BABYLON 5 star Claudia Christian remembers “that oldie-woldie, much-loved series” as B5 arrives on LEGEND TV

Written, created, and produced by J. Michael Straczynski and premiering on February 22nd, 1993, with the pilot movie The Gathering, Babylon 5 would go on to be not only one of the most beloved sci-fi series of the 1990s but also one of the most influential. Its cast quickly became sci-fi TV royalty; led in its debut season by Commander Jeffrey Sinclair (Michael O’Hare), the show really hit its stride in the second season as Captain John Sheridan (Bruce Boxleitner) joined the cast alongside Lt. Commander Susan Ivanova (Claudia Christian), security chief Michael Garibaldi (Jerry Doyle), Ambassador Delenn (Mira Furlan), Narn ambassador to Babylon 5 G’Kar (Andreas Katsulas), Centauri ambassador Londo Mollari (Peter Jurasik), Doctor Stephen Franklin (Richard Biggs), Psi-Corps telepaths Talia Winters (Andrea Thompson), and Lyta Alexander (Patricia Tallman), Centauri diplomatic aide Vir Cotto (Stephen Furst), Minbari diplomatic aide Lennier (Bill Mumy), Ranger Marcus Cole (Jason Carter), B5 security force sergeant Zack Allan (Jeff Conaway), and in Season 5, Babylon 5’s station commander Captain Elizabeth Lochley (Tracy Scoggins).

With all five seasons now on cult channel LEGEND in the UK, screening an episode every weekday night plus the five TV movies (In The Beginning, Thirdspace, The River Of Souls, A Call To Arms, The Legend Of The Rangers, and The Lost Tales) over 22 weeks, STARBURST had the opportunity to catch up with star Claudia Christian to discuss the show, her character Susan Ivanova, fandom, and the return of a series that shaped sci-fi TV in the ‘90s and built a legacy that still stands today. Speaking from her home in Los Angeles, Christian continues to hold the series in the highest regard, both as a show and as a seminal part of her life.

If I had to pick a body part, Babylon 5 would be my heart because it means so much to me on so many different levels,” says Christian. “First and foremost, the experience of shooting in an isolated environment with a group of unbelievably talented, kind, funny cast and crew was unique and interesting. It was like Gilligan’s Island; we were literally alone out in the middle of Sun Valley in an old hot tub factory.” She laughs. “It was not Hollywood at all. When I used to shoot at Universal, you’d go to the commissary and see all these different productions with actors and crews, but on Babylon 5, it was just us. We worked and lived together.

With television in the ‘90s changing and shows like Star Trek: The Next Generation, Deep Space Nine, Voyager, The X-Files, Xena: Warrior Princess and others amassing huge followings, the connection between Babylon 5 and its viewers became a key part of the experience, in ways both professional and personal. “The fandom allowed me the grace to come out as having a problem with an alcohol use disorder, and they supported me entirely in making my documentary. That was the film that the fans built. The fundraisers that we did to raise money for One Little Pill was fan based, and that film has literally saved lives. People note it as the changing point in their own relationship to alcohol, so not only did they buy my book about my challenges, but they supported my film, they supported my non-profit organisation, Options Save Lives. Fans have been one million percent behind me on this journey, and because of their love and support and lack of judgment, millions of people have found the Sinclair Method.” The power of fandom, brought into the real world. “Between shooting the show and suffering from alcohol use disorder, and then my advocacy, that’s half my life, and it’s all tied to Babylon 5.

While it’s well known that Babylon 5 led the charge in moving away from the monster of the week, standalone episodes the original Star Trek and other ‘60s and ‘70s shows delivered, instead focusing on ongoing narratives, themes and plot threads, there was still the matter of a television process that became infamous in the early 1970’s – syndication, and as Christian explains, Babylon 5 wasn’t necessarily built for such a system.

