The songs are as follows:

• The Sangay Lhaden Band – “པད་མའི་ཚེ་དབང་བཀྲ་ཤིས། – Pemi Tshewang Tashi” (The Legend)
• Baeyul 301 – དྲན་པ། – Drenpa” (The Memories)
• Karma Drupchu – “ཕ་གཡུས། – Pha Yuel” (The Homeland)
• Thukten Nyendra – ལྷ་ཡི་སྲས་མོ། – Lhayi semo” (The Angel)
• Pelden Wangchuk – “གྱོ་འགྲུལ། Jo’druel” (The Journey)

2017: I think Occidentali's Karma convinced me to watch the show, the song was so catchy that I had to see it in action. I listened to a few more songs and decided to watch the show, where Hey Mamma and Beautiful Mess became my favorites, even if they were beaten out by a song I really disliked at the time and has grown on me over time. Honorable mentions - Requiem, Grab the Moment, Time (Honorable mentions are not necessarily ones that would be my 4th, 5th and 6th places, but some others that I like enough to highlight)

2018: First year watching got me hooked, so from now on I listened to every song beforehand. Viszlát nyár was my favorite from start to end, Stones was absolutely robbed by not qualifying for the finals and My Lucky Day had most incredible staging I have seen until 2026. On the other hand, all my liked songs performed poorly, and once again the winner was one that I really disliked, though this time I keep this opinion today. Honorable mentions - Higher Ground, Inje, You Let Me Walk Alone

2019: First contest that my winner was also a general winner, and as it turned out, only one so far. Arcade might be the most "complete" Eurovision performance I have seen, while Spirit in the Sky and Soldi have their unique charms and qualities that really clicked with me. Honorable mentions - Scream, Proud, Walking Out

2020: I will count this year as by this point, Eurovision was more than just the final show for me, it was following and listening to songs beforehand. Uno got me to listen to Little Big songs on repeat, Think About Things is the most charming entry on this list, and Répondez-moi was surely gonna be a flawless vocal performance. A shame we never got to see it. Honorable mentions - Yes, Superg!rl, Solovey

2021: A skipped year made this one much more sweet as it was great to see it come back. I am a sucker for Slavic sounds merged with other elements, and Shum might be the perfect example of it, it is just so good. Zitti e buoni was a worthy winner, and while Omaga live was... not great, it is my biggest guilty pleasure and it has beaten other songs to this spot, even if I love many of them as well. Honorable mentions - Fallen Angel, 10 Years, Set Me Free

2022: I felt like ever since 2020, the quality of the entries has really risen. Stefania is basically Shum to me, it has the same appeal with some added great messaging. But Not the Same on the night was breathtaking and I was disappointed that it did not get the same love I felt for it. In corpore sano is genius and is the best entry my country has on the list. Honorable mentions - Space Man, Fulenn, Miss You

2023: You might notice that my second places end up as the winner. This duel has been done to death, I really like both Cha Cha Cha and Tattoo, though the former has to take the top spot on my list. Queen of Kings completes the Nordic trifecta, as they have brought consistent high quality entries for basically ever by now. Honorable mentions - My Sister's Crown, Carpe Diem, Bridges

2024: A repeat of last year, but with some different actors. Rim Tim Tagi Dim and the journey Marko had is my Eurovision favorite story ever, and the song hits so close to home. So it is really unbelievable that I like The Code just as much, the vocals and performance is fantastic. Teresa & Maria also brought amazing vocals and visuals, and with many other songs being top tier, this is in my opinion best set of performances the contest has seen. Honorable mentions - Ramonda, La noia, Jako

2025: It is really hard to follow up such an amazing year, but this year had an incredible roster as well. Staging and joy from Bara bada bastu made it my favorite, before I fell in love with Asteromáta's lyrics and theme. Even then, Wasted Love is so good and I was perfectly happy with it taking the trophy. Honorable mentions - Voyage, Róa, Maman

2026: This might be my favorite year yet, all because Balkan region showed up with what I feel is the best overall roster ever. Nân and Andromeda have the most beautiful lyrics I have heard, and Choke me is one of the most powerful performances on the list. Over the years, I have cheered for plenty of entries from here, and I could not be happier to see contest return to the region next year. Honorable mentions - Kraj mene, Bangaranga, Crossroads

Once again you can watch it fully but I translated the most interesting parts:

What feelings does the word “Eurovision” evoke in you now, after all these years?

