The Princess of Las Vegas

“It isn’t simply that discussing her actual death is a bit of a buzzkill; it would place me—Diana—in some strange, untenable purgatory. Am I speaking to my audience from beyond the grave, or am I but an impersonator? The former would be ridiculous, and the latter would take a wrecking ball to the theater’s fourth wall. I know most of the better sort of tribute entertainers in Vegas—even such also-rans as Blond Elvis and Tighty-Whitey Conway Twitty—and one of the things we who perform in homage to the dead (and to pay the rent) agree upon is this: if you’re bringing someone back to life for that person’s biggest fans, it’s bad for business to kill that soul in the third act.”

Crissy is often confused about where her personality begins and Diana’s personality and story end. Her deep commitment to her Diana impersonation highlights the theme of The Curse and Confusion of Celebrity. The juxtaposition of “purgatory” and “impersonator” emphasizes the liminal space Crissy occupies, where she straddles authenticity and artifice. The reference to the “fourth wall” blurs the line between reality and performance, reinforcing Crissy's struggle to define herself outside of her role. The playful but pointed inclusion of “Blond Elvis and Tighty-Whitey Conway Twitty” illustrates the tension between camp and reverence in Las Vegas impersonation culture.

“Yes, the Buckingham Palace casino had a British theme—it always felt to me sort of like the Excalibur meets Hogwarts, except much lower rent and a lot more secondhand smoke—but like every Vegas casino, the theme was mostly an architectural facade.”

Buckingham Palace Casino, a recurring motif that symbolizes The Healing Power of Family, leans into its campy and stereotypical theme. However, beneath that “architectural facade” is a safe refuge for Crissy that she will go to great lengths to keep and protect. The ironic tone in “lower rent” and “secondhand smoke” highlights the tension between the grandeur of the casino's theme and its gritty reality. This duality parallels Crissy’s life as a Diana impersonator, where the glamorous facade masks deeper struggles. The description of the casino as a facade also evokes the theme of appearances versus reality, underscoring the illusionary nature of both Las Vegas and Crissy's identity.

“She was jealous that Crissy was three time zones away from their childhood. Betsy craved that, too. She saw the possibilities inherent in putting that much geographic distance between herself and her adolescent muddles and missteps.”

The Dowling sisters had a traumatic childhood, and Betsy bears a rebellious reputation for her childhood misdeeds. Part of the reason she is so excited to move west with Frankie is because she views the move as a chance to reinvent herself. This desire for a fresh start prevents her from seeing how dangerous Frankie and Futurium truly are. The phrase “three time zones away” functions as both a literal and metaphorical distance, with the geographic separation representing Betsy's yearning to escape her past. The alliteration in “muddles and missteps” creates a sense of rhythm that mimics the cyclical nature of Betsy’s attempts at reinvention and failure.

“‘Doesn’t this seem like destiny?’ she went on. ‘I meet a guy and he’s moving to the city where my sister lives. Doesn’t it seem like fate to you?’

‘No. It seems like bad luck.’”

Betsy often has a romanticized view of the world and believes strongly in fate. Crissy, who is ironically the more realistic Dowling sister despite being a Las Vegas performer, believes more in luck. This exchange early in the novel conveys how different the two sisters are and how deeply their estrangement runs, as Crissy is upset that her sister is moving to Las Vegas. The stark contrast between “destiny” and “bad luck” showcases the thematic tension between optimism and cynicism that defines the sisters’ relationship. The dialogue's simplicity underscores the fundamental disconnect between Betsy’s idealism and Crissy’s pragmatic, if jaded, worldview.

“What is it like to stand alone in the spotlight, a princess, the people before you in the dark hanging on your every word? What is it like to be the focus of memory, to know your audience is lingering in a world you have conjured?”

Betsy doesn’t understand why Crissy wants to live in the past and masquerade as someone else. However, her description of Crissy’s abilities—primarily through the use of the words “lingering” and “conjured”—indicates that Betsy actually has a lot of respect and reverence for her sister’s talent. The metaphor of “the spotlight” emphasizes both the allure and isolation of Crissy's role as a performer. The use of sensory imagery in “the dark hanging on your every word” conveys the almost magical connection Crissy creates with her audience, while “lingering” and “conjured” evoke themes of memory, illusion, and the ephemeral nature of performance.

“Betsy came to understand that her childhood was one of spectacular privilege compared to many of the kids she counseled as an adult. Certainly it was compared to Marisa’s—at least financially. But she knew also the secrets and rot that festered in the Dowling house that had nothing to do with the bricks and mortar and horsehair plaster, and wondered if they were as fetid as the things Marisa never shared. She supposed she would learn over time.”

