Special thanks to Fon Lum at creative2u.com for designing the incredible cover for The SHOWGIRL. You captured the essence of Janice—the glamour and the danger she can’t escape.
I first read Beat the Dealer in the 1980s and spent many hours practicing the indexing system detailed in Thorp’s groundbreaking book. The same system used by Ronnie and Marvin in The Showgirl was something I once lived and breathed. Jim’s endgame strategy was inspired by a character from Thorp’s world—“the Salmon”—so named by casino bosses who believed he was always swimming upstream.
Special thanks to Michelle and the entire crew at Hogs & Heifers for allowing their legendary bar to serve as the setting for Janice and Marie’s impromptu show. Though the saloon didn’t officially open until 2005, its energy and spirit were just too perfect to resist.
In 1980, Hallelujah Hollywood was one of the premier production shows at the MGM Grand. Unlike later revues, it was not a topless show. That approach changed with Donn Arden’s Jubilee, which introduced the now-iconic two-show format, with the later performance featuring a more risqué presentation. Hallelujah Hollywood was chosen as a backdrop in The Showgirl not only for its historical accuracy, but for the spectacle, innocence, and glamour it captured during a very specific moment in Las Vegas entertainment history.
The real MGM fire broke out at 7:31 a.m., but in The Showgirl, the timeline was shifted to the early morning hours for dramatic effect. The tragedy remains one of the darkest days in Vegas history, and I approached it with the weight it deserves.
Latisha’s voice was inspired by the soulful sound of Judy Boucher. Her music played a role in shaping the rhythm and tone of Latisha’s dialogue.
The blackjack game in Chapter 10 was no gimmick. I ran simulations to determine the actual outcome of Janice’s pivotal bet. In a very real sense, her fate was in the cards.