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Gugu Mbatha-Raw Answers Every Question We Have About Beyond the Lights

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The star of the classic rom-dram recalls the pop-star training Gina Prince-Bythewood put her through and hanging off that Sofitel balcony at 4 a.m.
Photo-Illustration: Vulture and Relativity Media

Nobody knows how to make a modern-day rom-dram better than Gina Prince-Bythewood. Love & Basketball taught early-aughts audiences about the powerful erotic energy of mesh shorts; its spiritual successor, 2014’s Beyond the Lights, is a heady, sexy, Bodyguard-esque look at fame’s sharp edges, and how the right person can help you gently sand them off. The film follows Noni (Gugu Mbatha-Raw), an up-and-coming pop star who’s simultaneously perched at the top of the charts and the top of her hotel balcony, utterly disillusioned with a career that’s come at the cost of her self-worth. Noni feels trapped, both physically — squeezed into chain-link dresses and buried underneath a long purple weave — and figuratively, having spent years under the thumb of her stage-momager (Minnie Driver) and the expectations of a record label who wants her “ass up” rather than singing lyrical poetry. Before she can engineer a permanent escape, she’s rescued by Kaz (Nate Parker), a cop and aspiring politician who yanks her to safety; the two spend the rest of the film slowly uncovering the real woman at the center of the hype.

At the time, Prince-Bythewood was being pressured by the studio to cast a “real” pop star in the role of Noni, which required heavy choreography and a serious set of vocal chords. But she was adamant about Gugu Mbatha-Raw, at the time a newcomer who’d mostly done theater and small film and TV roles. Watching the film years later, it’s hard to picture anyone else pulling off Noni’s combination of raw talent and soul-deep sadness. Mbatha-Raw makes Noni feel both believable as a luminous fledgling superstar and as a profoundly depressed person who can’t see any way out but down. Now, Mbatha-Raw is a superstar in her own right — she’s starred in Black Mirror’s smash-hit “San Junipero,” Ava Duvernay’s A Wrinkle in Time, beloved indie sci-fi Fast Color, and in the upcoming Misbehaviour, a film about the first Black woman to be crowned Miss World, out September 25. Mbatha-Raw FaceTimed us ahead of Misbehaviour’s release to reminisce about the pop-star training Prince-Bythewood put her through, hanging off that Sofitel balcony, and her own experiences with the dark side of fame.

Where are you right now?
I’m in Atlanta. I’m filming here, for work — Loki the Disney+ series. We just restarted a few weeks ago.

I love Beyond the Lights so much. What do you remember about where you were in your life around the time of filming?
Let me cast my mind back … I remember when I first read the script, it was probably 2011. It was around the time that I was doing the premiere for my first film, Larry Crowne, with Tom Hanks and Julia Roberts — the first film I did in America. And I remember reading the script about this pop star, and I was like, Ooh, wouldn’t that be cool, to play a pop star! I had a couple of auditions with Gina Prince-Bythewood; we did a really intense scene, the “breakup” scene with the mother, played by Minnie Driver. And I did another chemistry reading with Nate Parker, who wasn’t necessarily going to be in the film at that point. He just came in to read, just because he knew Gina. And then I found out I got the part.

But it was a journey, because the film wasn’t fully financed. At that time, one of the studios, I think it was Sony, wasn’t sure about me. I think they liked the idea of a Beyoncé or a Rihanna — a real pop star playing a pop star. And Gina was like, “That’s not the point! The film is about the transformation. It’s about an artist, and the misogyny in the music industry. A woman learning to find her voice. If we know an established pop star who’s already found their voice, it doesn’t have the same emotional impact. “

So Gina was incredible. She stuck by me when she could have gone with a big star. And so we went about making a teaser for the film, a short film, that sort of sold the whole thing — a sizzle reel with a few dance and singing scenes. We’d just done that and we were waiting to hear about financing, and I found out I was going to shoot Belle. So I was like, “Okay, Gina! I really want to do Blackbird — that’s what [Beyond the Lights] was called at the time — [but I want] to shoot this period drama. So I just have to pop to London. I’ll be back!” I went to shoot Belle around October 2012, and then a year later, we were shooting Beyond the Lights. It was a mad, mad time, and I remember filming the scene, hanging off the balcony at the Sofitel in Beverly Hills, and that weekend, I had to then go to the Toronto Film Festival for the world premiere of Belle. Then I came back and finished Beyond the Lights. I’ve never worked so hard in my life. [Laughs.] It was such a whirlwind.

