Yea, Homer's shuffle is great. I learned it incorrectly years ago and just recently had someone show me the correct way to do it. I have also seen several variations of it. It creates a great sound and looks natural except for the faro action. The other problem is that it is a little angly. I'm sure that if I saw Homer do it correctly, a lot of the problems I see with it would be diminished though. In my mind, ideally, a false shuffle should look and sound natural and real from all angles. To answer Ezra's question about the thumbs, both thumbs are at the outside corners when riffling. When the cards are being pushed together(supposedly) to prepare for the bridge, the R thumb moves in (towards the body)so that the cards can be quickly sprung. In my opinion, the reason the shuffle looks so much better when I do it from when other people do it is for this reason. There doesn't seem to be (from the spectators perspective) enough time to separate the cards and then spring them. Because it is done quickly and smoothly, the shuffle looks real. When I see other people do it, they haven't practiced enough to be able to separate the cards and then spring them in one fluid motion. There is often a suspicious pause. Also, the write-up in genii is, as mentioned, different from what I do. I spring from the L hand rather than the R hand. So Ezra, if you practice it this way, having your R thumb in front will feel more natural. Its the same for me. I devised it this way because thats how I used to do my table Zarrow, with the cover card on the R stack. Furthermore, if you read the last two paragraphs in the genii description, it is not necessary to handle the cards the way it is described if you spring from the L hand. Your R hand just picks up the top half of the deck as is described in the second paragraph on page 50. If you do a two shuffle sequence cutting at the break, you are back in original order with no additional cut. I agree with Richard that it is a good idea to show the top card being displaced. So instead I do a false overhand shuffle that I also devised but had already seen print before I was born. From what I am told, the one that I do was originally in Alex Elmsley's lecture notes. Not sure though. Anyways, that solves the top card problem while shuffling the cards in an other convincing manner. The other thing that Richard mentions in the description that isn't described, is that I do a slip cut before the shuffle so that the two shuffle sequence is not necessary. What I am actually doing is a pseudo-cover pass so that from left hand dealing position, the right hand ends up with the bottom half and top card. This is in the action of taking half of the deck into one hands to prepare to shuffle. Then I do the shuffle and spring the cards from the left hand under the top card making it false. Richard, the handling has changed sleightly on the "slip cut" move so that it looks better and more natural then when you saw it. Ideally, you should only have to do one shuffle, it should be completely false, and every move should look like as if you were actually shuffling. Thats the way I usually perform it. If you spring from the R hand, I would suggest doing a slip cut by having your L thumb hold back the top card as your R hand takes the top half and then springs it back under the top card. In performance, sometimes having to do two shuffles is an inconvenience. Anyways, I hope that clears up a few things and helps a few of you. If you all like good false shuffles, I suggest also checking out Andrew Wimhurst's. Its the best in the hands push through shuffle I've seen and his triumph is the newest thing I've been working on. It has lots of applications, especially for red/black separation routines and I've been performing his triumph successfully using Bicycle cards even though he says it can only be done with borderless brands. For certain routines, Andrew's shuffle is ideal.