Many people don’t realise that the whole desire of any television producer was to get to syndication, and the magic number was five years. You make a hundred episodes, you sell it, you get residuals, and you’re set for life.” A pivotal target for B5 and any show, but there were obstacles in the way. “You can’t randomly show Babylon 5 Season 3 Episode 12, because people are gonna go ‘what the hell is going on?’, but as everybody knows, Joe is a stubborn man, and he clung to the belief that his story was going to be told the way he saw it. It’s admirable that any artist has the conviction to say no, I’m not going to chop it into something it’s not, this is what I want to give to the world.” The tenacity of JMS made sure that his beloved space opera was seen through to the end. “It was a different time, where you had to be more creative because you had less of a budget, but what held it together was the story. If you don’t have great writing, you don’t have a great project, period, so when you have that faith in yourself and your ability to tell a story, it works. He fought and fought, he got it made, and he did it his way.

The most famous sci-fi TV showrunner since Gene Roddenberry, Straczynski not only wrote 92 of the 110 episodes (almost unheard of in US television) but also observed his principal actors closely, as Christian remembers. “I had been in the industry since 1983, I’d been a series regular, but I had never seen a creator so immersed in the world of his actors. He was asking questions, talking to us, watching our interactions, observing the interplay between our personalities, and that was unique. There were no pigeonholes or shoeboxes to fit into, it was flexible.” That attentiveness paid dividends as actor and role began to edge closer and closer. “I saw him start to employ our characteristics into the characters. I thought okay, this is immersive, this is a living, breathing entity, and he’s allowing it to grow and be born as it’s happening. For instance, he had outs for every character in case somebody got another job or got fired. He was interpreting our real selves, so when I requested a change to something that didn’t feel right for the character, he listened. Not only did he listen, he adopted it. That’s unheard of.” However, there was a limit to his collaborative spirit. “Mind you, when it came to the dialogue, we didn’t change a thing because Joe’s a great writer, so you would ask permission if you wanted to try something. For example, when it looked like the show was going to be successful and keep running, I wanted Ivanova to be funnier. Ivanova was black and white, and I wanted colour. I wanted her to be herself. Ultimately, we respected the words.

BABYLON 5 is showing on LEGEND weekdays with an omnibus on Sundays. Watch on Sky channel 148, Virgin channel 149, Freeview channel 41, Freesat channel 137, Freely channel 38, and on free streaming service Watch Free UK.

Must-Have 4K Ultra HD™ Epic Movies to Accompany the Summer of Sport

There’s an immense summer of sport heading our way, but film fans might want a break from the football with some of the best available in a fabulous Epic Movies promotion.  Here are five 4K UHD releases that will knock your socks off with their audiovisual quality and cinematic excellence. 

ALIEN: ROMULUS

Fede Álvarez went from rebooting Evil Dead to reinvigorating the Alien franchise in fine style. Acting as a direct sequel to Ridley Scott’s 1979 original, the 4K Ultra HD™ release is packed with informative extras that will have you want to dive into the world of facehuggers and Xenomorphs.

MARVEL STUDIOS’ THE FANTASTIC FOUR: FIRST STEPS

Marvel’s First Family are back with another adventure, this time with Pedro Pascal as Reed Richards, Vanessa Kirby as Sue Storm, Ebon Moss-Bachrach as Ben Grimm, and Joseph Quinn as Johnny Storm. Julia Garner embodies the metallic-skinned herald Silver Surfer and Ralph Ineson devours planets as Galactus. The release is packed with great extra features.

PREDATOR: 5- MOVIE COLLECTION

From the first Arnie-starring movie to the brilliant Prey, this is the perfect chance to enjoy the hunt with five of the Predator films in stunning 4K UHD.

 

THE ROCKY HORROR PICTURE SHOW

Give yourself over to absolute pleasure with the ultimate cult movie! Meet the seductive Dr Frank-N-Furter and his companions Riff-Raff and Magenta as they do the Time Warp while corrupting the naïve Brad and Janet.

EDWARD SCISSORHANDS

Tim Burton’s beautiful Gothic romance sees Johnny Depp as the irresistibly charming creation with razor-sharp metal hands, a knack for topiary and a heart of gold. A favourite of everyone, the 4K Ultra HD™ edition not only looks stunning but also includes a featurette and a pair of great commentaries.