While Crissy and Betsy had a traumatic childhood, neither girl—nor their mother—ever talked about their trauma. As a result, it festered and bred resentment between the sisters. While Betsy can see that her clients had worse things happen to them as children, she still resents the things that happened to her and wishes these secrets were exposed. The imagery of “secrets and rot” conveys the psychological decay caused by unspoken truths, juxtaposed with the sturdiness of the “bricks and mortar and horsehair plaster.” The phrase “fetid as the things Marisa never shared” underscores the cyclical nature of trauma and secrecy, connecting Betsy’s unspoken pain to Marisa's guardedness.

“When you yourself are in the midst of a hyperobject—the drip-drip-drip death of democracy, your fear of the searing heat from world-destroying mushroom clouds, cryptocurrency—you miss its mass. When you are living in history, you miss the obvious.”

The threat of Futurium sneaks up on both Dowling sisters because it is too close to their reality and lived experience. It is only after the fact that they can see how dangerous Futurium was from the beginning. The use of the term “hyperobject” emphasizes the overwhelming and incomprehensible scale of systems like cryptocurrency and political instability. The repetitive “drip-drip-drip” mimics the slow realization of these dangers, while the contrast between “living in history” and “missing the obvious” critiques the myopia of those embroiled in such systems.

“I wrote it as light humor, but Nigel always added just the right touch of wistfulness, because, of course, there’s nothing about Princess Diana’s story that doesn’t reek of melancholy, which might be why it is perfect for Las Vegas—a place which, I can tell you firsthand, is secretly the most melancholic place on earth.”

While Crissy’s tribute show is focused on Diana, she has incorporated Nigel impersonating Prince Charles. This quote foreshadows that Crissy will soon become discontent with her melancholic and isolated life and find solace within her family and in a romantic relationship with Nigel. The juxtaposition of “light humor” and “melancholy” mirrors the bittersweet tension inherent in both Diana’s legacy and Las Vegas as a city. The hyperbolic claim that Las Vegas is “the most melancholic place on earth” transforms the city from a symbol of decadence into one of isolation and disillusionment, resonating with Crissy’s internal struggles.

“The irony of the fact that this filly in a miniskirt and my sister were building their future on invisible money while I was assembling mine from the gossamer of memory and nostalgia was not lost on me.”

One of the main dichotomies between Crissy and Betsy is their relationship to reality. Betsy is focused on her future. Her future is built entirely on cryptocurrency, which is an extremely future-oriented money source. Crissy meanwhile is focused on the past in her Diana tribute show and is hesitant to make a life outside of her show, one that would require her to live in the present. The metaphor of “gossamer” to describe Crissy’s work emphasizes its fragility and transience, contrasting with the perceived solidity of Betsy’s “invisible money.” This tension between the tangible and intangible underscores the sisters’ differing worldviews and their struggles to find stability.

“Betsy closed her eyes behind her shades. Inadvertently, with her emphasis on that verb, is, Ayobami had touched upon what was for Betsy the most disturbing part of her sister’s re-creation. When a person so completely subsumes herself behind the mask of another, what must it be like to stare into the mirror? What must it be like to gaze upon your reflection and see someone else—someone who just isn’t you?”

While Crissy enjoys hiding behind Diana’s personality and likeness, Betsy finds it off-putting and bizarre. However, this quote foreshadows that soon Betsy will be forced to pretend to be Crissy by Futurium, an act that ruins her relationship with Frankie and shatters her dream of an idyllic life in Las Vegas. The imagery of “mask” and “mirror” underscores the theme of identity and self-perception, while the repetition of rhetorical questions amplifies Betsy’s unease. The verb “subsume” conveys the complete erasure of individuality, mirroring Betsy’s impending loss of autonomy under Futurium’s control.

“How do things fall apart? she asked herself when the stylist began dying her hair the exact shade of blond that had belonged to Diana Spencer, using images pulled from the Internet to match it perfectly. Little by little and then all at once.”

When Frankie finally convinces Betsy to dye and cut her hair to look more like Diana, Betsy realizes that she has begun to lose her autonomy and sense of self. Additionally, this small act and change in her appearance begins a series of violent events she is not prepared to reckon with. The repetition of “little by little and then all at once” mimics the destabilizing escalation of events in Betsy’s life. The stylist’s use of “images pulled from the Internet” highlights the artificial and manufactured nature of Betsy’s transformation, reflecting her entanglement in Futurium’s manipulation and the loss of her individuality.