What sort of prep did Gina have you do to become a convincingly massive pop star?
Before filming, Gina put me through my paces with this choreographer, Laurieann Gibson, who was Lady Gaga’s original creative director, and working with the Dream, the producer, who did so many songs for Beyoncé and Rihanna early on.

Did she ever tell you why she had this unshakeable faith that you’d be able to pull it all off?
You have to ask her! I don’t know! I know that when I originally auditioned for the part, the character was an American, and I auditioned in an American accent, which I thought was kind of cool. And as we spent more time hanging out and researching — we went backstage at the Grammys the year Adele won, I saw Nicki Minaj swooping down a corridor like Little Red Riding Hood, and seeing Adele getting her nose powdered in her dressing room. I think the more time Gina spent with me, she’s like, “Maybe it’d be more interesting if this character was British! We have so many American pop stars: Alicia Keys, Beyoncé. To have a pop star that is British, that’s not associated with imitating one of those American divas, would be more original.”

What was the most surprising or tough part about the pop-star training?
Gina would probably say tapping into the narcissism of working in front of a mirror all the time. I wasn’t used to dancing in front of a mirror in a hyper-sexualized way — when you’re in the dance studio and you have to look yourself in the eye. It’s a persona. It really is a persona. And I’d just start giggling, like, “I can’t take myself seriously!” And some of the choreography — Laurieann would be pushing me to make it more ratchet, or whatever. And I was like, “I don’t know what you’re talking about!” [Laughs.] I mean, I did know, but I guess it was just unlocking that energy, that fierce sexual energy in a room full of people in front of a mirror. I’d sung musical theater before, but singing in that style is so different. And working with a music producer — the hours they keep, a lot of late-night studio sessions, whereas when you’re filming, the discipline of those early calls are very different to music hours.

What was the initial chemistry read [between Noni and Kaz] like?
Nate is a great actor. He has that sort of grounded intensity. He’d already worked with Gina on Secret Life of Bees, so they had a shorthand. Gina set us up on all sorts of research things. We went on a date to Disneyland in character. I think she wanted to help us build [the relationship]. She also had us go on a lunch date in character, and she basically sprung these paparazzi on us, out of nowhere. It was a whole scene. We had to exit through the kitchen of the restaurant, and get in the car — it was very much something that Noni would have gone through, and how she would have dealt with it.

Gina is so smart. Enriching us with these unscripted experiences where you go, “My God, how would my character react in this moment?” To have that time together that isn’t just sitting around a table, looking at a script — it’s not cerebral. It puts you in the situation.

Was it awkward to sit at lunch with a total stranger in character like that?
It’s no more awkward than sitting with a complete stranger [out of character], I guess. At least you have the veneer of a character to hide behind. It forces you to build a backstory. So you’ve got that to hang onto. We deeply trusted Gina, and wanted to have a process. It’s so rare to have a process like that with a director. And Gina would always want to know what I needed to build the character. I was writing my own songs, my own poetry. She was like, “What are you writing? Can we put that in the movie? Can we put that in Noni’s shoebox of lyrics?”

Have you and Nate kept in touch? You’ve obviously had very different trajectories. [Editor’s Note: In 1999, Nate Parker was accused of rape and later acquitted. It had been a matter of public record for years, but the case entered the spotlight 2016, around the premiere of Parker’s film Birth of Nation.]
I haven’t really seen him for quite a long time. We had emailed about a project a few months ago, but beyond that, no. I haven’t really seen him.