There is a 2 for £30 offer on selected 4K Ultra HD™ titles, including MARVEL STUDIOS’ THE FANTASTIC FOUR: FIRST STEPS, TRON, TRON: LEGACY, EDWARD SCISSORHANDS, THE ROCKY HORROR PICTURE SHOW and THE SOUND OF MUSIC. The Epic Movies promotion is available now at Amazon, HMV, and Rarewaves.

© 2026 DISNEY. © 2026 20TH CENTURY STUDIOS. © 2026 SEARCHLIGHT. PICTURES. © & TM 2025 MARVEL

 

 

What Makes a Fictional Universe Strong Enough to Survive Beyond a Single Game

Some game universes feel like complete worlds the moment they appear. The Witcher’s Northern Realms, Halo’s Forerunner-haunted galaxy, Mass Effect’s Citadel and Bloodborne’s Yharnam all share a quality that goes beyond level design and character roster. They feel like places that existed before the game began and will continue existing after the credits roll. That quality is what separates a game with a strong story from a game with a universe worth expanding into novels, comics, film adaptations, spin-off titles and decades of fan creativity. The ingredients are surprisingly consistent across franchises that have made the jump from single product to durable fictional ecosystem.

The first ingredient is lore that suggests far more than the game itself shows. A world that survives beyond its origin game has to imply depth at every level. The Elder Scrolls became a transmedia engine partly because Bethesda’s writers buried so much history into in-game books, tablets and ruins that the visible game was always understood as the tip of a much larger iceberg. Players ended up reading fictional academic texts about Tamriel’s prehistory and writing fan essays about competing in-universe theories. That kind of hinted-at-but-never-fully-explained depth is what allows future writers and game makers to add material without breaking the established world.

Memorable game universes also draw their longevity from having recognizable identity hooks that can survive being repackaged into other media. The most popular games are typically the ones whose visual language, music cues and worldbuilding shorthand can be lifted out of the original product and dropped into a comic, a novel or a streaming series without losing what made them resonate. Compare the easy media translation of Resident Evil or The Witcher to franchises that struggled to leave their original form because their identity was too tied to a specific mechanic or perspective. A universe that survives migration is one where you can describe the rules, the factions and the central conflicts in a paragraph and still feel the texture of the world intact.

There are two directions of expansion. Some universes begin in games and expand outward to other media, while others begin in comics, novels or film and arrive in games carrying decades of established lore. Games like DC Universe Online represent the second direction, bringing the established DC Comics universe into an MMO format and leveraging characters, factions and continuity that predates the game by decades. The first direction is much harder because it requires the game’s universe to generate its own gravitational pull without an existing audience or canon to anchor expectations. Mass Effect, Halo and the Elder Scrolls all managed this in their own way, and looking at what they share is instructive.

Memorable universes always have characters who can operate independently of the player character. Mass Effect’s universe survived novel adaptations and animated series partly because the species and political factions had enough definition that writers could tell stories about turians or salarians or the Citadel Council without needing Shepard as the viewpoint. Halo’s expanded fiction works for similar reasons; the Covenant, the Forerunners and the broader UNSC bureaucracy can each carry their own arcs without Master Chief present. Game worlds whose only meaningful character is the silent protagonist tend to struggle when they leave the game, because the universe was always experienced through the player rather than as something with its own life.

Themes that resonate beyond plot are another ingredient. Halo became a transmedia property partly because the underlying themes of human survival, alien religion and ancient predecessor mystery had emotional weight independent of the specific Master Chief narrative. Fallout’s themes of nuclear apocalypse, social satire and American mythology survive across every spin-off because the themes themselves are more durable than any particular Vault story. Game worlds with theme-light universes, where the appeal is mostly mechanical or visual, struggle to find purchase in other media because there is nothing for the new medium to translate beyond surface aesthetics.

The mythological structure of a universe matters as much as its plot. Universes that survive long-term tend to have something like a creation myth, a central conflict that predates the game, and at least one major event that ended an era before the game began. The Elder Scrolls has the Daedric princes, the Dragon Break and multiple eras of imperial collapse. Mass Effect has the cyclical Reaper invasions and the Protheans. Halo has the Forerunners and the Flood. These aren’t just background details; they are the structural skeleton that lets writers from other media find footing without having to invent everything from scratch. A universe with a flat present-tense focus and no implied deep time has nowhere for new stories to attach.

