Thanks for sharing! I have been interested in AOM for a long time as I am a semi-professional magician with a huge magic collection 😉

Thanks for sharing! I have been interested in AOM for a long time as I am a professional magician with a huge magic collection 😉

AGT judges Howie Mandel and Heidi Klum didn't 100% agree about the perks of watching live in person. America’s Got Talent is deep into the live shows of Season 17, although the qualifiers present a twist this year. Instead of slowing cutting the groups of semi-finalists down, each of the 55 acts who advanced from the auditions have just one shot to make it to the grand finale for the chance at $1 million and a Las Vegas stage show. The acts have to be bigger, bolder, and more dazzling for viewers, but do fans and voters miss out on the spectacle by not watching live in person? Judges Howie Mandel and Heidi Klum shared their thoughts with CinemaBlend, and they don’t 100% agree. The two judges spoke with CinemaBlend and other outlets following the second night of live qualifiers, with the eleven acts soon to be cut down to just two. When I asked if they thought that viewers were missing anything by watching on their TVs from home as opposed to live in person, Howie Mandel specifically mentioned acrobatic act Duo Rings, who closed out their latest performance with a drop right in front of the judges. He shared his thoughts, saying:: " Yeah! I was saying to Simon [Cowell] right after we watched [Duo Rings]. We have a great production team. I think we have the best production team in television and our director Russell Norman is amazing. But I said to Simon that part of this is the act can win a million dollars and get a headlining spot in Vegas, and when you watch like Duo Rings, and they're three stories in the air, and they're right above you in the room, and they drop a foot from you, there is no way – no matter what kind of television set you have at home, no matter how big that screen is, no matter how good your speakers are – there's no way to get the feeling of what that is in the live room. So that's why some of these big spectacular huge daredevil acts kind of lose something being once removed and not live. " Duo Rings were pretty spectacular in their live performance, to the point that it would have been shocking that they were cut before the finale if the night hadn’t been stacked with fan-favorites and golden buzzer winners. Madison Taylor Baez (who I ranked in the middle of the pack of golden buzzer winners most likely to win) was cut and she was definitely a fan-favorite. The two moving on are country music group Chapel Hart after they went for a sassier original song and magician Yu Hojin. Music and magic acts are definitely easier to experience on the small screen than an acrobatic act, based on what Howie Mandel had to say! Singers and magicians tend to be popular with AGT voters, so Duo Rings’ fate may have been sealed by viewers not being able to fully experience the drops in person. That said, Heidi Klum has a different perspective on whether fans are missing anything by watching from home as opposed to right in front of the action. She said: " It is thrilling to be there for sure, but I always – not always, but a lot of the times when I make it home in time, I do watch it again on TV. And it is amazing, because you get so many different angles from home. It's almost like when you watch a football game or any kind of sports game, it is almost better at home in a way than it is in the room, because I don't know how many cameras they have in that room! You know, you get [the performers], you get the audience, you get close up, you get from so many different angles. So I think it's always cool to again see it from home, and I'm always like, 'How come I'm not on there that much, it felt like, or more?' [laughs] I'm kidding. " While the experience of watching AGT live in person is “thrilling,” according to Heidi Klum, it’s not possible to see every detail up close or the benefit of an instant replay like what viewers get from home. Even though voters can only use the reactions of the judges and audience to gauge what it was really like, they do have some advantages in their TV screens. Klum continued her comparisons: There's definitely a different energy, yes, but it's the same when you go to a live concert. It's the same thing. You do feel everyone sweating and yelling in the room, which is fine, and especially because we haven't had that for so long. You know, it's fun to be in the room with so many people. America’s Got Talent was one of the many shows that made changes in light of COVID protocols, which meant some virtual auditions and an absent audience in the previous season. Episodes did include a combination of real shots, virtual shots, and shots from past seasons to create the illusion that AGT was back to normal. Audiences are officially back for Season 17, which has evidently been “fun” for Heidi Klum. But would acts like Duo Rings have been more fun in person, to the point that they would have gotten enough votes to advance if more people could get the full experience? Howie Mandel seems to think that they’re more of a thrill live, but you can judge for yourself with the video of their qualifiers performance: If you’re still in the market for some viewing options as fall TV season approaches, be sure to check out our 2022 TV premiere schedule. You can also revisit earlier episodes of AGT Season 17 streaming with a Peacock subscription.

