Remembering Magician Mike Ellis

 October 2 marks the anniversary of the passing of magician Mike Ellis, who died on this date in 2008. His story is a reminder that a magician’s legacy can live on through the people they inspire and the magic community they help build.

Ellis began studying magic as an adult, attending an adult education class in Boynton Beach, Florida, taught by magician Barry Gibbs. Gibbs later sponsored him into International Brotherhood of Magicians Ring #117. In his remembrance, Gibbs noted that the ring came to be known as the Mike Ellis Ring.

Gibbs described Ellis as modest and devoted to magic. He recalled knowing Ellis for nearly a year before discovering his theatrical background—not because Ellis had talked about it, but through the autographed photographs displayed in his home. Ellis’s love of magic and his quiet encouragement of others made a lasting impression on the people around him.

Remembering performers like Mike Ellis helps tell a fuller story of magic. The art is carried forward not only by the names on marquees, but also by teachers, club members, and friends who share what they know and welcome others into the community.

Today, we remember Mike Ellis and the mark he left on the magicians who knew him.

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 Produce a rubber band like Spider-Man right on your fingertips! Imagine showing your hand empty, then, with a simple rub or flick of your palm on the table, a rubber band magically appears.

• No string attached
• No magnet
• No thread
• No sticky stuff
• Perform it naked

Show your hands empty before and after the trick. You can even produce two or more rubber bands, and spectators can perform it themselves!

Download the video and learn it now!

Bill Bixby as The Magician first aired today in 1973

 Many viewers remember Bill Bixby as Dr. David Banner from The Incredible Hulk. But did you know he also starred as a professional magician in a 1970s television series?

On October 2, 1973, NBC aired the first regular episode of The Magician, with Bixby playing Anthony “Tony” Blake. The character was a stage magician who used his skills to help solve crimes. The series pilot had aired earlier that year, before the regular episodes began.

The opening episode, “The Manhunters,” follows Tony as he investigates a threat against a writer friend. The story takes him into an illegal gambling operation, where his card and dice handling helps him get closer to the truth. It’s a fun example of a television detective using the tools of a magician—observation, misdirection, and showmanship—as part of the story.

The series ran during the 1973–74 television season, bringing a magician’s life and skills into a weekly crime drama. Its premise offered viewers something different: instead of a magician appearing briefly as a guest or performing a trick between scenes, the magician was the main character.

More than 50 years later, The Magician remains an interesting piece of television history for magic fans. It’s a reminder that the art of magic has long inspired stories beyond the stage.

Did You Know? Doug and Debby Henning Had Their Own Toy Line

 Did you know that magician Doug Henning and his wife, Debby, once brought their sense of wonder to the toy aisle?

In 1985, the Hennings created Wonder Whims, a line of plush characters made by Panosh Place. Debby designed the characters from her own sketches, and the collection included six different characters, each paired with an animal friend.

The toys were designed to invite imaginative play. Each Wonder Whim came with a storybook and a colorful kaleidoscope wand, giving children a little world of make-believe to explore alongside the plush toy.

This 1986 commercial is a fun snapshot of an unusual chapter in Doug Henning’s career. Best known for bringing theatrical magic to television and the stage, he also helped create a toy line built around the same idea that made his performances memorable: the world feels more exciting when you leave room for wonder.

Take a look at the commercial and see if you remember the Wonder Whims!

Dyno Staats Brings Mad Scientist Magic to Penn & Teller: Fool Us

What happens when a mad scientist steps onto the Penn & Teller: Fool Us stage with a magic trick? For Dyno Staats, the answer begins with a laboratory, a little theatrical chaos, and one very important ingredient: science.

Staats appeared on the season four episode “Does This Trick Ring a Bell?” alongside magicians Aiden Sinclair, Axel Adler, and David Parr. Hosted by Alyson Hannigan, the episode originally aired August 10, 2017.

Staats introduces himself as a mad scientist and steampunk magician. The look is part of the act, but it also gives the performance a clear point of view. He explains that steampunk draws on the Victorian era, when science was still new enough to seem almost magical. He says he approaches his magic much like an experiment: try an idea, see what happens, work out why it failed, and keep refining it.

That idea carries into his presentation for Penn and Teller. Rather than asking the audience to believe in magic, Staats tells them to believe in science. He builds the routine around a dollar bill and presents the effect as an experiment, with the visual style and humor of his character woven into the action.