Community is the final and often overlooked ingredient. The universes that survive longest are the ones whose fans become active interpreters and contributors. Mass Effect, The Witcher and Fallout all benefit from massive fan-wiki ecosystems, fanfiction archives, mod scenes, theory channels on YouTube and tabletop game adaptations created by communities rather than studios. The official media releases are feeding an already-active culture rather than creating one from scratch. Studios that recognize this and engage with community contribution, official or not, see their universes treated as living mythology by their audience.

Why the strongest game universes feel like history that happened to you

The universes that survive beyond a single game share a quality that is hard to manufacture but easy to recognize. They feel less like a story being told and more like a history the player happened to live through. The events of the game become one chapter in something much larger, and the world keeps existing in player imagination after the controller is set down. That sensation, the feeling that the universe has a past, a present beyond the player and a future that is not yet written, is the foundation everything else builds on. Studios chasing the durable-universe outcome would be wise to focus less on telling a great story and more on building a world that feels like it has been telling its own stories for centuries before the player arrived.

 

 

Using Fixture Trends to Spot Value Picks in Fantasy Football

Fantasy Premier League success often depends on timing. Player quality matters, yet upcoming fixtures often shape when returns appear. Managers who track fixture runs across several game weeks gain an advantage when planning transfers and captain choices.

Fixture trends help identify teams that could score more goals or keep clean sheets across a short stretch of matches. Strong schedules can turn mid-priced assets into reliable point scorers for several weeks.

A favourable run of matches can elevate players who would otherwise remain overlooked. Attention to those windows helps uncover value picks that deliver steady points across several game weeks.

Why Fixture Difficulty Matters in Fantasy Football

Fixture difficulty ratings provide a simple way to judge upcoming matches. Teams that concede large numbers of shots or goals often present opportunities for attacking players, with many managers comparing these patterns alongside wider expectations reflected in football betting at BetGoodwin when assessing how fixtures might unfold.

Statistical measures such as goals conceded and expected goals against offer insight into defensive performance. Clubs that struggle in these areas often allow opponents greater freedom near the goal.

Reviewing defensive statistics

Reliable data sits at the centre of fixture analysis. Goals conceded across recent matches highlight weaknesses in defensive organisation. Expected goals against adds further context by tracking the quality of chances conceded rather than relying solely on scorelines.

Clean sheet potential often appears when strong defences meet teams with limited attacking threat. Fantasy managers targeting defenders from those teams increase the chance of steady returns.

Tracking those defensive indicators across several game weeks provides a clearer picture than focusing on a single match.

Linking fixtures with attacking potential

Fixture difficulty also influences attacking returns. Teams that allow frequent shots or high expected goals often concede multiple chances during a match.

Midfielders and forwards facing those opponents tend to take more shots and make more key passes. Fantasy managers searching for value often discover mid-priced assets that benefit from those matchups.

Good planning focuses on a block of four to six fixtures rather than a single favourable match.

Identifying Short Fixture Runs That Create Opportunity

Short fixture runs can shift player value quickly. Teams sometimes face a cluster of opponents struggling for form or defensive consistency. Those moments often highlight strong transfer opportunities.

Managers paying attention to upcoming schedules often act early when those favourable runs appear.

Rotating budget defenders

Budget defenders rarely deliver attacking returns every week. Fixtures often determine when they become valuable options.

Rotation strategies work well when two defenders from different teams alternate strong fixtures. One player may face a difficult opponent while the other enjoys a favourable matchup.

Clean sheet probability improves when defenders play against teams that struggle to create chances.

Finding attacking value

Mid-priced midfielders often benefit most from favourable schedules. Creative players with regular minutes gain more opportunities against weaker defensive units.

Goal involvement statistics help identify which players are involved. Shot numbers, key passes and touches in the penalty area often signal attacking involvement.

Comparing those expectations with statistical data sometimes confirms strong attacking opportunities.

Looking Beyond the Obvious Teams

Popular clubs attract heavy ownership across Fantasy Premier League squads. Managers often focus on elite teams first when building their lineups.