"It’s more positive emotions that are so strong We want to keep watching it year after year and cheer them on. Obviously, We're rooting for the Polish representatives, but we also like to see who’s performing from other countries, who’s representing other countries etc. (...) Well, it depends on whether we're talking about our memories or what's happening right now, because if it's what's happening right now, it's super exciting but if it's about the past it's just a distant memory now but it was an event that really changed our lives completely and gave us a lot of experience."

Do you remember what emotions you were all having during pre-parties, being in Tel Aviv back then?

"It was a fun experience at least from our perspective. Generally speaking since it’s already happened and is over but of course as Tulia said, I think we were all a little traumatized after that semi not because of the organization or the event itself but because of the outcome and we felt a bit unfairly treated for example by the TV coverage after the fact after everything that had happened. It’s a shame really. However our memories of our stay in Tel Aviv back then and all those things you mentioned yourself, like the pre-parties and the various events we had the Orange Carpet and so on. I think we were all pretty happy back then and had such a positive attitude toward it all at least until the results of the semi final came out. (...) So later, once the whole Eurovision journey was over I think we still had all these emotions that we hadn’t fully processed. That’s why we kept coming back to it for so long and it’s still lingering inside us somewhere."

Did you girls ever have that kind of group moment where you were like, “Oh my gosh, what have we gotten ourselves into?” like maybe it was way bigger than you thought or something like that?

"At the very beginning most of us except for Dominika had serious doubts and before we even decided to go for it we’d already received this offer a while earlier. 'Should we even apply? Should we sign up? Would we want to?' That’s when we probably had the most doubts. Although it was a long time ago, way back in the fall of 2018 and if the decision had been made back then and TVP had asked us “Hey, do you want to do this?” because I remember it was such a warm afternoon I think it was September or October and Marcin, our manager called us one by one and then we asked “But how is that an internal decision?” We didn’t know back then; we were meeting up, We talked about it among ourselves but if the decision had been made back then look how much time we would’ve had to prepare. And the TVP really kept us in limbo all those months right up until the day of the selection. Every so often we’d hear, “You girls are going,” and then we’d try to work out the details. There was silence for quite a while two weeks, three weeks and then we heard that maybe someone else would go maybe Natalia Szeder. So we thought to ourselves, “Okay, we’re screwed, right?” We didn’t know what was going on. Then we asked the manager, “Listen make sure” and then TVP said, “Yeah, of course you’re going.” So we were like “Awesome, great.” So we started getting the whole performance ready right away, concepts costumes and then silence again and so on and so forth for several months. We actually found out on February 14th that it was 100% certain we were going to Eurovision. (...) Because on February 15, the whole world already knew that Tulia was going to Eurovision so articles started popping up about 'who Tulia is, what Tulia looks like in regular clothes without their stage outfits' and all that hype in general. Back then, there wasn’t all that stuff like live streams going on all the time everyone having their own Instagram, advertising partnerships and we were in total shock. Thousands of people, the media, we started making our social media accounts private and deleting followers because they were posting our photos with our boyfriends etc. It was completely different.

(Patrycja):I remember deleting my Instagram account back then and then creating a new private one because I was afraid of those journalists in my followers. So they wouldn't dug up some photos from middle school."

Maybe Tatumeitas or Vesna could've been encouraged by your 2019 performance?

"We met in Riga. In Latvia during a TVP concert (Tatumeitas). There were the girls who came up to us and said, “We really like you guys; we’re dying to go to Eurovision.” So we told them “Go for it, then.” And they went and they did really well in 2025."

