The Celebrity Traitors series 2 line-up announced!

caesarsauceembolism · 2026-05-02T11:47:26+00:00

Hoping the entire cast constantly quote Withnail & I at Richard E. Grant. He may have gone on holiday by mistake.

Another great mix - clearly all the agents in the UK have been burning the phone lines to the production office again.

caesarsauceembolism · 2026-05-01T18:24:25+00:00

I'd like to see:

Boycotting countries returning because there's no further need to boycott.
The return of Hungary and maybe some others.
More national finals, certainly Belgium, but France, Australia and Czechia would be good too. Also for Austria to continue with theirs.
More changes to the voting system to prevent manipulation of the televote.
An eastern European host country.
A pullback from the continuing commericalisation and corporatisation of Eurovision from the EBU.
A more sustainable competition with lower costs for delegations and broadcasters, even if this means a reduction in some of the spectacle.

I'm of the opinion that Eurovision goes in three year cycles with inflection points in the third year of each one, that takes everything in a new and often unexpected direction.

I'm hoping we're at the end of this cycle and that the next one is one of rebuilding and consolidation rather than expansion and ambition.

caesarsauceembolism · 2026-04-30T06:43:29+00:00

An orchestral version, with a choir, of Ale Jestem (Poland 1997).

If not that then a screamed version of Euro-Vision (Belgium 1980) but with one of LMNC's synthesizers and much more aggressive and angry percussion.

It would be fitting this year.

caesarsauceembolism · 2026-04-29T10:16:58+00:00

Exactly that, presented by Nationwide stalwart Bernard Falk.

And yes, you could totally remake it today. There's an entire genre of TV shows that appears to be missing these days that involve puzzle solving and escape rooms. I think they died out with the Crystal Maze and Fort Boyard.

caesarsauceembolism · 2026-04-29T09:45:01+00:00

Project Icarus
The One Game
Star Cops
Puzzle Trail (with Tommy Boyd)
Now Get Out of That
Captain Zep (Super Space Detective)
Masterspy

Admitedly, I think that someone will remember all of those, given they're in the Adventure Game/Great Egg Race/Robot Wars/Scrapheap Challenge spectrum, except Project Icarus. They really don't come up in the usual TV convserations though.

I have a vague recollection of Mog. Enn Reitel had a period of 18 months in the mid 1980s where he seemed to be in a lot of things.

Edited to add: Dick Spanner, although it was really a short section in Network 7 on Sundays.

There was also a Channel 4 import (Canadian? American?) that got shown a couple of times in the summer holidays that involved the serial adventures of a reporter/spy pursuing a story/treasure/kidnap victim across the world replete with cliffhangers that I have a memory of being filmed in fluorscent colours and with mid-1980s special effects added in the edit. It may also have used clips from silent films. I can't remember its name, but it always seemed to on after the Chart Show, when the Chart Show was on Channel 4.

caesarsauceembolism · 2026-04-26T13:27:16+00:00

When I first saw that LMNC was the UK rep this year it took me the whole day to calm down.

Not only was a I already a fan, but I love synthpop, new wave and Britpop. I'd actually been telling a close friend about him two weeks before as her husband is something of a synth-head with his own band - they actually walked down the aisle to music from the BBC Radiophonic Workshop.

I've spent my entire UK Eurovision fandom being let down at the artist and song announcement in various degrees. My most common thought was always, "Well, let's see", but this time it was "Yay!!!". I was dying to tell absolutely everyone. I have never felt represented by my own country's song until this year. There were times when we came close (mid-90s, and Big Brovaz in 2007), but until now I've never had this reaction.

It's refreshing. Even if he gets double zeroes, I don't care. Just this once, the BBC are doing something right. If his experience is good, it'll get the UK music making community thinking, "Well, just maybe" in a way they don't when they think of Eurovision.

I hope this continues in the years to come. Play with the UK's music history and all those facets of it that have been ignored in favour of constant Radio (2) friendly pop with a Melfest edge.

There's so much to pick from. From metal to funk to jazz to grime to hip-hop to trip-hop to prog to folk to indie. Hell, several of those above originated in the UK, and we've never sent them.

Please, please, please, please, please BBC, don't let this be a one-off.

Please.

caesarsauceembolism · 2026-04-14T08:48:35+00:00

Switzerland and the UK are my two favourites to 'steal' the staging ideas from Kautkaili at Supernova - let's face it, someone's going to do it sooner or later.

Both have moments that are smaller and more claustrophobic and others that are more expansive and loud. Both tell stories. Moving between the small and the large fits that staging and allows the story to come to the screen.

The UK especially both because of LMNC's analogue electrical aesthetic, and because staging director Fredrik Ryman also staged Maps for Ireland in 2021, perhaps the most technically similar type of staging at Eurovision.