The revered house and techno festival returned to Detroit this past weekend, featuring genre legends and launching countless Shazams. Detroit It had been three years since the last Movement, due to the ongoing COVID-19 pandemic, and the crowd in Detroit was thus ready to reunite and get down and the 2022 iteration of the event, which took place this past weekend (May 28-30) in downtown Detroit’s Hart Plaza. It was truly joyful to be back in the city for the many of us who fell in love with Detroit through Movement and its music. The event also marked a triumphant family reunion for the techno all-stars and superfans who call Detroit home. Altogether, it was a stellar three days of techno, house, hip-hop, love, connection, positive vibes and dancing, and a much-needed respite from the pain of current events. The 7 Best Undercard Acts We Saw at Lightning in a Bottle 2022 06/02/2022 These are the 13 best sets we saw. DJ Holographic Reflects Our Joy Playing on the Stargate stage, Detroit’s rising star DJ Holographic came onstage glowing in an all-white outfit and kept the vibes going after taking over the decks from Andres and Rick White. She reflected our revelry as she served up hour-and-a-half of joyful soulful vocal melodic groovy fun, a perfectly upbeat housey set for dancing in the sun. Everyone was grooving hard, including Holographic, who sang along and appeared to be having a blast with all of us. She opened with groovy Groove Armada track (“Love Sweet Sound (Mark Knight & Funkagenda’s A.H.B Mix)”), which led into an even groovier Demuir number (“High. Alive. And Dirty.”), which really got the crowd bouncing. Other IDs from her sunny set included Sheila Ford’s “Why Can’t You See (Louie Vega and DJ Spen Extended Vocal Mix),” Andy Compton’s “That Acid Track,” Tiger & Woods’ “No More Talking,” Róisín Murphy’s “Incapable,” “Dance You Mutha” from Mike Dunn, Leonce’s “Werkk,” Catz ‘N Dogz’s “Nasty,” a spacey disco bop from Gene Farris (“Be With You (Partyrocker Mix)”), and the pure classic house joy of Frankie Knuckles’ “I’ll Take You There.” As we were all thankful that we could dance together again at this beloved fest, she fittingly ended with “Grateful” by Kenny Bobien. Stacey Pullen Keeps It Bouncin’ Stacey Pullen was next to represent Detroit Love, looking effortlessly cool in a fitted black short sleeve hoodie. He offered lively, bouncey house, keeping the energy and vibes high and joyful. His IDs included “Music Is Life” from Andre Salmon and M.F.S: Observatory, “Buggin” by Ant Brooks, “The Undertaker” from Kirstin Velvet, “Anything” by Brown Vox and Artdate, and the extra bouncy and fun “Blah Blah Shake” from The Golden Boy. Carl Craig Celebrates Detroit Love All the stellar talent that played the Stargate stage on Saturday was part of the Detroit Love showcase curated by Carl Craig, who closed things out. During each set, impactful phrases like “Techno Is Detroit,” “Black, Brown, Proud” and “Black Power Detroit” flashed in bold letters on the screen behind the decks. When Craig began, he also took a moment to celebrate the triumphant return of Movement, and the history of how things began here at Hart Plaza back at the turn of the century with Detroit Electronic Music Festival, which he made happen alongside organizer Carol Marvin. “In 2000, this was the dream of where we wanted it to be, so this is a pleasure to be back,” he said. He also shouted-out to Paxahau, the local independent event production company that’s run Movement since 2006, who, as Craig eloquently put it, “Made this gift to you on behalf of the city of Detroit.” 2 Chainz Knows Detroit Is Different While it was difficult to step away from Reverend Craig’s church of Detroit house and techno, 2 Chainz’s set beckoned. While he hails from rap capital Atlanta, he let us know that he feels at home in Detroit, and that Detroit feels at home with him. Headlining the Waterfront stage on night one, 2 Chainz came out in a white and forest green Rhude jumpsuit and started with his Drake collab “No Lie,” which led into “Gray Area.” (He explained its NSFW meaning to the crowd. We won’t print it here.) He continued serving up a nonstop stream of his bangers and fire collabs — interspersed with his humorous banter — from across his catalog, including “Big Bank,” “Watch Out,” “Bandz A Make Her Dance,” “It’s a Vibe,” and “Duffle Bag Boy,” a 2007 throwback from his duo with Dolla Boy, Playaz