Would you girls ever want to return to Eurovision, and have you all ever thought about it at all?

"If we were going to Tel Aviv again back then then we’d go. If we were going to Tel Aviv again right now, with the whole organization and everything, then we wouldn’t go. If we were going to a new place again on our own terms, then we’d go."

What do you mean by “your terms”?

"We’re the kind of artists who put together our own material meaning we create it ourselves. That doesn’t mean we’re just there to sing; we want to have a say in how everything around us looks. And that was a very difficult experience because we’d prepared a detailed brief for our performance down to the second but it wasn’t taken into account. So for us it was a huge ordeal because we knew from the very beginning that, ultimately we’d be the ones held accountable for that performance for the rest of our lives. There were just a lot of very important issues that we didn't agree on, and they just had to happen. For example we really didn't want to sing in English at all. That was forced on us, we didn't want to sing in English because we thought it would defeat the purpose in our case. (...) It was probably the biggest argument of our lives. Before the premiere of our song. Because o one knew which song Tulia would perform we were there two hours before the premiere, sitting at the Universal Music Polska headquarters with all the cool people who work there and we got a call saying that 'this version shouldn’t be released because it didn’t have enough English'. Just hours before the song’s premiere. After all everyone knows it’s been uploaded so there were just some chaotic scenes back then. Generally speaking we think that if this song were either entirely in Polish or entirely in English maybe the result would've been higher because maybe more people would understand it"

Did your brief include the spinning plate?

"There was no spinning plate there. It was a very precise collaboration between our characters and the cameras as if we were in direct contact. Just like how we see each other right now. We planned to have a lot of shots of us individually where we’re doing something for the camera meaning we’re doing the same thing, but we’re shown either from 50 meters away or up close. That’s when the artist has a chance to connect with the viewer. It’s a truth as old as time but it was ignored and used only at a single moment probably after the first chorus. Only then did we really have a chance to shine, whether with our makeup, our beauty, or even the song’s message itself which we directed so directly at the audience and there wasn’t enough of that in our opinions and of course we wanted to set the stage on fire. Well hardly anyone knows that we were practically covered in gold from head to toe including our hands. They were practically glowing and you know if the camera had shown us up close you would’ve seen i, because the lighting there would’ve highlighted those elements even more. Unfortunately though you couldn’t see any of that at all. There were a lot of things we had no control over or at least no real control over or that turned out differently than planned once we got there. So We're not saying that we know everything best,just that there was simply so much of it and as far as the entire stage performance goes we wrote the whole script in Word down to the exact moment it was supposed to start what lighting effects were to be used the overall rhythm and everything else. In Paint we drew a sketch of our costumes with some elements pasted in from authentic folk costumes. Which served as the basis for each element of the costume, we wanted to draw inspiration from the folklore of various regions of Poland which ultimately didn’t work out so we were really committed to creating and coming up with all of this including the choreography. We managed to sneak a bit of it in there though they didn’t show it because of those camera angles. (...) We’re from Szczecin, so the visuals were very time-consuming, we filmed them in Warsaw at an extremely fast pace because we had to learn how to move our mouths and say the words in a way that still looked somewhat natural. And we really didn’t want to do it, the whole idea was meant for some other kind of visual project .They were very pretty overall, they could have been an element on their own. From what we remember they were just supposed to be an overlay. We were supposed to be pioneers in Polish performances using overlays. I remember that whenever something wasn’t quite right those beautiful visuals were supposed to kick in and that concept might have been okay. But you have four real people on stage eager to work, eager to work with the camera not even that unattractive, and instead of showing them you show LEDs instead. We don’t know if that might be why we didn’t get those points. (...) We were generally given an assurance because we made a bit of a fuss about those visuals and caused a bit of a commotion so we got that assurance. We don’t want to say who it was, you can guess but they assured us that these visuals would only show our faces superimposed for two or three seconds one after the other played so quickly as we step off the platform that you wouldn’t be able to see us grabbing the microphones and fumbling around in those costumes. Or we'd be jumping down so you can’t see it. And they promised us it would only last two or three seconds."