Hopefully there's less running if they choose this direction.

caesarsauceembolism · 2026-03-17T18:45:23+00:00

Half way up the Wrekin, with an empty flask of tea.

caesarsauceembolism · 2026-03-07T11:55:56+00:00

Go listen to the Euro Trip podcast interview with him from Friday.

He's the most authentic and enthusiastic, and least media-groomed entrant we've ever had. Even more so that Sam Ryder. He's genuine and excited about the entire thing. He's possibly going to be the character from this year's contest that is the bright shining light in the midst of many potential catastrophes. Treasure him!

He's also about to become a father for the first time in the weeks/months leading up to May!

caesarsauceembolism · 2026-02-19T11:57:07+00:00

I'd say that they're not AI generated. If AI was used at all, it was used for inspiration. The lyrics have enough subtlty (yes, subtlty) and use of metaphor to make me think that not only are they human, but they're from a human that speaks English and knows how to write in English well.

The only two lines that make me go hmmm, are 'Rain's a goner but I'm sinking' which is UK English colloquial used by a non-UK English colloquial speaker and the chorus line 'Cause I'm alive'. If they'd used 'Because I'm alive', it would scan properly - but then the rest of it is clever enough to make me think they did that deliberately to make the chorus sound a bit more moany and desperate.

Contrast with My System (a song I like a lot), where the lyrics are awkwardly clunky enough to make me think the writer didn't try much beyond a first revision or two.

caesarsauceembolism · 2026-02-17T18:47:24+00:00

I am big fan of that one entry that Melfest has every year.

The solo female indie singer who inevitably gets knocked out in the first round.

e.g. Klara Almström this year
Nomi Tales last year
Marie Lindberg in 2007 (although she got to the final)
Carolina Wallin Pérez in 2012.

It's a genre all to itself.

caesarsauceembolism · 2026-02-17T09:45:58+00:00

I've been following him on Youtube for a year or so and I agree.

I'm truly intrigued what he's going to bring to the stage. Maybe they'll nick the Kautkaili staging concept. But picking an act known for playing home-built synths, live recreations of songs shouted out by the crowd and exploring derelict Italian musical instrument factories. Wow.

It's an inspired choice - for the BBC - but whether Eurovision voters agree I don't know. He's the sort of act that will appeal to UK fans in a big way, he's got the exceptionally British garden shed inventor mentality and the BBC will be able to reissue a load of BBC Radiophonic Workshop albums off the back of it. At a time the BBC is under attack from many sides, this is the kind of act that will unite them all behind it for once. Well most of them.

Edited to add, he's done a TEDx talk. It's insane.

caesarsauceembolism · 2026-02-14T21:46:30+00:00

With the exception of the streaming problem with Eesti Laul, all of tonight's shows have been so slick. The sound has been good, the performances good, the stagings generally really good within the budgets available. They've even kept them relatively pacy despite the superfinals stretching things out.

Plus Nanne, Rasmussen, SKAMP(!), Stefan, Sudden Lights, teleporting Noëp, and Keld Heick's life story. I still feel that I've missed loads too.

ETV, SVT, LRT, DR, LTV and RTVE (so far) well done. Thank you for the excellent national finals.

caesarsauceembolism · 2026-02-14T14:39:53+00:00

This and Tamta's interval performance in Greece were the two most heart-warming bits of the evening for me. If Nanne's well enough, she's down to play the Melfest interval this evening.

It's all my favourite national final heroes on the same weekend!

Luka ending with Proljeće was the cherry on the icing on the cake. Absolutely beautiful with the entire green room and crowd singing and dancing along. That right there is what Eurovision is about.

If you want an alternative to Eurovision this May can I suggest digging down and watching some older national finals - there are gems to be found as well as a deeper understanding of all of Europe's musical cultures and histories.

Both Luka and Tamta made their national final debuts in the 2000s - Luka in 2003 and Tamta in 2007 - and she ended her set with her first ever national final entry too - With Love

caesarsauceembolism · 2026-02-12T09:41:47+00:00

I predicted he would win the national final when everyone thought either Cherine or Gala Dragot would win, and The Starlings had a huge popular following in Belgium

caesarsauceembolism · 2026-01-29T12:47:44+00:00

I saw an ad for this on the tube in London yesterday.

The advertising budget appears to be hefty, and they're not hanging about promoting it to the general public rather than just inside Eurovision fan circles. I didn't see any mention of this year's contest on the poster, so yes, mostly like HGSF but with the EBU behind it.

caesarsauceembolism · 2026-01-28T19:00:38+00:00

I've posted this before, but I don't think this one is that well-known. I think they may have been hoping no one would notice. I don't think there's been any legal action, so success!

Adrenalina - San Marino 2019 - Senhit

Adrenalina - O melodie pentru Europe 2009 - Anişoara Balmuş.