Hidden value frequently sits within mid-table sides. Some teams produce strong attacking numbers despite modest league positions.

Identifying differentials

Low ownership players who deliver returns can quickly boost overall rank. Fantasy managers often refer to these players as differentials.

Ownership percentages help highlight those opportunities. Players with low selection rates offer a chance to gain points against competitors who ignore them.

Strong fixture runs often drive those differential picks.

Using expected data

Expected goals and expected assists offer useful indicators of future performance. Those metrics track the quality of chance and creative output.

Players producing strong expected numbers across recent matches often sit on the edge of delivering returns. When those players enter a favourable fixture run, the chance of points increases further.

Managers willing to analyse those metrics often uncover value picks before they become widely selected.

Balancing Fixtures With Player Form

Fixtures alone do not guarantee points. Player form and tactical role influence fantasy returns across a season.

Consistent minutes remain one of the most important factors when selecting players. Managers need assurance that their picks will stay on the pitch long enough to produce returns.

Tracking recent performances

Recent form often reveals players gaining confidence within their teams. Shots, assists and involvement in attacking moves show how frequently a player contributes.

Fantasy managers tracking those patterns can combine strong form with favourable fixtures.

Assessing tactical roles

Team tactics influence fantasy value significantly. Some players operate closer to the goal while others play deeper roles within midfield.

Set-piece duties also increase potential returns. Corner kicks, direct free kicks and penalties offer valuable scoring opportunities across a season.

Combining fixture quality with tactical involvement provides a balanced approach when choosing transfers.

Planning Transfers Around Fixture Swings

Experienced managers plan transfers several weeks in advance rather than react after a strong performance. Fixture swings often create clear moments when teams move from difficult opponents to favourable matchups.

Advance planning helps managers capture those runs early.

Acting before the crowd

Ownership patterns often change quickly once a player records a high-scoring match. Acting earlier often secures the benefit of favourable fixtures before prices rise.

Early planning also allows managers to save transfers rather than rushing decisions each week.

Managing squad depth

Bench strength becomes valuable during difficult fixture runs. Rotation risks, injuries and cup competitions can affect starting lineups across several clubs.

Managers who maintain a balanced squad structure remain flexible when fixtures swing.

Strategic transfers across those periods help maintain consistent points, while others struggle to adjust.

Take Control of Your Fantasy Strategy

Successful Fantasy Premier League managers rarely rely on luck alone. Consistent research into fixture patterns, player involvement, and team performance supports stronger decisions throughout a season.

Careful attention to fixtures, form, and tactical roles allows fantasy managers to steadily improve their squads. Apply those ideas when reviewing upcoming matches, and stronger value picks should become easier to identify across future game weeks.

Can A24 Reinvigorate the Video Game Adaptation Genre With Elden Ring?

The announcement that indie powerhouse A24 is partnering with FromSoftware and Bandai Namco to produce a live-action feature adaptation of Elden Ring introduces an entirely new variable into the love-them-hate-them relationship that Hollywood has with video games, and their adaptations. Some feared it would be a flop, others feared it would be franchised-beyond-recognition but, with visionary director Alex Garland at the helm and a production budget exceeding 100 million dollars, some are growing cautiously optimistic that here stands a project making an unprecedented departure from the safe, formulaic adaptations of the past.

Adapting a world co-created by Hidetaka Miyazaki and George R.R. Martin requires an artistic sensibility that embraces ambiguity rather than running from it, since the defining characteristic of FromSoftware games is their environmental storytelling. Lore is fractured across ruined architecture, cryptic item descriptions, and desolate landscapes, and some questions are inevitably left unanswered. And, since screenplays often rely on heavy exposition to keep an unfamiliar audience oriented, there was a real risk that an adaptation would destroy the haunting mystique of the Lands Between.

Selecting Alex Garland to write and direct means A24 is signaling a commitment to this empathetic style of filmmaking. Garland is known for conceptually dense science fiction and intense psychological thrillers, and he possesses a track record of handling abstract themes without relying on conventional narrative hand-holding. Shooting for IMAX does hint at a possible emphasis on scale and visual composition befitting the game’s massive world, rather than constructing a conventional hero’s journey.

