repeat (Jane Lynch) and a legend so beloved that giving her another Emmy seems too understated a gesture to show her how we really feel (Betty White, of course). Here, these very different women offer candid insight into how a simple flub of a line can elicit a tidal wave of laughs, why it's a wonderful thing to work on a show where it's customary to lick the showrunner's face and how really, truly, some actresses (OK, at least one) are happy just to be nominated. our editor recommendsAwards Watch: Emmy Roundtable -- Comedy ActressesAwards Watch: Emmy Roundtable -- Comedy Showrunners Edie Falco Nurse Jackie (Showtime) "It wasn't actually a funny line in the script that got me; it was one of those hours of the day when all the stars align for a perfect, hilarious moment. Me and Stephen Wallem, who plays Thor the nurse, and Paul Schulze, who plays Eddie the pharmacist, were doing a little kind-of-nothing scene. Stephen messes up one line, and it was absolutely intoxicating, can't-stop-laughing funny -- not to mention incredibly unprofessional because we were holding everything up. It was just a stupid, immature little bungling of words! It was long past the point where the crew was laughing, but it didn't matter. We were a bunch of grown-ups finding a moment funny and simply could not stop. You really, really do want to stop, but it's out of your control at that point. We'd really try to pull ourselves together, but it just wasn't going to happen. We laugh our heads off. For that reason alone, I am the happiest person in the world to have this job." Betty White Hot in Cleveland (TV land) "We all love each other so much, so we're constantly positioned to crack up. We try not to make eye contact any more than we have to because once our eyes lock, it's over. There was one scene where we were sitting around the table in the kitchen, and Valerie accidentally says some sort of tongue-twister. We had to close down -- we literally had to stop filming. We had to start all over again because we were all a mess. There are so many lines to learn, and sometimes, all of a sudden, you realize it's going to be your line coming up -- and for the life of you, you can't remember it. That happens a lot. When you get your cue, usually the line pops out. But then, every once in a while, you get there and it isn't there. And you just have to stare at each other. That's when we lose it because you can read somebody's eyes and know that they're in trouble. But I'd say the toughest moment to get through without cracking was when Carl Reiner and Tim Conway were on the show. They were 'fighting' over my character and had a fistfight. It was easily the silliest fistfight you ever saw in your life. Trying to get through that and play it straight, that was the toughest moment of all." Julie Bowen Modern Family (AbC) "The 'wedge salad' episode was a particular favorite of mine, where Phil [Ty Burrell] and I are fighting, but he doesn't know what we're fighting about -- and I know we're actually fighting about the fact that he finally admits he likes wedge salad, and I've tried to get him to try it 1,000 times. I end up outside and having to crawl in through the doggie door. He sprays me with the fire extinguisher -- so pretty much a typical workday for me. I love physical comedy. I think the writers know I feel very comfortable being an idiot. There was another great episode where I go to the mall, a real mall in Topanga, with my dad [Ed O'Neill], and I get a back massage and essentially have a When Harry Met Sally ... ecstasy moment in the massage chair, like, 'Oh ... my ... God.' I'm there moaning in public. And Ed says to the crew, 'I think you've gotten what you need.' They're like, 'No, I got to get another shot.' But an episode we could not get through without laughing was one with Ty and me when his character says that to remember people's names, he uses mnemonic devices -- but Ty said 'nenemonic' instead, on purpose, over and over again. There is a 10-minute gag reel of us just lying on the ground laughing. He is so deeply funny. I'm very happy to be fake-married to him." Melissa McCarthy Mike & Molly (CBS) "The toughest thing for me is, I'd never done much multicamera work before Mike & Molly. In Bridesmaids, you're playing to one camera, which I just found natural coming from the theater because there was so much improv -- like a lot of the stuff in the movie on the airplane with the air marshal played by my husband, Ben [Falcone]. There's something to that first take. Another tough thing: On Mike & Molly, everyone comes down to watch the rehearsal: the writers, associate producers, network people. I was like: 'What is happening? Why are they watching a rehearsal?' I'm kind of an on-the-day girl -- I'll get it when there's an audience and the cameras are going. It's funny to be rehearsing something that will probably be tweaked and changed, yet there's a room full of people watching it. And everyone watching moves their chairs! If you go to the kitchen scene, they drag their chairs to the kitchen; if you go the bedroom, they drag their chairs to the bedroom. It's 175 people dragging chairs. It's a very awkward practice to get used to. It makes me feel like a laser's on my forehead, like someone's aiming at me." Martha Plimpton Raising Hope (Fox) "The funniest things that happen on the set usually involve Cloris [Leachman] and the things she does to drive everybody crazy: licking [show creator] Greg Garcia constantly, eating shaving cream and all manner of morale-boosting insanity. That's one of the things I love about the show. It's madcap and it's weird and it's kind of off, but it comes from a very sort of decent, guileless place. There is no cynicism in it. We were in our first season, so I don't think we were at the stage yet where we're bored enough to start needing coping mechanisms like practical jokes. None of those yet! I like working in TV because I am able to work in TV -- there is a lot of different stuff for women like me to do. I've never been a regular on a half-hour comedy before, so that presents its own set of learning experiences. It's an ensemble situation, and you are working with a solid, brilliant cast week after week, and you are developing a shorthand and a performance style with them and the writers. It's very similar to working in theater. Maybe it's the best of both, but I don't like to get too precious about it. That's definitely not funny." Jane Lynch Glee (Fox) "[Show co-creator] Ian Brennan and I really are of one mind. He's got this inner mean girl, and he brought her into Sue Sylvester. I have taken every extreme I have ever played the past 10 years -- Best in Show, The 40-Year-Old Virgin, Role Models -- and said, 'I am going to take all these people and push them to the limit in Sue Sylvester.' I have a mouthful to say, so I always have to have Matt [Morrison] look away from me so I can actually get the lines out. 'Don't even look at me!' I crack myself up all the time. Either I crack up or sometimes Matt will. I could see him really hoping that I would get it out this time, and it's like, 'I would rather act looking at the wall because I am working so hard to get this long, run-on sentence out of my mouth.' Personally, I love when Eric Stoltz directs. He did a scene between Jayma Mays and Matt, and I was supposed to enter and ruin this sweet little moment. They are both seeing other people, and there is so much unspoken, and Eric really slows that down. So it turned from a scene that was just a little uncomfortable for these two characters to a really emotionally devastating scene. It was wonderful to watch. And how am I going to handle my Emmy show-hosting roles, being nominated and maybe winning? Oh, with aplomb! If I forget my speech, I will have an excuse: I was too busy hosting." Sofia Vergara Modern Family (ABC) "There have been like four times that I've almost had a serious accident on the set. I have fallen down stairs. One time last season, I leaned on a column while I was talking with Ed [O'Neill], and I totally forgot where I was. I leaned on the column, and the column fell, and I fell over. Of course, we were all laughing. It wasn't when we were filming, but it helps the scene because everybody is in a good mood. I'm excited that at the Emmys, we are all going to be together. I don't think we are doing any of this individually. If anyone wins, we all win. We really are like a family. I don't know that much about awards. I never had thought about the Emmys until last year. You know, I never thought I was going to be nominated. I already feel like I won just being able to attend!" -- Additional reporting by Tim Appelo and Sarah Ewald Related Topics Emmy Awards Glee Betty White Edie Falco Jane Lynch Julie Bowen Martha Plimpton Modern Family Mike and Molly Nurse Jackie Raising Hope Hot in Cleveland Emmys 2011