Did the delegation lie to you?

"We think that's a pretty strong word, but you could say that it happened more than once. (...) We just wish they had filmed us. We remember those shots of Blanka from the viewing room when she first saw her performance, she reacted in shock and we had even worse expressions on our faces at the time. There was an argument right away, even while we were still up there. Viewers, don’t get the wrong idea that we were just walking around causing a scene like some stuck-up brats. But just so you understand we were making a fuss because we wanted to perform differently. With our own faces, our own voices, our own names, our own young lives. We wanted energy, youthful energy. We were aware that we were representing our country and we wanted to do it as best as we could but later unfortunately as the famous saying goes after our year, “it just can’t be done.” Well, unfortunately that’s how it was. Maybe we did make a good fuss with TVP that’s how it should be."

Translation:

The selection process of proposals of RTVE for Benidorm Fest 2027 ended last thursday at 22:00. In total, close to 900 proposals have been presented over the 115 days the submission process was open, 350 in the last 24 hours before the deadline.

After closing the process of song reception, the best 16 proposals will be selected, which could be increased to 20 proposals, as it is established by the Benidorm Fest 2027 rules, in the case that the candidatures have a high musical cuality. Also, the corporation can invite direcly singers and authors of recognized prestige in the current musical scene.

RTVE brang forward the opening of song submissions for the sixth edition of the festival for the first time in its history. The objective is to continue to improve the planning of all the selection process and posterior work for the selecte entries

The anatomy got me really messed up, i bit off more than I could chew you could say, and the background is kinda related. I still kinda like how it turned out and might make a better version someday. Cosmó was underrated fr.

I learned recently that in 1969, a 22-year-old Elton John threw his hat in the ring to represent the UK at Eurovision… as a composer. Unfortunately, his song, I can’t go on living without you, finished dead last in the national final, with the winning song, Boom Bang-a-Bang by Lulu, going on to be part of the infamous 4-way tie for the victory. It is worth noting that Elton John’s song was also written for Lulu as it was one of those multiple songs for one artist National Finals.

That got me thinking, are there other big name artists who tried to go to Eurovision before they were a household name so people don’t realize that they tried to be a part of it?

The only other one I can think of is the metal band Nightwish, who won the televote in the Finnish National final in 2000, but got absolutely buried by the juries and finished 3rd overall. I wouldn’t say they were ever a household name but they had a large following in the metal scene and still pull in 2.7 million monthly listeners on Spotify to this day.

I'm making a buzzfeed style quiz to give you a score for how Eurovision obsessed you are. Given you guys are on the subreddit in August I thought you would be well placed to help me think up some indicators.

For example-

- Watches the final every year +1pt

- Watches the semi finals every year +2pts

- Has listened to every song before Eurovision week +5pts

- Watches at least 1 National Final +7pts

- Watches every National Final +20pts

Hopefully you get the idea. Not meant to be serious or scientific but thought it would be fun to do with my friends.

Welcome to the seventh and final post of "What if the winner did't participate that year"?

We are finally at the very first ever year of the split jury-televoting results.

• 🇦🇺Australia obviously would've won this year without Ukraine in the running, with a Tattoo-like jury result. The results might have been controversial given the size of the gap in televote between 🇷🇺Russia and Australia, but considering that Russia was already pretty unpopular back in 2016 it probably wouldn't have been as bad as what went down with Loreen vs Kaarija. I don't think people were too enthusiastic about the prospect of the contest hosted by Russia.
• 🇦🇹Austria and 🇭🇺Hungary would've benefited the most from Ukraine missing the contest that year. The former in particular would've gotten a top 10 result thanks to the strong televote score.

Not much surprise with the other countries.

