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Cleopatra’s Barge opened in September 1970 in what is now the Nobu Hotel tower, replacing the earlier Nero’s Nook lounge. The 180-seat lounge featured as its centerpiece a “floating” stage designed as a replica of the vessel aboard which the Egyptian queen is said to have bewitched Mark Antony.

The pleasure craft, installed in a shallow lagoon, featured a gold-painted, topless figurehead that extended far into the public walkway. Guests quickly turned rubbing the statue’s golden breasts for luck into a classic Vegas tradition; staff regularly repainted the most-touched areas.

Vital Vegas ranked the display No. 4 on his 2014 list of “10 Things You Can Rub for Good Luck in Las Vegas Without Getting Arrested,” a list that featured three other Caesars Palace entries: the hand of the Caesars statue (No. 1); Joe Louis’s boxing gloves (No. 8); and the toe of Michelangelo’s David replica (No. 9).

The barge itself never actually floated, by the way. That was just a myth. It sat on a fixed platform that created a mild rocking motion. That piece of Vegas engineering, like the statue’s original perch, is now history.

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Five years from now, Curwen expects the development landscape – and the studios operating within it – to look markedly different.

“I don’t think the successful studio of the future necessarily has hundreds of people,” he says. “It could be a relatively small group of extremely talented people with great ideas, strong brands and a very good understanding of players, supported by technology that does much of the heavy lifting.”

That would also shift the basis on which studios compete. If sophisticated development capabilities become accessible to a wider range of creators, scale alone becomes less of an advantage.

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A major advantage for traditional sportsbook operators is their ability to aggressively fund customer acquisition and retention bonuses. As EKG points out, prediction markets have “less ability to be generous with bonuses” because users trade against one another rather than against the house.

That creates a stark contrast during peak football season when traditional sportsbooks spend heavily on promotions. Offers ranging from $350 to $365 from major operators make the $25 to $50 promotional matches typically seen on prediction markets appear modest by comparison.

“That said, channel checks indicate prediction markets are spending heavily on digital marketing, including app stores and pay-per-click advertising, which could make our forecast look conservative by the end of the season,” EKG concluded.