Mechanics, Scale, and the Reality of Adaptation

The most significant hurdle facing the production is the sheer volume of the source material. A typical playthrough of the game can easily span over a hundred hours, a footprint that cannot be directly translated into a standard feature film runtime. Early production leaks from filming locations in Wales indicate that the narrative may function partly as a prequel, exploring historical conflicts before the total collapse of the realm’s golden order. This structural choice allows the filmmakers to ground the narrative in a distinct historical window rather than trying to compress an entire open-world itinerary into a single viewing experience.

The commercial imperative to commodify successful digital properties is nothing new in contemporary media. When an IP achieves such monolithic cultural status, its visual identity inevitably ripples outwards into various corners of the digital economy. While the aesthetic motifs of popular games frequently find themselves adapted into peripheral merchandise or the graphic frameworks of new online slots, a prestige cinematic venture requires an entirely different structural foundation. For A24, the objective is to decode the core thematic architecture that made the interactive experience resonate, translating interactive agency into a compelling cinematic gaze.

Redefining the Creative Blueprint

If the project succeeds, it could shift the baseline expectations for how interactive properties are treated by major studios.

Rather than mimicking the mechanical act of gameplay, the project aims to establish a parallel piece of art that stands on its own conceptual merits. It stands in the enviable position of having the uncompromised artistic freedom of an independent studio with the massive financial resources of a blockbusting epic.

This leaves some of us asking, has this production got the potential to break the historical curse that has plagued video game movies for thirty years? Is there another option, besides franchising something into a content engine? Perhaps, but only time will tell…

Header image: https://unsplash.com/photos/two-reels-2uwFEAGUm6E

The History of the Digital Time-Killer: How Solitaire Conquered Pop Culture

By 1999, only 35.8% of U.S. adults had access to the internet. Even then, it wasn’t the sleek fiber connections we’re used to having today. It was old-fashioned dial-up internet that screeched like a bat from hell, took forever to download anything, and cut the connection if someone picked up the phone. Point being, while the internet was around back then, it was far from reliable.

Unsurprisingly, computer owners of that era turned to other means of wasting time while that all-important phone call about neighborhood gossip dragged on for a whole hour. They found salvation in the Accessories folder of their operating system, where an unassuming game called Solitaire resided. It lay in wait for a perfect opportunity of late-night insomnia or corporate boredom, beckoning players to give it a curious click and fall down the rabbit hole.

Today, digital Solitaire is the go-to time killer for many people. However, its journey from mid-century parlor game to a pop-culture icon and all the way to modern-day iterations like Solitaire Grand Harvest is a fascinating story of accidental genius, great timing, cultural ubiquity, and corporate boredom.

The Trojan Horse of the Digital Age

The thing a lot of us overlook nowadays is how new personal computers are. In 1990, when Microsoft released Windows 3.0, the PC was still an intimidating piece of machinery. People had very little experience with graphical user interfaces, and the computer mouse might as well have been an alien device, given how unfamiliar it was to users. With little knowledge of how to navigate a desktop and no muscle memory of double-clicks and dragging files, Microsoft realized it had to train the user.

Of course, no one likes an overemphasized tutorial that makes you feel dumb, which is why Bill Gates and company got sneaky. They added a Trojan horse in every copy of Windows: a digital version of Klondike Solitaire, seemingly a harmless little pack-in game that you play here and there. In reality, this game trained a generation of users to do exactly what Microsoft wanted them to do: click and drag.

To move cards in this version of Solitaire, you had to click and hold the mouse button to drag them in place. You had to double-click to send a card to the foundation. With every round, you got more proficient with the mouse and learned the necessary skills to navigate this new and strange operating system. It’s a masterfully executed hidden tutorial, with most players still unaware that was the plan.

The Office Procrastination Phenomenon

Once the workforce got a taste for Solitaire, they couldn’t stop. Throughout the 1990s and early 2000s, the game entered the cultural zeitgeist as the definitive symbol of office procrastination. Look at any movie, sitcom, or TV show from that time, and you’ll find it used as a shorthand for incompetent bureaucracy or a lazy worker. A flash of a half-finished solitaire board told you everything you needed to know.

