Tilman Fertitta, the Texas billionaire behind Golden Nugget and Landry’s, is nearing a $5.7 billion takeover of Caesars Entertainment — a deal that would dramatically expand his footprint across casinos, hotels, and restaurants, according to Bloomberg.
The merger would unite Caesars’ gaming operations with Fertitta’s hospitality empire, which includes brands such as Mastro’s, Bubba Gump Shrimp, Rainforest Cafe, and several casino properties. Certain assets, including the Houston Rockets and some hotels, are expected to stay separate from the deal.
Bloomberg reports that Fertitta, 68, began working in his family’s seafood business in Galveston before building Landry’s into one of the country’s largest hospitality companies. After weathering the Texas oil crash in the 1980s, he grew through aggressive acquisitions and entered the casino industry with the purchase of Golden Nugget in 2005.
Recognized for his hands-on leadership and lavish business style, Fertitta became a national media figure through CNBC’s Billion Dollar Buyer and later served as U.S. ambassador to Italy and San Marino under President Donald Trump.
Caesars would give Fertitta a larger presence on the Las Vegas Strip, something he has sought for years. He first attempted to acquire the company in 2018. More recently, he became Wynn Resorts’ largest shareholder after publicly criticizing the company’s direction.
Despite owning major casino and online betting businesses, Caesars has faced slowing Las Vegas demand, softer regional results, and increasing pressure from betting competitors including FanDuel and DraftKings.
Fertitta’s broader portfolio also includes hotels, luxury car dealerships, and entertainment venues. His personal assets reportedly include a 384-foot yacht and a Gulfstream G700 jet. The Houston Rockets, which he bought in 2017 for $2.2 billion, are now estimated to be worth about $5.5 billion.
Tyler Durden Thu, 05/28/2026 - 18:00Authored by Steve Watson via Modernity.news,
Actress Samaire Armstrong, known for her role in the hit series The O.C., stepped forward with a raw account of Hollywood’s entrenched discrimination. For years, she stayed silent as casting directors repeatedly rejected her for one reason: her race. When she couldn’t hold back any longer she broke that silence, revealing how merit has been sacrificed on the altar of identity politics.
That was five years ago. In the intervening time, Hollywood has doubled and tripled down on this momentum.
Armstrong explained, “Over the last 6 years, I’ve heard nonstop, ‘They’re not looking for white.’ — ‘They liked you, but you’re white.’ And, you know, I kept that to myself in silence…the pendulum has swung so far, you know, like, ‘We’re gonna fit this transgender character in here now that we’re PC.’ Natural, organic stories stopped being told.”
“You gotta wonder, what’s the point of acting school and putting this time into developing the craft if that doesn’t matter anymore?” Armstrong urged.
Her testimony, shared in a PragerU interview and amplified across platforms, underscores a troubling reality: Hollywood isn’t just leaning into diversity — it’s enforcing exclusion.
This isn’t one isolated voice. Armstrong’s experience reflects a broader industry shift where skin color determines opportunity more than skill, training, or audience appeal. In a country still majority white, the creative heart of American entertainment has turned against its foundational talent pool.
The Academy of Motion Picture Arts and Sciences formalized this bias with its “Representation and Inclusion Standards” for Best Picture eligibility. Starting with the 96th Oscars in 2024, films must meet at least two of four detailed standards, backed by a confidential Academy Inclusion Standards form (RAISE).
These rules prioritize “underrepresented” groups — defined to include women, racial or ethnic minorities, LGBTQ+ individuals, and the disabled or deaf — across every level of production.
Standard A: On-Screen Representation, Themes and Narratives
To qualify, a film needs at least one of these:
Standard B: Creative Leadership and Project Team
Standard C: Industry Access and Opportunities focuses on paid apprenticeships, internships, and training programs targeted at preferred demographics. Standard D: Audience Development requires multiple senior executives or consultants from underrepresented groups in marketing, publicity, and distribution.
These mandates didn’t emerge in a vacuum. They accelerated after 2020 amid corporate panic over social justice pressures. The Academy framed them as promoting “equitable representation” to reflect a “diverse global population.” In practice, they function as barriers against projects centered on white characters or led by white creatives in a nation where whites remain the demographic majority.
Iconic films from Hollywood’s golden eras would fail these tests. Casablanca, The Godfather, Saving Private Ryan, No Country for Old Men, or even Titanic in its original form wouldn’t check enough boxes. The rules don’t just encourage diversity — they penalize storytelling rooted in European-American cultural traditions or historical accuracy.
Armstrong didn’t arrive at her critique lightly. In her PragerU “Stories of Us” segment, she detailed the gradual erosion she witnessed. She acknowledged past imbalances — “Oscars were so white for decades” — but argued the correction overshot into absurdity. Natural character development and subtle narratives gave way to forced inserts and demographic engineering.
