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Station and Culinary have been at odds for many years, and this has included everything from back-and-forth barbs in the media to complaints before Nevada regulators and ultimately a number of court challenges. The December 2019 Red Rock election has proved to be perhaps the most significant development in their relationship thus far.

Station’s corporate leadership had approved and announced a new benefits overhaul for all of its 14,000 employees across ten properties on 19 November 2019. Two days later, Culinary, which represents workers at seven other Station properties besides Red Rock, petitioned to represent workers at that casino.

Red Rock employees rejected unionisation the following month by a 627-534 vote, although the NLRB and the DC appeals court have held that the company took steps to prevent a fair and honest election. The timing of the benefits rollout and unionisation petition have been a central issue in the matter in the years since.

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Bally’s has been granted two years’ worth of extensions for the permanent project. State law allows for two-year temporary licences, but the Illinois Gaming Board approved an extension to three years in 2023. That pushed the deadline to this September, but Bally’s ultimately received another year’s worth of extensions through language included in the state’s omnibus revenue bill that was passed in June.

If the latest extension had not been granted, Bally’s would have had to close its temporary casino at Medinah Temple until the permanent venue was completed. That would have resulted in multiple months with no revenue in the market, but Kim told iGB at the East Coast Gaming Congress in April that a closure of the temporary site was “not the end of the world”.

Meanwhile, Bally’s is forging ahead with an even bigger project to the east, its $4 billion Bally’s Bronx resort in New York City. The company was one of three NYC licence winners last year, alongside Resorts World New York City and Hard Rock’s Metropolitan Park.

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For the better part of two decades, both the king of late night and the self‑proclaimed King of All Media leaned heavily into Carrot Top as a recurring punching bag.

Because he relied on props, sported a wild look, and established a dominant Las Vegas presence, he fit perfectly into the “anti-showbiz” persona cultivated by both arbiters of Gen-X cool. Across the 1990s and early 2000s, “Carrot Top” became universal shorthand for lazy, cringeworthy comedy.

Nothing could have been further from the truth.