What do you remember about filming that first scene hanging off the balcony, with Nate and Minnie?
In my mind it was always like the scene from Titanic. You know, where Rose is hanging off the edge of the boat, and Jack [saves her]? I always envisioned it as a transformational moment. God, it was like 4 o’clock in the morning. You’ve got all of these stunt rigs. But I really did it. There was a stunt double who did the actual fall, but I was hanging there with a wire.

So you were really at that hotel, hanging off that balcony? No green screen?
Yeah! No green screen. On a wire, with a harness under my miniskirt.

That’s a little terrifying!
I don’t know, maybe it is! I wasn’t scared at the time. It wasn’t as many floors up as it looked. But it was up there.

I read somewhere that Gina had you prepare by reading about other artists from the past. Who specifically did she have you research?
I think suicide and the idea of writing a story that was about someone who thought that was their only way out — that was very important to Gina. She had a family member who had been in that situation and she wanted to sort of turn it around. There was an amazing book about Judy Garland and her relationship with her mother, which was really interesting and dark and weird. To get the momager energy and how it can be a weird relationship — once the child becomes a breadwinner and the mom becomes a business partner, it can easily get toxic. And this great biography of Marilyn Monroe, and how she would be her. The idea of being her. Of knowing when to turn it on — that hyper-sexualized persona that you knew everyone came to see, and wanted from you, even though it wasn’t all there was to you.

I noticed that on a rewatch — in that first sex scene on the plane — you’re playing Noni as how she thinks Kaz wants to see her, this sort of hyper-sexualized performer. But the second scene is much more natural. How did you work out that difference in tone with Gina?
We talked a lot about armor. The purple hair. We talked a lot about Prince, and the color purple being this very particular energy. The idea of having the nails, and the clothes, and the chains — the literal chains. She’s wearing a dress made of chains! And how that armor actually is designed to sort of attract attention, but also designed to keep people away from the real you. And I think it was really that journey to stripping out the makeup, cutting out the weave, the nails going — this image that’s made her who she is, the construction that’s suffocating here. And finding the vulnerability of someone used to having this armor, not being totally comfortable in their own skin. There’s a fragility and a tenderness once they go to Mexico, and everything is stripped away.

Which of those outfits was the most uncomfortable?
The white latex! Just getting the latex on, the powdering. Not glamorous at all. The worst.

What kinds of conversations did you have with Minnie about her character? By the end of the film, they’re not speaking. Did you see her as a villain, or was it more complex than that?
No, and I think that was the great thing about Minnie. She really went for it. And seeing the context of Noni as a little girl, with this single mother, and the ferocity with which she’s put her daughter forward, living vicariously through her. It’s sad, but you see it all the time, where parents who have this amazingly talented child, and maybe their lives didn’t work out how they had hoped. I think Minnie played it so brilliantly. She was a young mother, and sometimes there was more of a sisterly vibe, but then she comes out with this serpent-like publicist vibe. It’s all from love. But it becomes toxic.

You weren’t as well-known then as you are now, but I’m curious if, these years later, you relate to that idea of having a public self and a private self, and keeping them separate.
Yeah. I think everybody does, to a degree. I certainly don’t have as dramatically different private and public images as Noni does. That’s what I was always relieved about as an actor. You can take the character off. The tricky thing with music artists is they are playing a role, but people don’t believe they are. People think Beyoncé is Beyoncé is Beyoncé. They don’t necessarily understand. It made me very relieved to be an actor.

Did you and Gina discuss how you both felt about fame more generally? It feels in a lot of ways like the film is suggesting fame can be quite toxic, or at least a certain type of fame.
I think the message is more uplifting than that. I think it’s about finding your voice, literally. Fighting for your authenticity. It’s hard, because a lot of these pop stars are shaped by a record label. Their image is very carefully controlled at a point when they’re just raw material, and don’t necessarily have the power to say, “Hey, no I don’t want to look like that. I don’t want the photo shoot to go in that direction.” I think it’s more about artistic ownership and artistic integrity than it is saying that all fame is bad.