Circle, teamed up with Lil Wayne. From his “Big Bank” bars he went into “I’m Different,” and we all went off even harder. Detroit is different, and he knows it. Richie Hawtin Is Too Hot to Shazam Techno king and honorary Detroiter (he grew up across the river in Windsor, Canada, and got his start in Detroit in the early ’90s) Richie Hawtin closed the amphitheater-style Movement stage with pure, banging techno. As it typically goes when seeing the British-Canadian maestro, we try to Shazam the hypnotic bangers he serves, but the tracks this weekend were undiscoverable, likely a mix of unreleased heaters and special live sonic concoctions. The captivating, propulsive sound was enhanced by what friends in the crowd called “tasteful lighting,” bright flashing lights alternating red blue and white, with the stage flanked by bright, pulsating poles of lights and overhead lighting flashing to the beat into the crowd. It was the perfect techno ending to a lively first day back at Movement. Louie Vega Brings New York Summer to Detroit Spring New York house icon Louie Vega started Sunday off on a joyful, groovy note at the Pyramid stage, which is scenically backed by the glittering Detroit River and Windsor, Canada. Louie wore all black, subbing a baseball cap for his traditional wide-brimmed hat, and grooved along with us to the rhythmic and soulful house jams he delivered. He opened with “Never Thought” from Kerri Chandler and Sunchilde, before moving into a Brian Eno and David Byrne track (“The Jezebel Spirit”), “What Would You Do? (Expansions NYC Extended Dub Vocal)” from Dames Brown, Andrés and Amp Fiddler, and Honey Dijon’s “Downtown,” which got everyone grooving hard. He played a healthy helping of joyous tracks from his extensive catalog, including “Chimi” and “Music Is My Life” from his recent Expansion In The NYC album. His set was a joyful helping of soulful house with Latin and African rhythms, and for the final twenty minutes, as sunset approached and Maceo Plex was about to take over, the master went a little harder, with even more energy, to set the tone for Maceo. Maceo Plex Summons the Darkness It was now Texas-born Maceo Plex’s turn to take us into the darkness as the sun continued to set. He was looking like the cool DJ dad he is, rocking an earth tone Pendleton-style long sleeve button down, and opening with a quote about Detroit mixed with groover “The Poem” from his Maetrik alias. He continued preparing us for the transition to night with his “When the Lights Are Out,” which was followed by two releases from his Ellum imprint; AVNU’s deep and dark yet also lively and housey “Systematic,” into the darker “Compute” from Effin & Blindin, perfectly timed with the darkening sky. It felt like Maceo was taking us in a chariot straight to a very lit rave in hell, and the crowd was loving it. He was followed by Kenny Larkin, who saved the day when Loco Dice couldn’t make it in time for his set. “Kenny Larkin is coming up, if it weren’t for him and this city, I wouldn’t be here,” Maceo announced. E-Dancer Takes Us To Alien Church Sunday at Stargate was curated by Detroit techno forefather Kevin Saunderson for his KMS Records showcase, where he performed a live set as his legendary experimental techno alias, E-Dancer. The stage was configured in a totally different setup than the day prior, with an elevated DJ booth hidden behind a triangular LED screen. This setup made it less about the DJ, and more about the vibes, the journey, and the music. The journey Saunderson brought us on was straight through time and space, with Matrix-esque code running across the screens as Saunderson’s head peeked out from behind his hoodie like a techno magician, bewitching us with dark, groovy and melodic sounds. The set tapped into the well of eternally futuristic classic Detroit techno, including many of his E-Dancer tracks, including throwbacks like 1997’s “Velocity Funk” and remixes from 2021’s Re:Generate album, like Len Faki’s remix of “Warp.” As the first leg of this space journey neared its end (Juan Atkins took over the spaceship controls to close things out), Saunderson reminded us that we were all there because of the techno forefathers. “This is 40 years from the vision,” Saunderson said. “It is magical that it can come back to Detroit — it went overseas, and it came back where it belongs.” Juan Atkins Delivers a Techno History Lesson Another Detroit techno