The Null Device
Well, that's Eurovision for another year. Israel ended up winning, with a studiedly kooky yet impeccably produced electro-pop number, involving dollops of Björkisms, kawaii and chicken impressions. Which was probably more interesting than the two runners-up: Cyprus with a track that was a certain variety of Eurovision by numbers, and Sweden with a handsome young man doing a mildly funky, highly polished though otherwise unexceptional number. (Sweden finished 2nd in the jury choice and 7th in the overall; a result good enough to preserve the reputation of its Eurovision-song industry and keep the hit factories of Stockholm busy on half of Eurasia's contenders for 2019.) Australia's entry, a competent club-pop ballad by Jessica Mauboy, finished in the middle of the bottom half of the final result, though made it into the top half of the jury results; for some reason, getting 1/10 of the votes from the public that they got from the jury. (Presumably there aren't enough Aussie backpackers around EBU countries these days, and the antipodean nation doesn't fit into any European voting blocs.) The UK entered what appeared to be an early, not entirely successful, experiment at cloning Annie Lennox. They did, well, typically, ending up third from last. (I was half hoping, very much against hope, that they'd win, the population of Europe deciding, with exquisite irony, to saddle Brexitland with having to host a celebration of pan-European unity. It seems that Europe has better things to worry about than the quasi-tourettic tantrums of some objectionable self-exiled strangers on an island in the Atlantic. Toodle-pip, Britain, and don't let the door hit you on the way out.)
The UK's entry was, once again, cited as a return to form, as Britain flexing its formidable pop muscles and fielding an entry so strong that they may just be in with a chance of (whisper it) winning. And while the entry, SuRie, was indeed qualitatively better than some of the cringeworthy contenders it fielded over the preceding decade or two (the middle-aged white gangsta rapper, the singing flight attendants, Jemini and so on), it looked half-baked next to Australia's entry, which predictably left the UK in the dust. Perhaps it's the contrast in attitudes: while generations of Australians have grown up having the annual Eurovision party (always a good excuse for a drink with mates), the UK still is hamstrung by the sniffy disdain it has for those silly foreigners on the other side of the channel, and a sense of reluctance to lower itself to their level; it was always there, though went septic around the time of Tony Blair's bromance with George W. Bush, and has never entirely receded.
(The UK's entry was made slightly more exciting when some bloke with writing on his T-shirt ran onto the stage and grabbed the microphone for a moment. It is not entirely clear what his issue was: was he het up about chemtrails or Cultural Marxism or something? Did he have strong opinions about something like the Irish abortion referendum? Or was he perhaps a fanatical Bitcoiner striking a blow against fiat currency, or possibly one of those “incels”? I guess we may never know the truth.)
Other entries of note: Finland named its song “Monsters”, which given that, unlike its 2006 entry, it was not a heavy-metal number performed in monster costumes but rather respectably ordinary Eurovision electropop, was writing a cheque it had little hope of cashing. Hungary did have a heavy-metal band, with pyrotechnics and all, who looked about 14. Denmark's entry was Viking-themed, though was more a minor-key AOR ballad than hard rock. Moldova's entry was a cheeky sex-farce mimed around a set of doors and windows; think Benny Hill with Balkan beats. The Czech Republic did a sort of new-jack funk-rap thing, only stylised as nerdy/quirky, and thus less bland than Sweden's entry; the phrase “Czechia self before you wrechia self” did come to mind. And Ukraine fulfilled the Eurovision Goth quota, with a disco Dracula waking from inside a grand piano, and playing as the flames rose around him.
So Eurovision will be in Israel next year; presumably in Tel Aviv. Which means, among other things, that it's quite likely that Dana International will be one of the hosts. Presumably Britain will still be competing, the BBC paying enough into the EBU to retain its guaranteed contender slot regardless of the quality of its entry.