'Rise Of The Planet Of The Apes': Rooting For The Other Guys

"Rise of the Planet of the Apes" is one of those movies that, unless you've been oblivious to major nerd pop culture over the past 40 years, you walk into the theaters with a good idea of what to expect. Spoiler alert: the apes rise, and they do so in glorious fashion. Though as we're sitting in the cinema cheering on what has got to be some of the most epic troop-rallying that we've seen in recent years, there's a certain level of unease that is attached to it. After all, by cheering on the apes, we're cheering on the demise of mankind. It seems to be an interesting moral question that has been popping up in films a lot more frequently -- one that Tom Felton wants to you to think about -- and it isn't the first time a movie has put us in this predicament. After the jump, we look at some other movies that make you choose between your species and the other guys. "Avatar" It's interesting that in "Avatar," the highest grossing movie of all time, the film's main character ends up deciding not to be human in order to join a cause that he believes in. There aren't many shades of grey in James Cameron's latest blockbuster: the Na'vi are good folk who just want to appreciate nature, and the humans are money-hungry evildoers. It helps at least that the humans only get kicked off Pandora, and aren't brutally murdered like they somewhat deserved to be. "District 9" If "Avatar" lightly put the moral dilemma on the moviegoers' plate, then "District 9" forced them at gunpoint to eat it up. Never have I walked out of a movie theater praying so much for a sequel, specifically so Christopher could come back with his fellow "prawns" and kick humanity's collective butt. The fact that "District 9" reflects real-life struggles occurring in South Africa only made the issues raised in the movie that much more poignant and relevant. "King Kong" 'Twas beauty killed the beast, folks, but more specifically it was those darn humans who just wouldn't understand. After all, King Kong didn't want to hurt anyone, he just wanted the love of a certain actress who her fellow humans offered to him as a sacrifice. Though Kong doesn't survive through the end of the film, we certainly end up empathizing with him more than the flick's human characters. Check out five "Rise of the Planet of the Apes" Easter Eggs! What do you think of this moral dilemma that these films have presented to audiences? Tell us in the comments section below or on Twitter!