forefather, Juan Atkins, ended the night with a techno history lesson, a reminder that techno comes from a place of innovation and freedom, and its pioneering tracks still sound futuristic AF. He was a techno technician simultaneously beaming us up into the past and future. He kicked things off with the two songs credited as the first techno tracks, dating from 1981: “Alleys of Your Mind” from his Cybotron project with Richard Davis, and “Sharevari” by A Number of Names. He played more space jams, many dating back from techno’s early years and his other projects, including Model 500 and his given name. From Cybotron, we also heard “Cosmic Cars” and “Clear,” and from Model 500, “Night Drive,” “The Chase,” “Play It Cool” and “No UFO’s,” the latter of which had UFOs flying low over the desert as the visuals. The killer set had everyone dancing hard and was a groovy, essential techno history lesson for all lovers of the genre. HAAi Is The Newest Queen of the Underground When we arrived at the Underground stage for the first and only time over the weekend, rising left-field artist HAAi had just begun her techno witchcraft. Even with the sun shining in through the back during the day, the space felt like a secret club underneath another club, with glowing tube lighting around the DJ booth glowing purple pink and red. The newest queen of the underground delivered hard, breaky U.K. and German techno sounds, rocking orange tinted-sunglasses and her short-ish wavy beach blonde down. She hopped around with us and whistled back at us several times as we cheered on selections that included “Lecker Mädche'” from Andreas Krämer and Thomas Pogadl, “Trance Gate” from Piska Power, her glitchy track “6666,” and Marko East’s “The Perfect 6 Min Abs Workout,” which we Shazamed several times to confirm this was the correct song, a weird, fun bubbling number. The Blessed Madonna, who played later at the Pyramid, came by to say hi. When HAAi played a ridiculous (and totally un-Shazamable) hard techno track that repeated “s— spreading, a– licking” among other phrases, we were all bemused while dancing our asses off, including Ms. Madonna. Overmono Has A Love For Dreamy Club Bangers Powerhouse U.K. duo Overmono — who we’ve loved ever since hearing their “Bby” last year — presented their music live, enhancing this dreamy, club-ready sound with synthesizer flourishes and bold, flashing visuals. The stunning second half of their set folded in their remix of For Those I Love’s “I Have a Love, as the words “I have a love” and “and it’s to never fade” flashed behind them. This led into “Gunk,” with the dogs from their album art in the background, and “Bby,” which made the mood a little harder, but still dreamy. Flying Lotus Makes Glitch Smooth and Sexy Flying Lotus started things out with bassy, glitchy, electronic-leaning hip-hop. After a few tracks, it was time to keep the journey moving upwards in energy. “What’s up Detroit!” the Los Angeles-based artist greeted us. “I hope y’all don’t mind, I want to take it up a notch.” This brought us to Zack Fox’s “Bane,” followed by another hip-hop track, a futuristic cinematic instrumental number, and a remix of the funky “Wesley’s Theory” he produced for Kendrick Lamar’s To Pimp a Butterfly, featuring George Clinton and Thundercat. The visuals were stunning, dizzying and trippy throughout, reminiscent of brain cells sending signals to each other. Maybe it was just a real-time MRI reading of our collective minds being blown by this wild multidimensional space travel FlyLo was taking us on. Jeff Mills Closes The Show Afterwards, as the dusk was settling, it was time for the Wizard himself, Jeff Mills, to close out the Movement stage for two-plus hours of live techno beamed in, it seemed, directly from outer space. It was the perfect jaw-dropping two-hours of techno magic to close Movement’s successful return. Not only was it an enchanting treat to shake every last bit of energy out of your body to, it was a sight to behold, as the Detroit legend worked his magic on his set up that included a 909 drum machine, vinyl turntables, a mixer, a synth, and other toys. Some of the discoverable tracks he played included hard slappy spacey techno from Developer, “ARCADIANS 58,” “The Bells,” and “Zero Gravity Prototype” from Zachary Lubin. Yet the best songs he played were the amazing 909 breaks and loops he created live, showcasing his true wizardry.