Organic tales of human struggle, ambition, love, and loss vanished under layers of ideological checklists.
This hits aspiring actors hard. Acting demands years of classes, auditions, rejections, and honing emotional range. When race becomes the deciding factor, that investment must feel pointless.
Reports from others in the industry echo her account. White actresses and actors describe similar experiences — agencies steering clients away from certain roles or auditions explicitly noting preferences for non-white performers. One parent recounted her son’s early acting opportunities drying up once “no whites” language appeared in casting calls. Families of talented young performers now face tough choices: pivot careers or accept systemic disadvantage.
Hollywood’s defense often falls back on “underrepresentation” statistics. Yet these ignore viewer preferences and box office realities. Audiences don’t reject diversity when it feels authentic; they reject pandering that prioritizes messaging over entertainment.
'This might actually be a good thing - but if you’re doing it to be tokenistic, it’s completely pointless!'
The Free Speech Nation panel discuss the Oscars’ new diversity and inclusivity rules.
🖥 GB News on YouTube https://t.co/Wa58gYGZwF pic.twitter.com/MLk5tcPb0c
When every ensemble requires a precise racial mix, every leadership team checks ethnicity boxes, storytelling suffers. Characters become mouthpieces. Plots twist to accommodate themes rather than emerging from genuine conflict.
The decline isn’t imaginary. Recent years delivered a string of high-budget disappointments: franchise entries laden with awkward diversity lectures, remakes that rewrite history for contemporary politics, and originals that feel like committee products rather than visionary works.
Studios chase Oscar validation and corporate ESG scores. Meeting Academy standards boosts awards chances and shields against activist boycotts. But it alienates core domestic audiences who simply want compelling stories. International markets sometimes reward spectacle over messaging, yet even there, fatigue sets in when quality plummets.
Compare this to earlier eras. Classic Hollywood produced universal stories — tales of redemption, heroism, romance, and tragedy — that transcended demographics. Directors cast the best actors for roles, not the best demographic fit. Writers explored human nature without mandatory identity arcs. The result was timeless cinema that still draws viewers decades later.
Today’s approach inverts that. “Natural, organic stories stopped being told,” as Armstrong noted. Scripts now insert transgender subplots or racial redemption arcs mechanically. Casting directors scan headshots for skin tone checkboxes first. This creates a chilling effect: white performers self-censor or exit, while others game the system.
The financial toll shows. Major releases flop despite massive marketing. Streaming catalogs fill with forgettable content. Independent and international films — less beholden to U.S. Academy rules — often outperform in authenticity and engagement. Asian cinema, in particular, thrives on merit-based casting and culturally grounded narratives without Western-style guilt.
This discrimination fits a larger pattern of institutional hostility toward majority populations in Western nations. Policies that punish success and reward grievance thrive in elite circles detached from everyday consequences. Hollywood, overwhelmingly coastal and progressive, embraced these ideas enthusiastically after 2016 and 2020.
Armstrong’s conservative leanings — including past support for Trump and criticism of certain activist movements — make her voice especially threatening to the establishment. Speaking out risks career suicide in an industry known for enforcing ideological conformity. Her decision to go public anyway highlights growing cracks in the silence.
Critics of the standards face accusations of racism for pointing out anti-white bias. Yet the rules themselves codify racial preference. In a just system, opportunity flows from talent, work ethic, and market demand. Forcing outcomes by skin color inverts justice — it becomes discrimination with extra steps.
Entertainment should unite through shared humanity, not fragment by mandated identity tallies. When government-adjacent entities like the Academy dictate creative output, art dies. Viewers sense the fraud and tune out.
Broader society feels the ripple effects. Young white talent redirects energy elsewhere — tech, trades, entrepreneurship — where merit still rules. Cultural confidence erodes when a nation’s primary storytelling medium treats its founding stock as obstacles. Families notice the pattern in commercials, shows, and films: white characters often portrayed as clueless, evil, or sidelined.
Change won’t come from within Hollywood’s echo chamber. It requires audience rebellion — supporting projects that prioritize story over quotas. Independent creators, YouTube filmmakers, and platforms free from legacy gatekeepers already fill voids. Success stories like certain unapologetic comedies or action films prove audiences crave competence and fun.
Some performers and executives quietly admit the problems. Box office data reinforces the point: preachy content underperforms. Global competition from industries unburdened by these rules grows fiercer.
Armstrong’s stand adds to a chorus demanding restoration of merit. Her call to “break the silence before it’s too late” urges others in the industry to prioritize truth over career preservation. If enough voices join, pressure could build against the Academy’s rules and studio practices.
Ultimately, Hollywood’s anti-white tilt reveals deeper contempt for its audience and heritage. By sidelining skilled performers, the industry doesn’t just harm individuals — it degrades the art form itself. Viewers deserve better than propaganda disguised as entertainment.
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Tyler Durden Thu, 05/28/2026 - 17:40