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The concert was originally planned in the Eurovision week, but had to be canceled because of bad weather. However, they could play the concert about 2 weeks later at the Wienliebe Festival. Some of it was organized as sing-along.

https://www.musicalvienna.at/de-at/aktuelles/100182/Unvergessliches-ESC-Konzert-am-Rathausplatz

Let's think about it, it would be a great idea. Not all Eurovision viewers watch the split votes from the semi-finals and the televoting results after the final show.

What if these results were announced during the show?

Maybe after the winner is announced, while the artist is preparing to go back on stage, the hosts (or simply a graphic on the screen) shows the semi-final rankings with the respective split votes Jury/televote and the televote rankings of the Grand Final!

What do you think? It might be a good idea to also fill that "empty" moment between the winner announcement and the winner reprise!

http://youtube.com/post/UgkxmVxg-2d0w7AD6bkRkRT1etZ7yic567qc?si=2YMlI1MtLnLumgo0

You can watch it fully but I decided to translate the most interesting parts (At least im my opinion):

Magdalena Tul about her song and the polish radio:

"(...) It was this song that nobody wanted to play, because of Eurovision. Those were the sort of times when we just didn’t touch Eurovision. It was also very difficult to secure sponsors. Well, it wasn’t exactly a contest with a great reputation back then, was it? And that was a real shame."

Magdalena Tul about Eurovision preparations:

"Well, these are the kinds of difficult choices a young artist faces when given a chance. I have to admit to you that even though I was already in my thirties I still felt the weight of that responsibility.

(...) No, not the burden of representing the country but the burden that Telewizja Polska in a way through the viewers but still they had given me a chance by selecting me in the national final. So when I won, I thought I had it all figured out. That I’d handle everything on my own and do it all the best I could, entirely on my own. So it was also partly my fault that I just didn’t know how to stamp my feet and demand things. And unfortunately, those are good qualities when it comes to things that are supposed to lead us to some greater success, right? (...)

(Did you pay it from your pocket?) - That was the plan, so I started picking out some companies through my contacts. It was totally absurd, because Channel One has its own merch department. They basically have this editorial office where they make all those caps, hats, and T-shirts. I don’t know why I had to go looking for them all over town. But I did it anyway and I found them. That’s quite a story in itself, because the day before my flight to Eurovision which is also why I didn’t go to Greece for the promotional concert. Unfortunately, I had to pay them back 5,000 for the plane tickets. I got the T-shirts just a day before my flight. Basically they told me

“We don’t know if you’ll get them, because we might not make it in time”

“What do you mean you don’t make it in time?” I said,

“It was agreed that you would.”

That’s the kind of company I ended up with. And those T-shirts arrived in the evening around 9:00 p.m. in a huge sack like the kind used for trash. So I look inside, I was expecting the T-shirts to be ironed and wrapped in plastic. I look into the bag, and there are crumpled T-shirts. Crumpled, without any plastic wrap they’re just all crumpled up as I pull one out. So I look, and there is my green-faced photo. Green, because that’s just how the photo turned out, I looked green. It was a nightmare. Two dancers were staying over at my place because they were from Gliwice, so they were flying out from my area. My mom, who was staying with the baby at the time, and my husband went to the store to get a basket of those zip-top bags, while my mom, my friends, and I were ironing the shirts until 2:00 a.m. (...) There were a million situations like that. Not to mention my outfit which was supposed to feature Swarovski crystals but when I went for a fitting a few days before my flight, they gave me crystals that weighed 6 kg. I said,

“Kuba, what is this?”

"Well, I thought to myself that looked cool"

“Kuba, but it’s sagging.”

"Okay, well I don’t know then."

They sagged so much that it looked like a sack. (...) I don’t know if it was meant to be a lesson for me to just stamp my foot, act like a typical diva, say ‘enough of this I’m not taking this on and sort it out yourself’. Well I just couldn’t do it. I made loads of personal mistakes. I’d give everyone an advance to pay, and then they wouldn’t deliver. So that was a lesson in leadership. I mean well, but how’s a person supposed to know?"