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With Whiplash, Damien Chazelle revealed himself to be a red-hot filmmaker worthy of keeping an eye on. However, his follow up, the joyous and infectious La La Land, immediately elevates him to a different class. Suddenly, Chazelle looks like a magician, weaving an impossibly skillful musical romance on the big screen that's both classic and contemporary, urban and celestial. And Chazelle actually drops the mic in the opening moments of La La Land with a jaw-dropping, splashy and majestically staged musical number in the middle of a Los Angeles traffic jam. I honestly can not wait for you guys to see this sequence on the big screen. It's mesmerizing, and you will be shaking your head wondering HOW Damien Chazelle managed to film this incredible, eye-popping musical number on an L.A. freeway. But during a recent conversation with Chazelle at the Savannah Film Festival, where La La Land played in competition, the director actually dropped a bombshell of his own: the sequence that people can't stop talking about almost didn't make it into the movie at all. That's right. There was a cut of La La Land -- that existed recently, according to Chazelle -- that didn't include the traffic jam musical sequence. Which, after you have seen it, you will know how ludicrous that sounds. But the way Chazelle explains it to me: That's the irony with that number. We used to get into [the movie] differently, and there used to be like an overture with opening credits and then we saw Ryan [Gosling] and Emma [Stone] before the number began. I'm trying to remember... yeah, that's right, we sort of dipped down initially into seeing Ryan and Emma, and then we kind of veered off away from them, and then the number happened. Then we caught up with them again. So there was this whole thing, basically, that we lopped off. Yeah, that was all in the edit. That's, the first few cuts of the movie, that's how it was. And that's how it had been in the script, literally since 2010. It had always been that kind of thing. And it was just wrong. And it was wrong for various reasons. It felt like two, weirdly two overtures back to back. Because the traffic number kind of operates in a way as an overture. And it also felt like, 'Why are you introducing your characters here instead of here?' And all these things that now seem to be so obvious, but didn't seem obvious in the writing or the filming. As a result of that, in that early part of editing, the opening traffic number didn't feel that great. It felt like, it felt just, like what is this. I think because it wasn't the opening of the movie, it didn't feel like it served any purpose. And so we cut it, and we wound up... I think for a few months, probably, living with it gone completely from the movie, thinking it would probably always be gone from the movie. Which makes it really crazy -- I guess, rewarding to me -- that like, you know, we ultimately went back to putting it back in, and once we realized, 'Ah, ok, here's a way that we can make it work,' we realized that the movie ultimately didn't work without it, because you need to announce that you're a musical off the bat. And it just made every other musical number, without it, every other musical number suddenly felt very different and very fake. Because you needed to kind of announce the full maximum potential of the 'musicalness' of the movie in order for the rest of the stuff to feel natural. So we put it back in, but completely rejiggered how we got into it. And lopped off a bunch of stuff before it, and then suddenly, it worked. And so now, it's just so funny, like when, the fact that as you say, it's one of the questions I get asked the most. It's so funny that this almost wasn't in the movie. This still blows my mind. Once you are able to see La La Land in a few weeks, the opening number, set to the rousing "Another Day of Sun," will have you smiling, stomping your feet, bouncing in your chair and wondering how the hell Damien Chazelle pulled it off. The reality that he almost pulled it out of his movie, altogether, is lunacy. We can only celebrate that cooler heads prevailed. La La Land is a contemporary musical set in Los Angeles, and stars Emma Stone and Ryan Gosling as a struggling actress and jazz aficionado, respectively, who fall in and out of love. It has been busy on the film festival circuit, but will open in theaters on December 9 (limited) before going wider on December 16.

