Gambler from Florida bets $1.50 on slot — then hits jackpot at Las Vegas casino
A Florida gambler hit a jackpot at a Las Vegas casino with a small bet.
Now the player is more than $18,000 richer.
The guest sat at a Quick Hit Link slot machine at Binion's Gambling Hall & Hotel, the casino said in a June 23 post on X, formerly known as Twitter.
The visitor bet $1.50, hit spin and watched as the symbols flashed across the screen until a jackpot message appeared.
The gambler won $18,165.91.
'We've got another major winner at Binion's to share with you!' the casino said in the post.
Another gambler won a big slot machine jackpot at the same casino earlier this month.
This player from Hawaii bet 80 cents on a Regal Link slot and won more than $19,000, McClatchy News reported.
Binion's Gambling Hall & Hotel is in downtown Las Vegas, and it's part of the Fremont Street Experience.
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Time Magazine
4 hours ago
- Time Magazine
Eva Victor on Finding a New Vocabulary for Trauma in 'Sorry, Baby'
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Enter Eva Victor, whose feature debut, Sorry, Baby, premiered at Sundance earlier this year to hosannas (including a screenwriting prize) and sold to A24 for a reported $8 million at a festival where buyers weren't shelling out for much. Chief among its praises was that the movie depicts the utterly life-change effect of sexual violence on a victim while simultaneously depicting how the world continues to turn, inexorably, after they've been attacked. 'Something bad happened to Agnes,' reads the official synopsis. 'But life goes on - for everyone around her, at least.' Victor's background as a writer for sites like Reductress, and perhaps especially their Twitter video sketches (where they frantically rant about, for instance, the bright side of the USPS getting dismantled), inform the tone of Sorry, Baby. The humor comes easily but not at the expense of the somber reality it attempts to capture. Apart from writing and directing, Victor plays the lead, Agnes, a grad student in a small, rural town trudging through her days, coming to terms with an assault she endured by her advisor and professor, Preston (Louis Cancelmi); the film takes a chronologically disordered structure, beginning a year after the attack, then flashing back to that time in her life, and to that moment, orchestrated with a chilling sense of distance—a contrast to bubblier moments between Agnes and her best friend, Lydie (Naomi Ackie), who has since moved to New York City, and on with her life. Sorry, Baby doesn't make light of what happens to Agnes. Rather it finds lightness in spite of it. Here, humor—sardonic, wry, and silly—is a balm. Since its Sundance debut, the film has played many festivals, from Cannes to Independent Film Festival Boston, which picked Sorry, Baby as the capstone for this year's edition of the fest. (The film's production took place 30 miles north of the city, in the coastal town of Ipswich, though Victor's buzz was just as much the reason for attending the fest's closing night as their choice in shooting locations.) While in town for the April festival, Victor sat down to talk about how Sorry, Baby leans on comedy to express the experience of living post-assault. Excerpts of that conversation are below, ahead of the movie's June 27 theatrical release. Victor: Totally. It's interesting, because I think of Agnes as very isolated, which is in some ways the opposite of privacy; isolation is being alone, not by choice, but because you're running from something, like your fear that people will devastate you, and so you make yourself lonely for that reason. Whereas privacy is you saying, 'I've chosen to give myself this time as an act of care for myself.' I do think that as an artist, I crave privacy because that is when you get to really check in with yourself. It's really hard to check in with yourself when you're surrounded by voices, and people. There are conscious things and subconscious things in the film that people are telling me about that are interesting, but I think Agnes is maybe on the dark side of that coin. There's very little people are pointing out in terms of threads in the film that I didn't plan. Because you spend so much time working on every element of the film, there's nothing you see on screen that's not been thought out, or tried a different way; everything you see is a choice. I can explain to you why every single thing exists in the film as it does. The thing I find really exciting is when people notice threads in the film that were more intense in the script, but had to get cut down for different reasons. I love a watcher who sees those little things, and pulls out little secrets that are in the film–but I can't tell you [what they are] because someone will have to watch it to see them. But I do like when people watch with a curious eye about why certain things are happening at certain points in the film; there are little secrets along the way. So much of the joy of making a film is you do your part in creating the film as well as you can to be as effective as possible for you, and then people come to it and find what they need to find in it. That's the joy of being a moviegoer: you get to take from a film what you want. It exists to be something for different people, and to exist in these really specific ways based on what you're coming in with. In terms of humor, it's a really powerful coping mechanism, and it gets you through really dark days. Things are so bizarre and absurd sometimes that laughing is the only way through, and I do think a lot of the funny stuff happens when Agnes and Lydie are able to be witnesses together. Things are a little less funny when Lydie's not there, but when Lydie's there, they're this united front; they're kind of like warriors in this thing together, in this weird world. I think the reason the doctor scene, without giving too much away, lands is because both Agnes and Lydie are contending with how absurd the moment is, but they have each other. On some level, if Lydie's there, you know that Agnes will be okay. Yeah. And, when Agnes is alone, these two women are creating a real gaslighting energy, and she has no one to convene with and say, 'That was weird, right?' She's completely alone, and these women are so unified. Building the tone after the middle of the film was about figuring out how humor moves through that. There's the doctor scene, which does have some humor to it; then the HR scene, which is her by herself, gets a lot darker. And then she runs into Gavin, played by Lucas Hedges, and then there's comedy in that scene because of the absurdity of Agnes coming in really hot and Gavin being this whimsical neighbor. So, it's about finding ways for the humor to go through these waxing and waning moments in the film, and taking the audience along for that journey. Watching this made me think about the way media sensationalizes trauma. [The film] is holistic in the sense that Agnes' life is shaped by what happens to her, but it isn't the entire movie; we aren't forcibly living in that sensation the entire time. I wonder if you feel that we need to develop our language to talk about that theme. Totally. I only know how to talk about my experience with this film, but it's really interesting; the film does a deliberate job at giving you the language it wants to use. The film calls it the 'bad thing,' and the only person who says the word 'rape' is the doctor. So the film is carefully moving through the language of that topic, and it's interesting reading the way people write about the film so far, because we deliberately have a log line that's meant to be more holistic. I don't want anyone to feel surprised in a scary way seeing the film, but it's meant to hold one's hand while watching it, and it's interesting having writers use the word 'rape' or use the phrase 'sexual assault,' which makes sense; I understand. But it's a really interesting experience, since the film tries to create its own language for this topic. I don't know if our world has all the words it needs to talk about this, and I think our world really has trouble with nuance. It's good that there's more work about this, because every experience of sexual trauma is different, and everyone deserves a voice in speaking about their own experience; I hope that we get to a place where we understand how to talk about it without it being crass, or maybe not crass, but violent. 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