VIDEO: Simon Pegg, Andy Serkis, and Isla Fisher in Clips from John Landis's Burke and Hare

After taking a 13-year sabbatical from feature directing, comedy legend John Landis is back with the black comedy Burke and Hare, which stars Simon Pegg and Andy Serkis (sans CG, looking like himself!) as notorious 19th century criminals William Burke (Pegg) and William Hare (Serkis), who committed a series of murders in order to sell their victims’ bodies to science. Watch three new clips from the September release and decide: Is Landis back in fine comic form? Burke and Hare is based on the true story of Irish murderers William Burke and William Hare, who were found responsible for an infamous string of killings in Edinburgh, Scotland in 1827 and 1828. Their 17 victims were sold to Dr. Robert Knox, a local lecturer, for dissection. Landis’s black comedy also stars Isla Fisher as Burke’s paramour, Jessica Hynes as Hare’s wife, and Tom Wilkinson as Knox; Christopher Lee, Tim Curry, Stephen Merchant and more also appear. Get a taste of Burke and Hare in four newly released clips from the film, which is currently available online at SundanceNow.com and on VOD. Burke and Hare hits theaters stateside on September 9 (it opened in the U.K. last year and currently sits at 31 percent at Rotten Tomatoes). Clip 2: Burke and Hare sell their first cadaver to Dr. Knox, who promises to buy more “unfortunates” from them at five pounds a pop: Clip 3: Burke and Hare go grave robbing: Clip 4: Former prostitute Helen MacDougal (Isla Fisher) plots to stage an all-female production of Macbeth with her fellow ex-hookers: Clip 6: Burke and Hare encounter a stranger in a darkened alley: Now, about those reviews. Coming out of its 2010 overseas release, Burke and Hare didn’t fare so well with critics, some of whom called it “unpleasant,” “off the mark,” and “excruciating,” which is sad news for Landis diehards. The director of such comedy classics as Animal House, The Blues Brothers, and Coming to America had a rough decade’s worth of films in the ’90s, culminating in 1998’s direct-to-video feature Susan’s Plan, and Burke and Hare doesn’t feel like a bona fide comeback coup. Still, the film features a deep cast of watchable performers and sees Landis return to U.K. soil 30 years after filming An American Werewolf in London, which is probably just intriguing enough to bring in curious Landis fans.

First glimpse of Kutcher in 'Men'

Warner Bros. TV has released the first glimpse of Ashton Kutcher in action on "Two and a Half Men" following Friday's taping of the season premiere seg. Kutcher is stepping in after Charlie Sheen's messy exit from the show after eight seasons earlier this year. The new model "Men" bows Sept. 19 on CBS. Contact Variety Staff at news@variety.com