Of course, we’ve come a long way since the early days of pixelated green backgrounds and the classic animation of cards spilling over. Over the decades, many developers have taken a crack at making their version of Solitaire, keeping the much-beloved solo card loop while adding new elements on top.

Of course, the extra bells and whistles didn’t matter to office workers back in the day. More often than not, Solitaire was enjoyed in total silence with one eye on the screen and the other looking for any signs of an approaching manager. Should one turn the corner, a swift ALT + F4 hotkey vanished any evidence of slacking, replacing it with a half-finished spreadsheet of something boring and corporate. And once they were gone, relaunching the game was just a couple of clicks away.

The Modern Reincarnation: From Pastures to Dungeons

As people became more experienced with computers and the internet became more available, Solitaire began to fade into obscurity. It no longer came pre-installed with your copy of Windows, cutting off many office workers who relied on it to fill the dull hours of the working day. That said, players still had a craving for Solitaire, and many websites sprang up allowing players to enjoy the game at any time and on any device.

However, as smartphones kicked off the mobile gaming revolution, it became clear plain old Solitaire wasn’t going to be enough. New games being developed in the 2010s featured progression, narratives, visual rewards, leaderboards, and more. All of these features would make their way into Solitaire as time went on, as developers looked for new ways to keep players engaged.

Some, like the aforementioned Solitaire Grand Harvest, leaned into gamification. Players harvest crops, build up a virtual homestead and unlock new environments. Others take the retro style of 1990s Solitaire and use it as a basis for making a creepy story about a CD with a cursed Solitaire game on it. If you haven’t looked into Forbidden Solitaire yet, you owe yourself a playthrough.

Why the Solo King Endures

In a world dominated by live-service games, hyper-realistic graphics, and high-stress esports, a game like Solitaire continuing to thrive is an achievement. Though it’s not the juggernaut it once was, the fact so many people come back to a game that has almost four decades of history in the digital space shows there’s something special about it.

We think it’s all about simplicity. Solitaire is a low-friction game, after all. It requires enough focus to distract you and keep you entertained, but it doesn’t frustrate you. Sure, sometimes you’ll get a bad draw, which results in an unwinnable game. However, a new round is only a couple of clicks away, making the momentary annoyance just a small blip on the radar.

Whether you’re killing time at the office, decompressing after a movie marathon, or just waiting for the train, Solitaire remains a universal comfort. That simple loop persists in a world of ever-changing interactive entertainment, ensuring the solo king will continue to rule long into the future.

 

Using Prediction Markets for Movie Awards

Prediction markets allow you to buy into the probability of future events occurring. Much simpler to use than people give them credit for; this can then be sold later like a stock or share. Yet they don’t just solely apply to sport, and can also cover the world of entertainment. This allows them to be used on everything from movie awards to guessing viewer ratings for streaming services.

What Are Prediction Markets?

Prediction markets are also referred to as event contracts. They exist in a realm between betting and investment, with their legal standing, in the US at least, hotly contested regarding both. Essentially, they let you buy and sell contracts based on future events. The value of these is not set by bookmaker odds. Instead, it is set by supply and demand on a peer-to-peer exchange.

Most of these are binary contracts, meaning they are based on a yes or no answer. The value of contracts generally reflects their probability, so one bought at $0.50 implies a 50% chance of the event occurring.

These can be bought and sold at any time. So if you bet on the Oscars winner, and more information came out that made it more likely, the value may rise to $70, at which point you could sell for a profit.

When you scout down a list of prediction markets, you will see many focused on sports and politics. Yet they can be bought and sold based on any events, including popular culture. This even includes movie-related queries and the recipients of certain awards.

This Year’s Oscars and Prediction Markets

A great way to see what options were available on key movie events is to look at the 2026 Oscars, which took place in March. The top three contenders for best picture included One Battle After Another, Hamnet, and Sinners.

Going live on Kalshi, they had diverged by September, with One Battle or Another rising to over 69%, while Hamnet dropped to a 17.3% chance. Before the event, the former surged in value and eventually won, while the latter dropped off.

