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Yet Macau’s IR proposition extends well beyond the casino floor. Luxury accommodation, restaurants, shopping, concerts, conventions, art and other forms of entertainment have become part of a wider, equally indulgent experience surrounding gaming.
For Japan, the question is whether this broader proposition could make casino resorts more socially and culturally palatable by giving visitors reasons to come, other than gambling.
But for Klebanow, the lesson Japan should take from Macau and Singapore extends beyond the importance of non-gaming attractions. It is also about how regulation should work. Policymakers, he argues, should establish basic legal and commercial guardrails, while giving operators sufficient “latitude” to “propose and develop projects that best serve both the residential and tourism markets”.
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The president’s critical view of betting is on par with other candidates. Studies by the Workers’ Party (PT) indicate that three out of four Brazilians are against betting establishments. This is the president’s justification against the sector.
What the president didn’t address is the tax revenue from betting.
In 2025, Brazil collected almost BRL10 billion ($1.97 billion) in tax revenue from the licensed sector. In the first seven months of this year alone, BRL8.7 billion generated by the activity was delivered to public coffers. The Federal Revenue Service itself estimates that the sector should reach BRL16 billion in revenue during 2026.
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According to The Hollywood Reporter, an independent feature film is in development about Stephen Matt Morrow—known to more than 1.6 million YouTube subscribers as Vegas Matt—marking the latest sign of mainstream entertainment’s growing fascination with casino content creation.
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.