Faithfull wrestled popstar demons

Marianne Faithfull managed to navigate through the perils of addiction and live a life in the spotlight of the music biz, which claimed fellow thrush Amy Winehouse at the age of 27 last month. Faithfull WinehouseIn the crush of reporting on the premature death of Amy Winehouse, much was made (probably too much) of her inclusion in the "27 Club," that exclusive eternal nitery where music stars Jimi Hendrix, Jim Morrison, Janis Joplin, Brian Jones, Kurt Cobain and now Winehouse all found themselves, age 27, famous and dead.But the club doesn't claim all likely members. Winehouse was born two decades after legendary singer-songwriter Marianne Faithfull had already begun her own season in Hell, which, like Winehouse, started in early pop music stardom and culminated in full-blown life-threatening drug addiction. Faithfull was knocking on the door of the "27 Club" when she was that age. Winehouse is gone before seeing her 30th birthday, but Faithfull is poised to celebrate her 65th, in the midst of touring the world and on the heels of making one of her finest records, "Horses and High Heels."Comedian Russell Brand recently all but blamed the Fourth Estate for Winehouse's demise, noting, "Our media is more interested in tragedy than talent, so the ink began to defect from praising her gift to chronicling her downfall; ephemeral tittle-tattle replaced her timeless talent."Faithfull, speaking on the phone from Paris on a break before her fall European tour, doesn't disagree with Brand, but her emphasis isn't on the big bad press, but rather the big bad biz."I haven't really spoken about it, but I do have strong feelings about her loss," Faithfull says. "She was an amazing talent. But the music business is a loathesome thing. I don't mean to be too tough about it, but it's true. For anyone creative or sensitive, it can kill. It happened to Cobain and to Elvis, and it happens over and over again."Faithfull is as meticulous and unsparing in her dissection of the pitfalls of stardom as she is in her devastating chronicles that comprise her body of work, whether it be the albums dating back to her 1979 comeback breakthrough, "Broken English," or her starkly honest autobiography, "Faithfull," first published in 1994.In the singer's view, it's not simply an individual's vices that bring down major talents before their time; there's also something inherently difficult in a life lived in the spotlight. "Drugs and alcohol kill, and everyone knows it. People did try to help, as they always do," says Faithfull ruefully of Winehouse.Faithfull herself had fallen prey to drugs to the point, decades ago, when she was living on the streets of London's Soho district, surviving on handouts.In Faithfull's view, Winehouse hated being famous. "That's what people can't bear. Fame is incredibly upsetting." Faithfull's take on the travails of show business ring with truth not just because of her personal journey, but also that voice, which exudes some miraculous mixture of both pain and the persistence to endure it, no matter the cost. As her musical collaborator on "Horses," Doug Pettibone says of Faithfull, "She could read a restaurant menu and make you cry."Some key points in Faithfull's bio provide a vivid illustration of not only the forces that can overwhelm an artist in any medium, but also the special demons lurking around every corner of pop stardom:n Faithfull was a beautiful teenage pop star whose "As Tears Go By" (penned by Richards and fellow Stone Mick Jagger) was an international hit. "I was very pretty," she recalled in one interview, "and that was a big part of the problem."n She was on newspaper and magazine front pages around the world as the longtime girlfriend of Jagger. As she told one interviewer: "My first move was to get a Rolling Stone as a boyfriend. I slept with three and decided the lead singer was the best bet."n A few years later, Faithfull was a heroin addict, hitting one of her personal lows when she became homeless in Soho. n Her rebirth began in 1979 when she had moved beyond addiction to achieve one of her artistic highlights, the acclaimed and gritty "Broken English."Even a cursory listen to her magnificent new work, lovingly produced by longtime Faithfull studio whiz Hal Willner, offers insights into those more positive aspects of her showbusiness work, the ones that seem to have won out over the darkness she's unstintingly chronicled in three decades since "Broken English."In its eight cover tracks -- Willner and Faithfull's careful curation of '70s gems and underheard nuggets such as Brit folk-rocker Jackie Lomax's "No Reason," Lesley Duncan's "Love Song" and Goffin-King's delicate "Goin' Back" -- Faithfull celebrates the healing power of love and hope and friendship. The singer says the album fully expresses her current, hard-won peace with the world. "Oh god, I've really adapted to my lot. I really do enjoy performing, making records and writing. Probably performing most of all."To tap into that self-awareness, Faithfull has branched out beyond music, carving out a nice career as a solid character actress in European films, including a startling star turn in the very naughty but heartfelt, "Irina Palm" as a granny determined to raise money to save her ill grandson's life, even if that means sexually pleasuring anonymous customers. Faithfull laughs and says of that very indie film, "The English couldn't get over it. They tend to like things that aren't as straightforward -- you know, period films and local films like 'Calendar Girls.'?" She's also co-starring with Jonathan Rhys Meyers in a film adaptation of Albert Cohen's celebrated 1960s novel "Belle du Seigneur."If anything distinguishes the 2011 version of the famed chanteuse, it's Faithfull's ebullient, but worldly mood, captured dramatically in her "Horses" co-composition, "Eternity," which samples the eerie and evocative Moroccan musicians recorded in the field in 1968 by the late Brian Jones on the album "The Pipes of Pan at Joujouka."On the terrific electronic press kit that colorfully recounts the making of "Horses" in New Orleans, Pettibone, who co-authored "Eternity," chuckles about the irony of their collaboration, which he cites as "the first happy song Marianne Faithfull ever wrote."Its lyrics nicely sum up both Faithfull's tumultuous journey and the dual-edged sword of her current bliss: "You better jump with joy, shake with fear; this is an everlasting year." Contact Steven Gaydos at steven.gaydos@variety.com