A strong character can make a magic trick feel like a complete world. Staats’s steampunk costume, custom-looking equipment, and mad-scientist language all support the same premise. The audience isn’t just watching a mystery unfold; they’re watching a scientist attempt something that might go spectacularly wrong.

Penn and Teller ultimately figured out the method, so Staats didn’t earn the Fool Us trophy. Still, the performance is a fun example of how a magician can use character and storytelling to make a familiar object feel like part of an entirely new experience.

Life After Death by Dominicus Bagas eBook DOWNLOAD

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 A spectator is brought into spiritual experience, he is faced with option "hell or heaven" to be chosen. Bringing spectator's imagination about one of them. At the end, the performer gives a spiritual message for audience to be brought home.

No gimmick
Easy to do
Spiritual script included
Work anytime
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Cyril Takayama Opens Up About Burnout and Rediscovering His Love of Magic

 What happens when the thing you love most becomes the very thing that leaves you exhausted?

For professional magicians, the pressure to constantly create new material, develop original illusions and deliver unforgettable performances can take a toll. Even some of the biggest names in magic aren't immune.

Internationally acclaimed magician Cyril Takayama explores this side of the entertainment industry in the October 2026 issue of Genii magazine, discussing the challenges of television fame, creative burnout and rediscovering his passion for magic.

His story raises an important question for performers everywhere: How do you keep the magic alive when performing becomes your full-time career?

From Rising Star to International Magic Sensation

Cyril Takayama became an international sensation through his innovative approach to street magic and his remarkable television performances.

Born in Los Angeles, Cyril developed a career that took him to Japan, where his television specials helped establish him as one of the country's most recognizable magicians.

His distinctive performance style combined visual illusions, close-up magic and seemingly impossible effects performed in everyday environments.

From his famous illusion of removing a hamburger from a restaurant poster to his elaborate street performances, Cyril developed a reputation for creating magic that looked almost cinematic.

His work helped introduce a new generation of audiences to visual magic and demonstrated how television could transform an ordinary street or restaurant into the setting for an extraordinary illusion.

But behind the remarkable performances was the demanding reality of creating original magic for a growing international audience.

The Pressure to Constantly Create

One of the challenges facing successful magicians is the expectation that every new performance must somehow surpass the last.

For television performers, that pressure can be particularly intense.

Unlike a traditional stage show, where an illusion can be performed for thousands of different audiences over several years, television exposes a routine to millions of viewers simultaneously.

Once an illusion has aired, audiences often expect something completely new the next time.

Developing original magic requires creativity, research, experimentation, rehearsals and frequently substantial financial investment.

For performers who build their reputations around originality, maintaining that pace can become exhausting.

Cyril's discussion of professional burnout in Genii offers an opportunity to explore a subject that doesn't always receive much attention within the magic community.

Rediscovering the Joy of Magic

Most magicians begin their journey for a simple reason: they love creating impossible moments.

There's something extraordinary about performing a trick for the first time and seeing genuine astonishment on someone's face.

But when magic becomes a profession, the responsibilities extend far beyond performing.

There are rehearsals, production meetings, travel schedules, marketing commitments, television appearances and the constant need to develop new material.

What once felt like an exciting creative adventure can gradually become an endless list of professional obligations.

Finding ways to reconnect with the original excitement of performing is an important part of sustaining a long-term career.

Cyril's experiences provide a starting point for a broader conversation about balancing professional success with personal creativity.

An Important Conversation for Professional Magicians

Creative burnout isn't limited to television stars.

Working magicians who perform hundreds of shows each year can face similar challenges. Even performers who genuinely love their careers occasionally need time to recharge, experiment and remember why they fell in love with magic in the first place.

For some, that might mean developing a completely new routine. For others, it could involve returning to close-up magic, attending a convention, spending time with fellow magicians or simply performing without the pressure of creating something for television or social media.

Cyril's story is a reminder that the creative process is just as important as the finished illusion.

And sometimes, the most valuable thing a magician can rediscover isn't a new method or an incredible secret. It's the excitement that made them want to become a magician in the first place.

Whether you're a professional magician, an aspiring performer or simply a fan of Cyril's extraordinary illusions, his story highlights a side of the magic industry that audiences rarely get to see.

Have you ever experienced creative burnout as a magician? What helped you rediscover your passion for performing?

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