The photo shoot scene, where she’s pressured to take her top off, is very sad and I think very representative of what happens in the industry, especially to young women. Early in your career did you ever find yourself in that sort of scenario, where you were being pushed in a direction you weren’t really comfortable with?
I have to say, thankfully, I’ve always had a very protective team, and I’ve never felt, you know, compromised in that way. I’ve always been quite clear about what I will and won’t wear on photo shoots, and I’m not afraid to express what I feel comfortable with.

The karaoke scene in Mexico is really beautiful. You’re crying and singing at the same time. How did you get into that headspace, where you’re able to sob but also give a really great vocal performance?
We were in this bar all day, wherever it was. I remember Gina saying, “In this scene, it’s no makeup.” And not TV/movie “no makeup,” where they put on a little concealer and mascara, and it looks like no makeup, and it’s “no makeup.” This was No Makeup. I was like, “Great! That’s fine!” That scene was so stripped back, to be symbolic of that raw energy, the rawness of her revealing this Nina Simone song and using that song to tap into something really deep.

It was an intense day, but a good day. I suppose I was thinking about the lyrics of “Blackbird.” “Why you wanna fly, blackbird? You ain’t never gonna fly.” I took it back to her mother-daughter relationship. The song for her was about going back to the mom who, in that way, wasn’t able to hold her.

There’s a central thread about Noni’s hair in the film: in the first scene, Noni’s mom brings her to a Black hair salon, sort of frantic, not knowing how to do her hair. Later her weave plays this big role in her character, like you said, as a sort of armor, and then she sheds it and wears her natural hair when she’s more comfortable with herself. I’m curious what your own experience has been like as a woman of color in a predominantly white industry — have you found yourself pressured to wear it a certain way, or in situations where white people don’t know how to properly style it?
Not in the stuff that I’ve done in the U.K. But when I first came to America, I think the glam of American television — the first show that I did was much more of a glossy aesthetic than anything I’d done in the U.K. The idea that you’d spend so long in hair and makeup was kind of a shock to the system. I think initially, people would try and straighten my hair, or straighten it and then curl it again, and I’d think, This doesn’t make any sense! My hair’s already curly. Why are we spending hours doing this, to put it into a more “manageable” — read, more Caucasian — texture, just so somebody can feel more comfortable re-curling it?

I was more puzzled than upset. I was like, I guess this is how they do things in America. I’d been here five minutes. I didn’t feel like I had the power to say anything. I was quite open to the experience, until my hair started getting damaged, and I was like, “Do we really need to do this?” After a couple more experiences where I was like, “Yeah, my hair doesn’t need to be straightened just because that’s what this hairdresser is comfortable with, or this producer finds aesthetically pleasing — I can have some say in what my character looks like, because it’s me playing her.” That took some confidence and experience. I think when you’re in a new culture, again, you want to try and find out the lie of the land before you fully assert yourself. You want to make sure — you don’t want to be seen as being difficult.

And I love transformation. I don’t want to get stuck looking the same in every role. So I’m open to things. But you have to draw a line if it comes to actually damaging your hair, or if it feels like those decisions are coming from ignorance. Nowadays I wear my hair natural all the time and I think people are much more aware of how to work with different hair types. And If they don’t know, they can do a YouTube tutorial. It’s not some great mystery.

How did this movie alter the course of your life?
For me and for a lot of people, it altered people’s perceptions of what I’m capable of. Because there’s such a range within the role, the glamorous and then the really raw emotional stuff. For me, that was kind of great, because it meant that I didn’t have to prove myself as much. People could just see that there was evidence of something I’d done in that sort of style, very different from Belle, which I’d just done. It gave me a bit more license to pursue being a chameleon. In the grand scheme of things, it’s hard to know what effect it’s had, but for me, a lot of people still talk to me about it. It’s a lot of people’s favorite romantic movie, and people watch it on Valentine’s Day, or are comforted by it. It’s really special that it’s continued to have an emotional pull for people.

This interview has been edited and condensed.

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Mbatha-Raw’s first lead film role, in a British period drama.

