Animal Magic 1000

What is Animal Magic 1000?

Beynon describes Flutter as “the highest-quality online betting franchise globally”, with FanDuel’s leadership position providing “significant long-term value”. The problem is that the market is increasingly questioning how much future earnings growth can be generated from that position as the industry matures.

DraftKings is a different proposition. Its share price went from $43.30 on 18 September 2025, to $21.75 upon market closure last week. Beynon says it “arguably offers the greatest operational upside if it can continue converting strong customer growth into sustained profitability”. Its prediction market strategy could also become an advantage if the new market proves complementary to sportsbook betting.

MGM Resorts International’s investment case is supported by Las Vegas, regional casinos, property assets and its 50% interest in BetMGM. Its own share price has been on a different journey to its online pureplay peers, having increased by 5% in a year, to $37.81 on 18 September.

What is Animal Magic 1000?

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.

The barge functioned as an intimate stage graced by legendary performers, including Dionne Warwick, Blues Traveler, Matt Goss, and CeeLo Green. Its final performer was another Vegas icon rumored to be powered by hydraulics: Wayne Newton. His “Up Close & Personal” residency in 2019 was the lounge’s final act before the pandemic shut down the Strip for 90 days and closed Cleopatra’s Barge for good in March 2020.

The lounge enjoyed one last moment in the spotlight in 2022, however, when Adele—on the eve of the debut of her long-delayed residency at the Colosseum—tweeted a photo of herself goofing around nervously on its abandoned deck.

About Animal Magic 1000

“We’re still early,” he says. “The priority is to prove the model properly; make sure the games perform and demonstrate that it works commercially. If we do that, I think the opportunity is significant.”

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.”