Meanwhile, Polymarket has already begun to open its markets for the 99th Academy Awards. This is primarily based on which film will get the most Oscar nominations. At the time of writing, The Odyssey stands at 47% while Dune: Messiah is ranking at 31%.

Alternative Entertainment Categories on Prediction Markets

Source: Pexels

Entertainment categories are not just limited to the Oscars. Predictions are already available for the Cannes Film Festival, with the Palme d’ Or Winner category fielding candidates such as Minotaur and All of a Sudden. Other movie-related predictions include weekend box office take for The Mandalorian and Grogu, along with who will be the next actor to play James Bond.

If you want to try prediction markets, then signing up is easy. Do your research, and remember that all investments, gambling, or prediction markets carry a risk. From here, find a category you are interested in, and you may just be able to predict some movie-related outcomes.

STARBURST’S Durham Fringe Festival Picks 2026

Going strong since 2021, The Durham Fringe Festival brings fringe fun to the ancient city in the North East of England.

Running from July 29th to 2nd of August, the Durham Fringe is rapidly becoming an off-ramp of sorts for shows coming to the Edinburgh Festival Fringe, making it a vital cog UK’s network of fringe theatre, feeding into the arts culture that is such an important and unique part of the UK. Let’s take a look at five shows we think STARBURST readers will enjoy.

SHERLOCK HOLMES: The Death and Life
In a premise that not so much breaks the fourth wall but more discretely murders it and then chalks out an outline, this play pits the famous detective against the being that hates him the most; his creator Arthur Conan Doyle.  A one man tale of murder, mystery and more.

INFESTATION
Set during 1916, a soldier returns to the English countryside, having served his country in the great war. Alas, he has changed greatly, and something terribly sinister lurks within. A tense and interesting story present by the Durham Student Theatre.

ALEX REDMAN – Sunshine Space Cadet
Space travel is a great metaphor  for the eccentric and strange challenges, and an excellent way of presenting odd and hilarious anecdotes. Alex Redman’s debut show explores the joy of living strangely.

IT’S YOUR ROLE
Fantasy TTRPG inspired comedy show’s have become a staple of the fringe scene.  Join a team of experienced D&D improv performers as they explore funny fantasy worlds.

Will BF: MOON TEAM IIIV
Moon Team is the best/worst movie that never existed, apparently. This surreal sketch comedy show hangs together over the idea of non-existent sci-fi movie. None of it is real; or is it? (No, it’s not. That’s the point.)

James Kondelik • PITFALL

In director James Kondelik’s survival horror film Pitfall, starring Richard Harmon, Alexandra Essoe, and Randy Couture, a young man gets separated from his friends in the woods and falls into a 10-foot-deep pit of spikes, impaling him through the leg and leaving him trapped. He quickly learns that his fall was not an accident. The backwoods slasher is more than just blood and guts, featuring a deeply moving storyline that explores the characters’ emotional core and the events that led them to be deep in these woods.

It’s an affecting film on every level, and goes above and beyond the usual stalk-and-kill vibes.

We spoke with director James Kondelik via Zoom all about Pitfall before it hits theatres in the US on Friday, May 29th.

Shane Brady, Owen Atlas, Collin Thompson • HACKED: A DOUBLE ENTENDRE OF RAGE FUELED KARMA

The “chaotic, revenge-fantasy horror-comedy” Hacked: A Double Entendre of Rage Fueled Karma, from writer/director Shane Brady, follows a traditional path for its first few minutes, telling the true story of how Brady and producer Emily Zercher were hacked and had their life savings stolen. From there, furious and desperate, they plot a revenge-fueled take down of the hacker, determined to make him pay for every life he’s destroyed, and that’s when the movie goes absolutely berserk. Magic swords, Santa Claus, and more are employed over the course of Hacked’s “fast-paced, darkly comedic adventure.”

Ahead of the release of Hacked: A Double Entendre of Rage Fueled Karma on VOD and digital June 2nd, we hopped on Zoom with writer/director Shane Brady and actors Owen Atlas and Collin Thompson to discuss just what makes this movie such a joyride