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While traditional advantage play—a strategy-driven niche where gamblers use math and timing to tilt the odds—has long fascinated casinos, Hollywood is expanding its lens to include the modern world of slot influencers and casino content creators.

The upcoming indie biopic, titled The Chop, is being written and produced by filmmaker, writer, and stand-up comedian Mike Young through Red Leaf Entertainment. Production is targeted for 2027, though no director, cast, or financing details have been announced.

According to the film’s synopsis, the story traces Morrow as he connects with a group of gamblers whose high-stakes approach to risk begins attracting serious attention on casino floors across Las Vegas. As their reputation grows, Morrow is pushed further into the spotlight, confronting new pressures involving ambition, family, and fame.

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Following the decision, the odds of one additional rate hike this year jumped to 48% on Wednesday afternoon on Polymarket. The contract asks traders to predict whether the upper bound of the Fed Funds Rate will hit 4.25% by the end of 2026. There is now a 21% chance that the Fed will stand pat for the remainder of year, with a slightly lower probability that the upper bound will reach at least 4.5%.

According to Multiples.VC, the average enterprise multiple (EV/EBITDA) of top US-listed gaming companies is currently 10x. Data from New York University last updated in January pegged the overall market average at 23.9x and 19.7x among EBITDA-positive firms, suggesting the sector is undervalued relative to other industries. In a report released Monday, Fitch Ratings said most North American gaming companies hold “Stable” outlooks with “adequate rating headroom” despite consumer headwinds.

Macquarie’s Beynon agrees with that sentiment, pointing to the relative stability of gaming companies through tough economic stretches such as the Covid-19 pandemic. Bankruptcies in the sector have been low relative to the broader market, he notes, and both land-based and digital companies have reason for optimism moving forward.

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Crucially, Curwen sees those efficiencies as a means to an end rather than the primary objective.

“That’s where I think Game in a Box becomes really interesting,” Curwen says. “The ambition isn’t to use technology to make average games faster. It’s to give talented creators the freedom to try more ideas and hopefully produce better games.”

As work on Game in a Box progressed, Yggdrasil began to see an opportunity extending beyond its own production process.