Today I will show you how to encrypt all your internet browser data and other sensetive information. So even if your laptop or hard drive will be stolen, your personal data stay safe. For encryption you will need VeraCrypt. VeraCrypt is a free disk encryption software based on TrueCrypt. VeraCrypt adds enhanced security to the algorithms used for system and partitions encryption making it immune to new developments in brute-force attacks. VeraCrypt also solves many vulnerabilities and security issues found in TrueCrypt. For secure deletion of existing data chunks(to prevent unwanted recovery) you will need CCleaner. When you delete a file, Windows removes the reference to that file, but doesn't delete the actual data that made up the file on your hard drive. Over time, this data will be overwritten as Windows writes new files to that area of the drive. This means that, given the right software, someone could reconstruct all, or parts of files that you've deleted. For privacy and security reasons, you can set CCleaner to wipe the free areas of your hard disk so that deleted files can never be recovered. Be extremely careful! Steps: 1. Create encrypted file container 2. Copy your browser profile to encrypted container Default profile path for browsers: Firefox(help) : %APPDATA%\Mozilla\Firefox\Profiles\ e.g. profile folder name: xxxxxxxx.default Google Chrome/Chromium(help) : %LOCALAPPDATA%\Google\Chrome\User Data\ e.g. profile folder name: Default Opera(help) : %APPDATA%\Opera Software\ e.g. profile folder name: Opera Stable 3. Copy all your sensitive data to encrypted container. Password DB, important documents... e.t.c. 4. Delete original profile and files If you have a SSD use your manufacturer's software for secure erase! Intel Solid State Toolbox OCZ Toolbox Corsair SSD Toolbox Samsung Magician SanDisk SSD 4.1 Wipe out free space of your HDD(HDD ONLY!) 5. Change profile path for your browser Firefox: Use the Profile Manager Google Chrome/Chromium: Running from a Custom Location e.g. add the --user-data-dir flag to chrome.exe shortcut, like this: chrome.exe --user-data-dir="F:\crypto_profile" Opera: Same as Google Chrome/Chromium Don't forget to adjust Auto-dismount(for example on session lock) and other important settings of VeraCrypt If you need more strict control over your encrypted data.

One of the more interesting horror franchises to appear in the last few years, theV/H/S series essentially collects a series of short, found-footage films by up-and-coming young directors. Mixing the work of relative unknowns with a few better-known ringers such as Ti West (The House of the Devil) and Gareth Evans (The Raid 2), the two V/H/S anthologies have proven uneven but intermittently compelling spook-shows. Just as the first two entries in the V/H/S series made their bones largely on the video-on-demand and streaming market, V/H/S Viral will debut via on-demand service such as iTunes on October 23rd, 2014. A new, red-band trailer for the third movie gives audiences a peek at its multiple, gore-filled stories. Showing off more footage of the actual movie (as opposed to the first trailer’s recap of the first two V/H/S entries), the restricted audience trailer confirms thatV/H/S Viral won’t shy away from the kind of extreme material that has defined the franchise. Not only do we get glimpses of slithering creatures, stabbings, shambling undead, and sudden dismemberment, this newest preview also gives us a much better idea of what the individual segments of the anthology will look like. Of particular note is a story involving a stage magician who may just wield the powers he pretends to use on stage, deploying them to deadly effect during a police raid. Also possibly worth a closer look: a vignette shot like a first-person shooter video game and some particularly gruesome body horror. So far, the potential of the V/H/S series has outstripped its actual quality. Individual segments of each movie tend to either be quite strong (Gareth Evans’ entry in V/H/S 2, for instance) or intensely frustrating – though this may simply be a problem endemic to all anthology films. Nonetheless, we at Screen Rant are curious to see ifV/H/S Viral is the first installment of the franchise to stay strong all the way through. Despite our misgivings, we may end up shelling out for a VOD viewing come the end of October. V/H/S Viral features segments directed by Nacho Vigalondo (Timecrimes), Marcel Sarmiento (Deadgirl), Todd Lincoln (The Apparition), Aaron Moorhead (Spring), Gregg Bishop (Dance of the Dead), and Justin Benson (Resolution). V/H/S: Viral will break out via iTunes and VOD on October 23rd, and then spread into theaters on November 21st, 2014. http://screenrant.com/vhs-viral-red-band-trailer/