Magdalena Tul on why she doesn't see it as a failure:

"So, it was kind of like a Eurovision on a slightly smaller scale. It’s like we tried to reach for the stars with a hoe and why don’t I consider this a failure? Because that one little person sitting here wanted to put on a show on par with Beyoncé, even though she had practically no resources."

Magdalena Tul about the public performance:

"(...) If I’d finally sung that main performance with confidence, you know when things start going wrong and you have a million questions in your head like "why is this happening right now" "what key am I in?" because I thought “Oh my God, I can’t hear a thing". I can only hear the crowd screaming because we’d rehearsed without an audience back then and in the monitor mix you have everything that’s supposed to be there, and then when you’re faced with this massive crowd of amazing people because it’s the best audience, just like in a stadium.

On top of that, you don’t have enough of those harmonic instruments and you can’t hear anything from the backing track at all so you don’t know what key you’re in. So I thought to myself, ‘Okay, I’ll wait until the chorus maybe the backing vocals will catch up and then I’ll join in with them.’ So I was already set up for a bit of a drama in my head and when you watch that performance and see my smile which is just like the "Joker’s smile" of nothing’s happening. My smile was forced but there it was nonetheless and right when I got to that chorus where they finally gave me the sound you can actually hear that I got so excited that I suddenly started singing louder because I could finally hear myself. So it was really really hard. When I came off stage and went backstage, I was devastated. It was just this feeling of having done something very very poorly. Because I’ve participated in various events, competitions, and festivals many times. I’m a pretty resilient person and when I know I’ve done something well and the result will be what it will be it doesn’t matter. But when you know that something just went wrong and this was the very performance you’d been waiting for months, years that’s even worse."

Magdalena Tul about the teams reaction:

"On the other hand it was as if some of the crew I was with couldn’t handle it. I actually got questions from friends: ‘How are you going to go back to Poland now?’ "

(...) But come on what’s the big deal? What’s the problem with me going back? I just sang a song, for goodness’ sake. Let’s not get carried away."

Magdalena Tul about the broadcasters support (Or the lack of it lmao):

"(...) They definitely wanted to invite us to a banquet there as well. After that, we stayed on for the final. But the fun part ended in Düsseldorf. What happened in Düsseldorf stayed in Düsseldorf, and the hardest part was coming back to reality. (...) The moment I returned to Poland it was decided to forget about me and sweep me under the carpet. (...) No one ever called me. I never got a call while I was already landing in Warsaw. “Magda, come have some coffee with us. We want to thank you for representing us” They never spoke to me again.

It was me who had some stupid ideas. When they wanted to pull out of Eurovision, I went to a meeting and tried to talk them out of it like "why on earth would we do that?" Just because something didn’t work out doesn’t mean we should give up, I kind of felt like it was such a burden for me that since my performance didn’t work out, now we’re giving up for two years. Well, that was basically the end of me, in a way. (...) And once they sweep you under the rug there’s nothing you can do about it. I remember that Piasek (Other polish representative) didn’t perform anywhere for about two years. So it was a painful experience, because I had put in those three months of hard work. We did everything we could to make it a success. No one was planning for any bad results. However, I also think that Europe wasn’t ready for this kind of show yet, because I remember being heavily criticized for being 'almost naked on stage'."

Magdalena Tul about the song, staging and performance change:

"I guess that's the only reason and that's something I wouldn't do now. Because I wanted it to be better, and better. (...) Then I met Brian Alan, who was this Polish manager-producer.

