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“This decision has not been made lightly and our immediate priority is to support those of our colleagues who may be impacted through this transition.”

Earlier this year, Entain reported it would be cutting 500 roles globally across operations and its central functions, it insisted it was not a reaction to the earlier increase in RGD, but rather part of new CFO Michael Snape’s restructuring and cost cutting exercise.

Entain said at the time: “As part of our ongoing focus on enhancing Entain’s operational efficiency and agility, we have begun implementing organisational changes which will regrettably impact a number of roles across the group over the months ahead.”  

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The laughter was not polite or ironic. It was the roar of an audience genuinely doubling over.

Humor is inherently subjective, but the only plausible reason to dismiss Carrot Top after seeing his show live isn’t a distaste for kitsch—it’s being easily offended.

Carrot Top deserves credit not only for his sharp punchlines, but for never growing bitter about becoming a punchline himself. He has always leaned into the jokes made at his expense. That self-awareness is precisely why his cameo in the end-credits photo collage of The Hangover landed so brilliantly.

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Lower barriers to entry could significantly widen the pool of potential game creators. Curwen sees opportunities not only for established and emerging studios, but for operators, suppliers, entrepreneurs and potentially entirely new entrants.

“The big change is that technology can increasingly provide the infrastructure,” he says. “The creator provides the idea. And I think that will make the industry much more interesting.”

For Yggdrasil, Game in a Box and Studio in a Box are therefore intended to become more than tools for its own development operation. Curwen envisages them supporting a wider creator ecosystem, although he acknowledges that proving the model commercially must come first.