Entertainment

What Makes a Good Online Casino?

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A quick search for an online casino will reveal hundreds of results. However, these casinos are not created equally. Some are better than others in many ways. That’s why you cannot settle for the first option that catches your eye. You need to do thorough research to ensure you settle for a casino that will give you a better experience – and some good money in the process.

So, what makes a good online casino?

The truth is that there are many reputable casinos online – and new ones keep popping up with each passing day. But the few bad ones spoil the name for the others. These casinos scam people. They are eager to make deposits but not keen to give players their money back, pay their affiliates, or even stick to their terms and conditions. These casinos – scam or rogue casinos – are exactly the types you want to avoid.

Unfortunately, most of these rogue casinos disguise as good ones. You might have a hard time telling them apart, especially if you are just getting started. To help you make an informed decision, here are some qualities that make a good online casino.

It does not feature in the blacklist

One of the easiest ways to tell a good casino from the bad ones is by looking at different online casino blacklists. Different reputable platforms always release yearly blacklists to protect casino players from gambling scams online. They put bad casinos on a list for everyone to see and ensure no one signs up to any of those casinos in the future. Since these sites differ, chances are you won’t find the same casinos on every blacklist. But the fact that a casino makes the list means they have one or more of these problems:

  • Change terms
  • Predatory terms
  • Slow pay
  • Unfair games
  • Nonpayment
  • Marketing spam
  • Licensing and regulation

Choice of games

As a player, you’ll appreciate the choice of picking whichever game pleases you. That’s why you need a casino that offers more games. Browse around to find the casino games that the provider offers to see if it’s a good fit.

It’s fair, secure, and serious

As you may have noticed from above, many casinos end up on the blacklist for many reasons, including unfairness and security issues. Good online casinos use random number generator that determines the chances of winning. On top of that, they work with third parties to check the fairness of games. What’s more, these casinos display various certificates on their platforms, giving you further assurance that things are conducted fairly.

Has good customer service

You can tell a good casino by how their customer support team treats you when you send a request or inquire about something. They will be willing and happy to serve you. they will also have adequate knowledge to address your concerns and be available 24/7.

Accept your payment methods

A good casino accepts a wide range of payment options, ranging from online payment options to instant bank transfers and even credit card solutions. This allows you to use your preferred payment method and not feel locked out. Stay away from sites that provide limited payment options. Some of them fail to get approved by payment platforms, which by itself is a red flag.

Has a bonus offer

It’s easy to assume bonus offers and other incentives, especially if you are new to the game. However, you should work with a casino that provides a consistent bonus offer and not just a good welcome offer. You’ll need these bonuses even as an existing client. Moreover, the site should provide promotions without deposit, reload offers, and many free spins. Don’t feel limited. Many casino sites offer these bonuses, and if the one in question doesn’t, you might as well keep looking.

Free games and easy registration

As a newbie, the last thing you want is to sign up with a casino that doesn’t provide free games. You need to practice without having to deposit money or fear that you’ll lose money. Free games allow you to practice and be good before playing real money. Additionally, the casino should have a simple registration and easy account opening process. If it’s too complicated, then maybe it’s not the right casino for you.

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How Las Vegas became the world’s casino capital

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These days, it’s impossible to think of Las Vegas without the image of the lights on the strip and glamorous casinos coming to mind. But the Vegas we know of 2020 wasn’t always that way; and it took a long, long time to get its reputation for being the world’s casino capital. Let’s take a trip down memory lane and get to the root of how Las Vegas became the city that never sleeps.

A historical journey

It’s hard to believe these days, but the Las Vegas region was once an abundant marshland stock full of rich vegetation. That is, until the marsh receded, and the waters disappeared, transforming the landscape into a desert, with the trapped water underground sprouting life and forming an oasis.

It was during the 19th century that the explorer Antonio Armijo from Mexico foraged the way from New Mexico to California on the first commercial caravan. It was a member of the group, Rafael Rivera who rode west to find water and venture through the desert, setting his eyes upon Las Vegas Springs. Las Vegas was therefore named ‘the meadows’ after the grasses found growing there.