Even casual comic book fans realized that The CW wasn’t kidding around with its DC Comics properties when they revealed that Arrow‘s Season 3 would be getting a new central antagonist in the form of Ra’s al Ghul (a part made famous on film by Liam Neeson in Christopher Nolan’s Batman trilogy). Not long after Neeson claimedhe’d be happy to reprise the role, the actual actor set to bring the character to life has been revealed: relative newcomer Matt Nable (Riddick, Killer Elite). According to Deadline, the Australian former-Rugby League footballer has landed the part after arriving on the scene in his first role in 2007. The actor may be best known to our readers for his role as ‘Boss Johns’ in the latest Riddickmovie, taking on a leadership role with another group of hired killers (while showing he’s not afraid of getting his hands dirty). Little is known about how this version of Ra’s al Ghul will differ from those previously seen on film or in the comics, but Nable fits the physical description that the showrunners were looking for quite well. And despite his relatively short resume, Nable’s ability to convey a likable and believable bounty hunter (in an American accent, no less) made him a standout in the action-focused Riddick. As far as Arrow‘s version is concerned, the leaked casting description sounds like the showrunners are staying faithful to the source material: “An iconic villain from the pages of DC comics. Leader of the League of Assassins. Regal, mysterious, of a bygone era. Proud and unforgiving. Ra’s is a ruthless strategist, a master of martial arts, and a shaper of history. He carries the wisdom of the ages, and protects some of its greatest secrets.Think the character of Bane from The Dark Knight Rises. Someone just terrifying. Not a lunkhead, but a smart and physically imposing man.†Nable will make his first appearance in the role in Arrow‘s fourth episode, titled “The Magician.†The limits of his power aren’t yet known (nor whether he’ll one day make an appearance in The CW’s other superhero series), but the fiftieth episode of Arrowlooks to be a special one for DC Comics fans, and Batman enthusiasts in particular. As the leader of the League of Assassins, Arrow viewers have already seen Ra’s play a significant role in the lives of several characters, sending his forces to Starling City in varying numbers, with varying purposes. Season 3 looks to make that threat even greater, building off of the introduction given to the warlord’s daughter Nyssa al Ghul (Katrina Law) after making the trip to Starling City. It’s unclear if Nable’s performance will be set in the present day or the past, but with Oliver Queen’s history being elaborated upon by the week, anything is possible. What do you Arrow fans make of the casting? Is Nable an intriguing choice, or an unknown one? We’re willing to see what he can bring to such a commanding role, since a character of his stature within DC’s TV universe isn’t going to be disappearing any time soon. Feel free to speculate on what kind of voice Nable will be adopting for the role, since it seems a long shot that his native Aussie accent will be maintained. On the bright side, Liam Neeson has offered a few words of advice for his successor. Are there any other actors you were hoping to see land the part, or are you keeping an open mind after Liam Neeson’s indelible turn in the role? Sound off in the comments. Arrow season 3 premieres October 8th, 2014 @8pm on The CW. http://screenrant.com/arrow-ras-al-ghul-actor-matt-nable/