“Now, however, the question had changed: why was Futurium using her to push her sister’s buttons for some reason, preying on sibling rivalries they really knew nothing about?”

The executives at Futurium view Crissy and Betsy’s estrangement as a negotiation tool. They can use Betsy to enrage Crissy and frame her for murder. However, ultimately their plan backfires, as the Dowling sibling rivalry eventually dissipates and the sisters reunite to save Marisa from Futurium. The phrase “preying on sibling rivalries” conveys the predatory and exploitative nature of Futurium’s tactics. The contrast between Futurium’s external manipulation and the sisters’ eventual reconciliation underscores the resilience of familial bonds and the theme of the healing power of family.

“I am a survivor. At least, at the time, that was how I viewed myself.”

Crissy views herself as a survivor primarily because she spends her day impersonating Diana, a woman who did not survive her celebrity and tragic death. However, this quote hints that soon Crissy will rethink her title as a “survivor,” primarily when she begins to release her grip on her Diana impersonation. The use of the phrase “at the time” foreshadows Crissy’s evolving self-perception, suggesting that survival is not merely about endurance but about growth and liberation. The connection to Diana’s tragic legacy amplifies Crissy’s internal conflict between survival and self-destruction.

“Now Betsy could hear that what had once been a slight, occasional British accent—a small affectation—had become dramatically more pronounced. It was as if her sister were a method actor and her life was her role. Her whole life. She was a walking simulacrum.”

Because Crissy spends so much time impersonating Diana, she takes on many of her affectations and quirks. Betsy’s comment notes that Crissy has receded more into her Diana impersonation, ultimately withdrawing from reality in the process. The term “walking simulacrum” evokes Jean Baudrillard’s concept of simulacra, where representations replace reality. This highlights Crissy’s detachment from her true self, as she becomes an embodiment of Diana rather than an individual. The phrase “her life was her role” underscores the theme of the curse and confusion of celebrity.

“‘You’re an actor—’

‘I was an actor. This is different.’

‘So, you’re not acting?’

‘I’m…performing.’”

When Crissy meets with the reporter who is writing a new biography about Diana, she bristles when the reporter suggests that she experienced the same traumas Diana experienced during her life. However, by saying that she is “performing,” Crissy implies that she is taking on some of Diana’s experience. The word “perform” has a more positive—and prestigious—connotation than “acting” does, indicating that Crissy believes her impersonation is a noble pursuit. The ellipsis in “I’m…performing” suggests Crissy’s hesitation and internal struggle to define her role. The distinction between “acting” and “performing” conveys a deeper emotional and psychological immersion, blurring the boundaries between identity and artistry.

“He’d gone to the small carriage barn where they parked the two family cars and hanged himself in the rafters on the second floor. It was why Betsy never, ever confused hanged with hung.”

When Betsy catches their stepfather sexually abusing Crissy, he decides to die by suicide. It appears that Betsy holds on to some guilt regarding his death, as she remains hyper-aware of the difference between the words “hanged” and “hung.” The stark imagery of the stepfather’s suicide contrasts with the clinical precision of Betsy’s linguistic correction, symbolizing her attempt to maintain control and order in the face of chaos. The fixation on language serves as a coping mechanism for Betsy’s unresolved guilt and trauma.

“And that meant that she looked as much like her sister as she ever had in her life.”

When Betsy is forced to impersonate Crissy for the meet and greet at Fort Knocks, she is shocked at how much the makeup stylist can make her look like Diana. However, by looking like Diana, she actually looks like Crissy. This highlights how much of Crissy’s life has been spent attempting to become Diana. The phrase “looked as much like her sister” underscores the theme of identity and mimicry, blurring the lines between individuality and imitation. This moment also symbolizes the forced conformity imposed by Futurium, stripping Betsy of her autonomy while mirroring Crissy’s own loss of self.

“‘The Vermont State Police concluded it was an accident: your mother was either hallucinating because of the chemicals in her system or simply showed bad judgment—because of those chemicals—and walked off the cliff. That was the conclusion. Accidental death.’

Supposedly, the truth will set you free. Wasn’t that the expression? Or the myth? There were limits. Telling the truth about Red Rocks would endanger her daughter. But Vermont was different, and she felt an unexpected craving to come clean now about her mother. She was just so tired and so angry and so scared. She had been unable to sleep last night with that guy guarding her door and her daughter kidnapped. ‘That is how they ruled it, yes,’ she said.”

