Moscow wants Poles and Ukrainians to resent each other. That’s the point.
Moscow wants Poles and Ukrainians to resent each other. That’s the point.
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A welcome and courageous message.
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A welcome and courageous message.
#ESC2025 #Eurovision
#ESC2025 #Eurovision
This song isn’t just a contest entry—it’s a grim reflection of a country teetering on the edge of geopolitical irrelevance. If this is Georgia’s contribution to ESC, it feels less like a statement of hope and more like a warning.
This song isn’t just a contest entry—it’s a grim reflection of a country teetering on the edge of geopolitical irrelevance. If this is Georgia’s contribution to ESC, it feels less like a statement of hope and more like a warning.
Marko has had a terrible time in his own country with abuse based on the fact that he is gay Unfortunately, I can’t see this controversy ending well, because I think this song is likely to finish with very few points. Hang in there, Marko. We love you.
Marko has had a terrible time in his own country with abuse based on the fact that he is gay Unfortunately, I can’t see this controversy ending well, because I think this song is likely to finish with very few points. Hang in there, Marko. We love you.
PARG just comes off sounding like a angry dude who is trying to prove he is the toughest guy in Armenia. Maybe he should go to his truck and record a podcast about it. The lyrics also aren’t exactly Keats. “I’m a survivor. Stay alive-er.” Are you serious dude?!
PARG just comes off sounding like a angry dude who is trying to prove he is the toughest guy in Armenia. Maybe he should go to his truck and record a podcast about it. The lyrics also aren’t exactly Keats. “I’m a survivor. Stay alive-er.” Are you serious dude?!
This song evokes the sense of an exaggerated love ballad, performed by a metrosexual version of Geralt of Rivia—perhaps a bit too theatrical for its own good. Eurovision has evolved and this song, for all its flair, feels rooted in a bygone era.
This song evokes the sense of an exaggerated love ballad, performed by a metrosexual version of Geralt of Rivia—perhaps a bit too theatrical for its own good. Eurovision has evolved and this song, for all its flair, feels rooted in a bygone era.
While Deslocado succeeds in conveying an authentic and moving personal narrative, it may not offer enough in terms of wider accessibility or showmanship to stand out in the highly competitive environment of Eurovision.
While Deslocado succeeds in conveying an authentic and moving personal narrative, it may not offer enough in terms of wider accessibility or showmanship to stand out in the highly competitive environment of Eurovision.
If I can be honest, the performance feels vaguely manipulative. With the exception of being heartfelt, everything about this song feels vaguely mediocre. I’m glad his wife is okay, but I do not expect Klemen to advance to the final.
If I can be honest, the performance feels vaguely manipulative. With the exception of being heartfelt, everything about this song feels vaguely mediocre. I’m glad his wife is okay, but I do not expect Klemen to advance to the final.
The song isn't terrible; it’s got a good beat and is solid dance music. I’m just not seeing how this converts to a successful Eurovision entry, and I think it would be a shame if this song qualified over the likes of more deserving acts in Semifinal 1.
The song isn't terrible; it’s got a good beat and is solid dance music. I’m just not seeing how this converts to a successful Eurovision entry, and I think it would be a shame if this song qualified over the likes of more deserving acts in Semifinal 1.
I actually love this act, but in a year when there is already a lot of bubblegum poppiness it just feels a little too perky. I think this is a song that most people will like but few people will actually vote for. And that’s okay.
I actually love this act, but in a year when there is already a lot of bubblegum poppiness it just feels a little too perky. I think this is a song that most people will like but few people will actually vote for. And that’s okay.
Israel’s entry adopts a more restrained posture, softly imploring, “Everyone cries, don’t cry alone.” On the surface, it projects a conciliatory message. Yet for many viewers, such a sentiment feels not only hollow, but cynically disingenuous.
Israel’s entry adopts a more restrained posture, softly imploring, “Everyone cries, don’t cry alone.” On the surface, it projects a conciliatory message. Yet for many viewers, such a sentiment feels not only hollow, but cynically disingenuous.
In many ways this is the quintessential host-country entry: a song that is easy to enjoy, universally pleasant, and entirely inoffensive. It’s the type of track designed to create a pleasant atmosphere rather than make a bold statement or dominate the competition.
In many ways this is the quintessential host-country entry: a song that is easy to enjoy, universally pleasant, and entirely inoffensive. It’s the type of track designed to create a pleasant atmosphere rather than make a bold statement or dominate the competition.