Years went on and both Mormon and Mexican settlers began to filter through. In 1890 it was decided by railroad developers that Las Vegas would serve as a spot along the San Pedro, Salt Lake City and Los Angeles railroad route as well as connecting to major cities along the Pacific Coast. From there on, Vegas boomed with stores, boarding houses and saloons popping up around the area. This was the beginning of the Las Vegas as we know it — with railroad workers and ranchers enjoying the gambling and drinking through illegal speakeasies and bootleg casinos operating despite the ban on gambling in Nevada in 1910.

In 1931 gambling once again became legal in the state, with new casinos and showgirl venues opening up along Fremont Street to entertain the thousands of workers who flocked the city during the construction of the Hoover Dam. The first hotel, El Rancho Vegas, opened up in 1941 along Highway 91. Its success inspired others to open up their own hotels along the highway which would one day become the strip. Tourists began to flock to the city over the next few decades to enjoy the casino scene and see incredible artists like Elvis Presley and Frank Sinatra perform.

The birth of the mega resort

It was in 1966 the businessman Howard Hughes purchased the Desert Inn hotel; this was followed by over a dozen more hotel purchases, pushing out the mobster-owned hotels that had previously dominated Las Vegas. The concept of the mega hotel came about in 1989 when Steve Wynn opened the Mirage as the first hotel resort in the city. By 1994, Las Vegas was the home of more than 86,000 hotel and motel rooms with 13 of the 20 largest mega resort hotels in the world. It was during this era that the Strip became populated with more hotels and casinos, with developments inspired by the iconic cities and countries of the globe including Egypt, Paris, New York and Rome.

Las Vegas in the 21st century

The Las Vegas of today is well and truly established as a home for entertainment and casinos — which remain the biggest source of income for the city. However, there’s no doubt that Vegas faces more competition than ever before from the virtual world, with more people than ever before opting to play at an online casino, rather than play in the old fashioned way, but Vegas will always have the advantage. For many, it’s a once in a lifetime trip that an online casino can’t replicate, but do the online equivalents help to increase interest in Vegas?

The bright lights of Vegas is attracting billions of dollars in investment as many try and get a slice of the revenue that the sector has to offer. During 2019 over 42.52 million people came to visit Las Vegas from all around the world. Domestically, it was shown to be the second most popular destination for U.S. traveller’s dream spots after New York.

These days, Las Vegas continues to thrive and be a source of entertainment for millions of visitors from around the world looking to experience what the city has to offer. With new generations becoming interested in casino games — and some incredible musical residencies continuing to be announced — Las Vegas surely will continue to be one best places to go for a unforgettable dream destination for many.

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Land-Based Casinos

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What can people find at some of the biggest land-based casinos in Canada? From Niagara Falls to Toronto, there is something for everyone at casinos in Canada, including table games, slots, roulette, blackjack, and other games. There are also many poker and blackjack tournaments held throughout the year and it is easy to find jackpots or slots with free spins at the casinos. Many casinos also have hotels, bars, and numerous restaurants which are perfect for players seeking some comfort. A relaxing casino experience for all ages can be found in many different places in Canada. Choose one from below.

Choosing a casino depends on your tastes and location within Canada. Do you want to experience the grandeur and splendour of nature while placing a bet? Then head to Niagara Falls. Do you want to see a show? Choose a casino with a show that will be perfect for you. If you are looking for pure relaxation, then check out some of the casinos with spas and world-class dining. Entertainment is also a large part of the casino experience in Canada. Musicians, bands, comedians, and other types of entertainment continue to be found at all of the biggest casinos.

Some Big Casinos Near Nature

Casino Niagara is located in one of the most beautiful places in Canada and the world. People from all around the globe come to experience the best of both worlds at Casino Niagara. Players have access to beauty and scenery while spending time at one of the biggest casinos in Canada. The casino has two floors with over 1200 slot machines, poker, and other table games. There are also many different restaurants and even a comedy club. The sports bar and casino was refurbished back in 2017, meaning that it has not lost any of its charm and shine.

