Omg it’s the opposite for me, I’ve become more obsessed with this (studio version bien sûr ) ever since the semi fiascoI know re-entering this topic is a DANGER, but I honestly think this gets WORSE the more I’ve watched it
I’m so happy the Irish delegation were willing to invest in the perf, but WHY!
The ousted theatre group have tweeted about Ireland and Eurovision, I’m sure any shade you might spot is purely accidental
Though, of course, those well established national finals had to start somewhere"Engage with the public!" is becoming such a wearying refrain for how to turn a country's fortunes around, as if a non-established national final/open selection has been responsible for any high-profile turnarounds for any countries in the last decade.
More often than not it's been a road to failure, if anything - internal selections by people who know what they're doing are how the Netherlands, Belgium and Switzerland have turned it around lately. Every winner going back to 2012 has come from either internal selection or a well-established national final.
I'm astonished in retrospect that the Germans ditched the Unser Star für... format - it gave them three top tens in a row and they COLLAPSED the second they abandoned it!It’s a shame there aren’t more Stefan Raabs, he turned around Germany pretty fast (for a while anyway)
I think he had lost interest or it got too much for him in the end - he had a few shows on the go.I'm astonished in retrospect that the Germans ditched the Unser Star für... format - it gave them three top tens in a row and they COLLAPSED the second they abandoned it!
This receives the Penelope Post of the Year award btwI hear it explores the forced Anglicisation of place names as an act of cultural erasure and colonial violence, and is also about crashing the mall.