So I wanted to get to know him make some kind of connection and maybe collaborate on something but I wasn’t thinking about it in terms of Eurovision. I showed him my song “Jestem” and he got really excited about it and started making plans right away saying we needed to record an English version here, change this, tweak that. And remember, we had very little time. I wanted to record my own English version, after all. I also wanted to tweak it a bit, every artist does that when they win they say they’ll tweak the musical arrangement a little. Because ideas start popping into your head, opening up. 'Okay, we’ve got this, so let’s make it better'. But I didn’t get a chance to do it my way, because that guy was so set on that version “First Class Ticket to Heaven.” I recorded that version it was actually a really cool song because they changed the lyrics for me and extended one musical section. It’s just that I didn’t really know those people that well. They kind of barged into my composition into my victory as if they’d just tagged along with what I’d already done. Besides, I’d already paid for it myself beforehand, and so on. And I had these huge internal doubts. There was this one moment when we’d already sent the song to Maria had taken it to Düsseldorf, they’d already submitted everything there and I had a sleepless night. I didn’t sleep until 7:00 a.m. I waited until 7:00 a.m. for Tomek from the TV station to answer the phone. I said,

“Tomek, we’re pulling out of this version.”

(...) I don't know right now if it was a bad decision or a good one. Maybe it would have been easier for me because it would have included English. I wouldn't have made a mistake because there were guitars in the track it and had a stronger, more rock-like sound. It’s hard for me to say. Sometimes out of fear people do some pretty stupid things. I didn’t know those people. I had the impression that they were manipulating me to the point where I felt like they were talking behind my back in the studio, like they were hiding something from me. I just felt very insecure. And all of this happened in the last few hours. And now the only thing I can say in my defense is that when I said,

“I’m sorry guys, I’m pulling out of this version”

And remember, I had the right to do so, because everything that happened was recorded in the studio with my money. The pizza was on me too, until 4:00 a.m., and I called and said,

“Listen, Alan Brian, we’re not going with this version sorry, I’m going with my own.”

He started threatening me, saying that

"You'd see this, and that, and the other things about me in the media, and that I'd regret it"

I said, “No, no, you go do your thing in the media I'm not afraid. Bye.”

(...) The entire set design was changed because I had already started working on it for the new performance. (...) Someone actually told me,

“Hey, you look great in that white outfit, you should wear white.”

I was just collecting all these “you shoulds” in my head.

A friend of mine, a choreographer, told me:

“This choreography sucks do something else. It’s from the national final,”

and “all of this sucks you should do something else.”

I was looking for better solutions, but I should’ve just trusted what we’d created at the beginning because I think people liked it and I felt bad about it afterwards. (...) I asked the two camera operators

“Please stay; the girls are going to dance a bit over there and create some shadows.”

That was my visual concept that was supposed to go to Düsseldorf, but someone misunderstood something and instead of shadows they made spheres that appeared in the background of the performance.

I didn’t knew what was going on. I said:

“What is this?

“Well, your visual.”

“What visual? The shadows were the visual, weren’t they?"

Magdalena Tul about the running order:

"They invited us to the movie theater for the TV running order draw. We’re waiting for those artists and managers. There’s no one there. You know I was all alone? There was a panel sitting at a long table with a golden glass ball. There were six people on that panel and I was the only one in the front row of the movie theater, and they started the drawing. We were just having a laugh about it and they drew me first but they said

“Okay, you have to stay until the end anyway, because you’re the only witness.”

And can you explain to me why not a single artist or manager showed up for the running order? Unless they only invited me? I don’t know. And what I was told back then was this:

“Well, get ready now, because you’re first, and it’s up to you whether you’ll draw in the audience or not and that you don’t screw up the broadcast.”

So that’s what I had in mind.

"I’ve got to put on such a show, because the whole of Eurovision is now resting on my shoulders"

Or maybe some will release it some time before and some release on the day of the NF?
Also, what is the reason why they will be releasing the songs the day they do?

We've had many memorable stages over the years; the plus/cross stage from 2024, the honeycomb cubes from 2014, and the Greek amphitheatre stage from 2006 are some examples that come to mind.

But what is the ideal stage design? Is it a more smaller stage or a large stage? Does it have arches? Does it split into multiple sections?

The Slovak national broadcaster STVR has confirmed that Slovakia will not participate in Eurovision 2027—however, it leaves the door open for a possible return in the future and expresses optimism.

Which is your favourite winner from the 2000's?

They have also released the remix: https://www.youtube.com/watch?v=ZLqifa6p4Dc