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However, before he could even board the first cruise, Grant was told that he would not be able to proceed onboard. Grant had his son and partner along with him. The company only then went to inform Grant that he had been placed on a “no sail” list, effectively a ban, because of “breaking the house rules” in the casino.
Royal Caribbean informed Grant that he had broken various casino rules. While Grant filed a legal action against Royal Caribbean with the Queensland Civil and Administrative Tribunal, he has enjoyed qualified success so far.
Grant is suing the company to reimburse him for the AUD 22,000 he is owed. However, his case was at first shot down. Grant, however, appealed the decision and saw the court agree that it qualified as a consumer-trader dispute.
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The artifacts also include a 1966 cocktail waitress uniform, a Cleopatra costume and headdresses from opening events, a Tom Jones show program from 1971, Caesars Palace Grand Prix posters, and an old high-stakes slot machine.
The statue now stands, bargeless, mounted on a red-striped pedestal flanked by golden sphinxes.
Cleopatra’s Barge opened in September 1970 in what is now the Nobu Hotel tower, replacing the earlier Nero’s Nook lounge. The 180-seat lounge featured as its centerpiece a “floating” stage designed as a replica of the vessel aboard which the Egyptian queen is said to have bewitched Mark Antony.
The pleasure craft, installed in a shallow lagoon, featured a gold-painted, topless figurehead that extended far into the public walkway. Guests quickly turned rubbing the statue’s golden breasts for luck into a classic Vegas tradition; staff regularly repainted the most-touched areas.
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“A jackpot engine is a rare product in that you can brand that engine and it will sit across all of your content,” Wilson says. “As an operator, you might have 50 different game suppliers. On every single game that you’re serving, you can show a branded jackpot.”
That is the gap Splash Tech solves: many operators already have strong game libraries, and some have proprietary content, but they lack a flexible jackpot layer that can sit across the full offering without requiring them to build and operate their own engine.
That supplier-agnostic design matters because operators do not organise their businesses around the interests of one studio. They assemble portfolios from multiple providers and need tools capable of working across the resulting patchwork. Splash Tech’s engine can also extend beyond slots to points of sale including sportsbook bet slips, lottery and bingo.
