In 2021, playwright Mike Bartlett had a vision and, like Thespis before him, decided the best route was to show people “the future” on stage. He wrote a play, and, in early 2022, I found myself at The Old Vic in London to see it.
The 47th presented a mentally-unstable Joe Biden who begs Kamala Harris to run in his place. Harris becomes the nominee in a haphazard, opaque, primary-less process only three months before election day, so late that states had already printed—and in some cases mailed—ballots bearing Biden’s name.
Fast forward 5 years, and if Bartlett had similar foresight about much-watched political events today, he may not have written a play but instead made a bet.
Prediction markets have exploded online, with betting volumes on track to surpass $300 billion in 2026 on topics ranging from whether the Boston Celtics will best the New York Knicks to the dress Beyoncé will wear to the Met Gala. Polymarket and its peers (Kalshi, DexWin, Drift, etc.) are decentralized markets that facilitate the anonymous placing and settlement of bets on various events newsworthy and not.
Fueled by tech and marketing, the public imagination has been captured to make money instead of art. Kalshi and Polymarket are currently discussing valuations over $20 billion dollars.
The current boom in prediction markets neatly reflects the casino activity that predominates online today. Their mechanisms also might bring us closer to the worst problem online today—of the Internet eating real life, where crowd wisdom prospectively defines reality, rather than predicting it. There are other areas where we accept counterintuitive or troubling relationships between the future and the present (Parkinson’s Law being a classic example), but wagers are different.