Because the truth about her stepfather’s sexual abuse of Crissy stays hidden for so long, Betsy struggles to tell the truth when it comes to her mother’s death. She originally believed that telling the truth would be freeing, but being held hostage by Futurium made her realize that the truth is malleable and can do more harm than good. The repetition of “because of those chemicals” emphasizes the narrative’s focus on external blame, avoiding deeper truths. The juxtaposition of “truth will set you free” with “or the myth?” challenges the notion of truth as inherently liberating, highlighting its potential for destruction when weaponized or concealed.

“‘You told her? That day you were hiking?’

‘My God, no. Never. I planned to take that to my grave. It wasn’t my story to tell. And the man was dead. But you saw what it did to Crissy—what he did to her. The solitude, the body issues, the bulimia—’

‘Your sister has bulimia?’

‘Uh-huh. Why do you think she became Diana? Why, for that matter, do you think she became someone else? Anyone other than who she was?’”

Betsy struggles to understand why Crissy would spend her life impersonating another—and a very flawed—person. She assumes it is because Crissy was sexually abused and experiences disordered eating; however, this reading strips Crissy of any agency and undermines her genuine talent. The line “Why do you think she became someone else?” uses rhetorical questioning to emphasize Betsy’s frustration and lack of understanding. By listing Crissy’s struggles—“solitude, the body issues, the bulimia”—in rapid succession, Betsy reduces her sister’s complexity to trauma, neglecting Crissy’s agency and artistic choices.

“It dawned on her—not with the measured, leisurely light of daybreak but the coruscating, blinding midday sun of Las Vegas—that no matter what she was about to say, whatever words came from her mouth, she was going to screw either her sister or her daughter. There was no answer that could save them both.”

Betsy is faced with a terrible choice when held hostage by Futurium: she can tell the truth about her involvement in Yevgeny’s death and kill her daughter, or she can lie and frame her sister. It appears that Betsy chooses to save her daughter, implying that the bond between mother and daughter is stronger than the bond between sisters. The imagery of the “blinding midday sun of Las Vegas” symbolizes the harsh and unrelenting pressure Betsy faces, mirroring her feelings of exposure and helplessness. The absence of “measured” or “leisurely” options underscores the urgency and impossibility of her choice.

“Run my lines, walk the small stage. Even when the world is unraveling, the show must go on, right?”

When things get difficult for Crissy, she turns to her role as a performer to disconnect from reality. This is a protective strategy, one that she will no longer need to rely on once she makes peace with having a life outside of impersonating Diana. The phrase “the show must go on” embodies Crissy’s reliance on performance as both a coping mechanism and a shield against chaos. The juxtaposition of personal unraveling with professional obligation highlights the tension between public and private personas central to the theme of the curse and confusion of celebrity.

“Remember the very first thing I told you? Las Vegas was built on a bedrock of luck.

But it was bad luck.

For the idea of the city to succeed—what it represented—you had to believe that people always had faith that their luck was about to change. Sure, there would be the whales who could afford to lose hour after hour and day after day, but most of the ‘guests’ who kept feeding the ever-bleating mechanical beasts on the casino floor couldn’t. And yet the Las Vegas forebears were confident that they would stay there and keep losing.

And they did.

And they do.

Have there ever been two more perfect bedfellows than casinos and crypto?”

Crissy revisits her initial commentary on luck, emphasizing that Las Vegas was built on “bad luck.” She compares the casinos to cryptocurrency, foreshadowing that everyone involved in Futurium will soon have bad luck of their own. The repetition of “And they did. And they do” mimics the mechanical rhythm of slot machines, reinforcing the cycle of loss inherent in Las Vegas’s design. The pairing of “bedrock” and “bedfellows” ties the foundation of the city to its symbolic connection with crypto, emphasizing the predatory systems driving both industries.

“‘Okay. That poor woman. Princess Diana? Do what you do onstage. I get it. Do what you want. But offstage? Let her ghost go.’

‘I…can’t.’

‘You can. Diana doesn’t have to be your Valium. Not anymore.’”

Following their rescue by the police, Betsy finally can confront Crissy about her career in a way that Crissy hears and understands. Crissy realizes that she has been using Diana as a way to escape reality and knows that she must find new coping mechanisms with the help of her family and Nigel. The metaphor of Diana as “Valium” connects Crissy’s impersonation to addiction, symbolizing her dependence on the role for emotional stability. Betsy’s direct and supportive tone marks a turning point in their relationship, emphasizing the theme of the healing power of family.