This year’s Eurovision is panning out to be a good deal different from in comparison to previous years. At least that’s how it seems. Like the BBC Proms, I started the year seeing Eurovision as a rather unpleasant looking truck I had no desire to follow or indeed board. I was quite happy to give the whole thing the widest berth possible.
And then adorable and annoyingly talented digital artist Ben Morris tweeted a link to this picture of the stage currently under construction in Dusseldorf ahead of the Eurovision rehearsals getting underway.
I wouldn’t normally get excited about these kind of things. Such details usually detracts from the joy of the actual event. But seeing the thing under construction reminds me of one of the most bizarre things about this television programme I’ve had a love hate relationship with over the years.
Here is a TV event which spans three nights. It’s watched by hundreds of millions. And one of the necessary components demands at least three cranes to put the damn thing together weeks before it goes out live across Europe. How is it that something which is – in some respects – so superficial and so ultimately inconsequential demand so much intensive work for what is as quickly forgotten as it’s deconstructed after the final credits rolled.
If anyone’s got any answers to that, I should be grateful to hear or read them.
Thoroughly Good Eurovision Blog
True to form, I’ve started my Eurovision homework a bit late this year.
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The picture above was published by Eurovision.de, isn’t used with their permission but is included in this blog post on the basis of assumed love.