Aretha Franklin

Band: Fred Nelson III, Richard Gibbs, Chas Craig, Teddy R. White, Chinbat Batmunkh, Brenda Corbett, Millie Scott, Shelly Ponder.It's a rare event when a vocalist of Aretha Franklin's stature, acclaim and sales figures (18 Grammys and more than 75 million records sold) presents a free full-length concert, so it was no surprise that her Aug. 4 Coney Island appearance drew the biggest crowd in the Seaside Summer Concert Series' 33-year history. The show was rescheduled from last summer (after Franklin's fall caused a cancellation) and follows her six-month break due to a much-publicized health battle. Adding to the draw were questions about this comeback: would the 69-year-old legend's singing retain its power, or be diminished in any way? The good news is that her voice actually seems stronger than in recent years, and she appeared to be making smart choices with how she uses it. While it's long been well-preserved in its lower registers, Franklin's belting has sometimes taken on a raspy quality. But when she fearlessly hit the high notes Thursday night, they rang clearer than they have in well over a decade. Franklin was in a noticeably good mood throughout the show, not quite as startlingly thin as she appeared in interviews this spring, but far from the heavy frame that likely contributed to her health issues. For some sections of the show, however, she was a bit difficult to hear, with her mic levels lower than that of her fine band (featuring her son, Teddy R. White, on guitar) and her backup singers. Nonetheless, she sang in fine form at key moments throughout the night. It's a testament to Ms. Franklin's taste and artistry that nothing essential seemed to be missing from her 13-song set, a small fraction of her voluminous catalog. She opened with a solid cover of Jackie Wilson's "(Your Love Keeps Lifting Me) Higher and Higher" and her signature "(You Make Me Feel Like) A Natural Woman," then got the crowd on its feet with "Get it Right," dedicated to writer Luther Vandross. Strong takes on her own classic songwriting triumphs, "Think" and "Day Dreaming," followed, and the band's power was fully revealed with another Vandross-penned tune, "Jump to It," and the 1970 hit "Don't Play That Song." Franklin has more at stake than a comeback from health problems with her current run of shows, which continues with select dates through the fall. She recently released "A Woman Falling Out of Love," the first album from her own label, Aretha's Records. Her business instincts kicked in when she introduced and closed the single "How Long I've Been Waiting" by reminding the crowd it was available "at Walmart and Walmart.com." She also gave the people what they wanted: rousing renditions of "Chain of Fools," "Freeway of Love" (which turned into a revival-style, fitting chorus chant of "Jesus") and the inevitable yet satisfying closer, "Respect." One of the evening's highlights saw Franklin at the piano for a moving "Bridge Over Troubled Water." Her finest performance of the night was one she said she hadn't rehearsed, a nearly a cappella "Moody's Mood for Love", which bested the faster-paced version on her 1973 album "Hey Now Hey (The Other Side of the Sky)." The number was perfect for the strongest part of her vocal range and recalled her best Columbia-era album, the 1966 jazz LP "Yeah!!!," featured in the label's new box set. Ms. Franklin would be wise to add a jazz album to her own label's slate, and her solid concert lineup could be strengthened by more songs in a similar range, like the classic "Ain't No Way." Contact the Variety newsroom at news@variety.com

Sirius XM Boosts Customer Forecasts As 2Q Earnings Beat Predictions But Revenue Fails To Deliver

The satellite radio company reported 2Q internet profits of $173.3M, up from $15.3M within the same period this past year, on revenues of $744.4M, up 6.4%. Earnings at 3 cents a share beat the 1 cent consensus among experts who follow Sirius XM. However they believed that revenues would achieve about $752.6M. The organization states it had 21M customers by June 30, up 7.6% from last year. Which was sufficiently strong for Boss Mel Karmazin to express that Sirius XM will prove to add 1.6M clients this year, up from 1.4M he'd formerly forecasted. Although he states the organization will generate about $400M in free cash for that year, a rise from his earlier forecast of $350M, he stored his revenue target at $3B. The financial report follows anFCC decision a week ago which will allowSirius XM to boost its rates the organization had agreed in 2008 to freeze them for 3 yearswhen government bodies approved the merger of Sirius andXM. Government bodies now state that "there's evidence that new competitive options have come to light since 2008" including HD Radio and Web-based music services for example The planet pandora, Spotify, and iheartradio. Today Karmazin will speak with experts concerning the results -- and possiblythe status of Howard Stern's breech of contract suit against Sirius XM.