ST Eugene Golf Resort: Casino of the Rockies is a golf and nature lovers’ paradise. The location could not be any more splendid. People can find the casino between the Rockies and Purcell Mountains. Furthermore, the casino has an interesting history after it was converted from an Indian Residential School. It was then opened in the early 2000s. St Eugene has table games, electronic roulette, baccarat, and blackjack. There is also a golf course, restaurant, bar, spa, and hotel that is highly rated in Canada. Overall games are limited so most people come for golfing and betting fun.

Caesars Windsor is famously located on the riverbank in Windsor, Ontario. Visitors from both Canada and the States frequent the casino and hotel. Players can see the Detroit and Michigan skyline from the area. There are two floors of slots, table games, and plenty of poker tables. Blackjack, baccarat, and roulette are also available at the casino. It has beautiful restaurants, a gym, bars, slots, and live sports. Check out the Titan 360™, a 10-foot tall slot machine with 5800 pounds of wins at the click of a button. It’s the largest slot machine in the world and great fun.

  • Enjoy the size of Casino de Montreal and Hard Rock Casino
  • Enjoy the big and beautiful Casino Niagara or ST Eugene Golf Resort
  • Enjoy High Culture at Elements Casino Brantford

River Rock Casino Resort – In Transit

Are you passing through Vancouver Airport and have a long transit? Hire a cab and spend some time enjoying slot machines at River Rock Casino Resort. There are slots galore and the different themes make it an enjoyable visit for all. There is even a Dungeons and Dragons slot for gamers. A fourteen-table game room can be found at the casino and international poker tournaments are held regularly. Other features include a VIP area, spa, live music, 24-hour food and drink, as well as other entertainment. Richmond is also worth a quick visit, especially for some delicious seafood.

Casino de Montreal – The Big Gun

Casino de Montreal is 526,488 square feet of casino excitement. The casino has around 20 thousand visitors each day and is one of the biggest casinos on the globe. If you are still unconvinced about the size of the place, then imagine five floors of slots and table games. 3,000 machines and 111 table games make the casino seem even more mammoth. Casino de Montreal games can be played in a smoke-free environment and many players comment on the user-friendly games and helpful staff. Complimentary drinks and top-rated gourmet food is all part of the experience at Casino de Montreal.

Hard Rock Casino – Another Big One

Hard Rock Casino is another large casino located in Vancouver, British Columbia. The casino is over 80,000 square feet, making it a big one in Canada. Hard Rock has gaming tables, slots, baccarat and a poker room. The casino includes 70 casino tables and 1,000 slots. Private rooms and high roller areas are also available. However, the Hard Rock name is known for excellent food and this is what people love about this casino. Many players comment on the quality of the food here. It even has a 1,000 seat theatre, making it great for dining and a show.

Elements Casino Brantford – Enjoy High Culture

Elements Casino Brantford is a historical gem for culture in Ontario. It is a charity casino that was established last century. It includes the Sanderson Centre for the Performing Arts, which is a high society entertainment venue in Ontario. The centre is well known to performing arts enthusiasts in Ontario and Canada. Players come to see a show, enjoy some gourmet food and a game. The casino also has plenty of slots, table games, blackjack, baccarat, sic bo, three card poker, roulette, and other games. There is also a 14-table Texas Hold ‘Em poker room. Enjoy all the excitement.

River Cree Resort and Casino – Sports Lovers

River Cree Resort and Casino is a sport and gaming venue located in Edmonton that should not be overlooked. It has 39 tables of various money limits and over 1,000 slots. There are also a few different places to dine while enjoying a bet and other things to experience. There is a fitness centre, spa and a 200 room resort. However, the most interesting feature of this casino is the two hockey rinks, which are often used by the Edmonton Oilers for practice. It is possible to watch the team practice and go for a meal and some gaming fun.

For the ones who fancy playing online we recomend visiting canadiancasino.org!

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