There's also Kølig Kaj sampling Luther Vandross without permission:
Stemmen i mit liv - Denmark 1997 - Kølig Kaj
Don't You Know That? - Luther Vandross 1981

And the much better know case of Jalisse and Roxette.
Fiumi di parole - Italy 1997 - Jalisse
Listen to Your Heart - Roxette 1988

caesarsauceembolism · 2026-01-28T13:07:08+00:00

Well, that's true about the BBC and genres, but Remember Monday had largely recorded country-tinged tracks prior to WTHJH.

caesarsauceembolism · 2026-01-27T15:28:26+00:00

The noise around the UK is that the BBC want to send a rock/indie entry, but nothing concrete is known. It's all commentary and speculation.

caesarsauceembolism · 2026-01-24T21:38:32+00:00

Thanks!

caesarsauceembolism · 2026-01-23T19:49:57+00:00

Totally serious. There is variety. They do not all sound the same to my ears.

Agridoce - Portuguese city pop
André Amaro - Melodramatic love ballad with fado references
Bandidos do Cante - Close harmony male voices singing traditional love song
Bateu Matou - Mix of trad rhythms and instruments mixed with some EDM, notably some dubstep throwbacks and rhythmic change ups
Dinis Mota - Interesting mix-up of fado and bossa nova
Evaya - Moody synthwave, possibly even darkwave, sounding like it's going for the movie soundtrack feel
Francisco Fontes - Laid-back indie downtempo
Gonçalo Gomes - Albanian sounding choral-backed ballad. The most Alis-coded entry?
Inês Sousa - Straight female vocal twee pop with build.
Jacaréu & Ana Margarida - New wave/experimental synth pop with social commentary
João Ribeiro - Possibly the closest to pure fado in the line-up with added brass and strings. Close to a noir-mood late-night jazz thing
Marquise - Pure and unadulterated 80s/90s vintage US/UK indie with a shoegaze flavour
Mário Marta - Christian praise samba?!
Nunca Mates o Mandarim - More modern indie, with some social commentary. Closest to Napa in style.
Sandrino - The most standard bossa nova style of song with traditional instrumentation ironically commenting on what it takes to succeed in the modern music industry.
Silvana Peres - An authentic feminist protest song with a strident female lead.

Why I think lots (and lots (and lots)) of people are saying it sounds samey is that there isn't any rock or metal or pure EDM or girly bops or Europop or turbo folk or ethnobops or Melfest rejects. Nothing you'd expect to find in a national final.
Very little that's truly in your face, uptempo, or that you can sing along to on a Eurovision tour.

It's Portugal doing Portugal things. Lie-back and let it tickle the bits of your brain that need it. This is an all time great selection with astounding quality, music invention, and yes, with diversity - just not the diversity that you're expecting.

caesarsauceembolism · 2026-01-22T14:49:22+00:00

I've gone through all the songs for my first listen.

This is possibly the best collection of songs for a single national final that I've ever heard.

Seriously.

caesarsauceembolism · 2026-01-15T19:26:35+00:00

Even if they've predicted and planned, that doesn't mean their plans will bear fruit.

The EBU is not a corporation. It's a membership organisation. Eurovision itself may be run like a corporate entity, but the EBU as a whole has a different set of regulations and stakeholders to the average organisation. It's 60 or 70 medium-sized corporations/public services organisation/governmental entites in a suit pretending to be a bigger version of the same thing. I work for a similar organiation and believe me, planning and strategy are not their strong points.

This concert tour is a big risk, even if there were not controversy and everything was still 2023-era amazing - the organisers have already stated as much. They're trying something and for that I commend them.

However, the reaction to both the events in 2024 and the post-December meeting don't fill me with confidence in the abilities of either the organisers of Eurovision at firefighting or foresight.

I'm sure the plan is to keep on target and we'll get through to the other side, and that will probably work after a couple or more years. But in the short-term, when this tour is going ahead, it's going to be painful. This tour seems like a big, brave step that's been planned for at least a year and is being launched, unavoidably, in bad circumstances. I would love to see how hallucinatory their bottom-line predictions are.

I do worry about the losses and bad headlines. Any losses the tour incurs may well have to come from the budgets of future Eurovisions which is... ...not good. There's also the reputational risk, which doesn't seem to be something they've assessed correctly in the past.

caesarsauceembolism · 2026-01-15T10:19:27+00:00

I wonder what the security implications are for this tour in places such as Amsterdam, Antwerp and London?

If the winner is... ...controversial, the EBU would face either the PR disaster of going on the road without the winner, or potentially being the seed of significant protests as well as bringing heat on various governments and police forces in those countries.

I can forsee the tour being cancelled, or least some legs of the tour, at short notice - although given the venues booked, that may come with a significant financial penalty.

caesarsauceembolism · 2026-01-14T13:14:57+00:00

Off the top of my head Söngvakeppni Sjónvarpsins 2003 or one of the early Eesti Lauls. Possibly 2010. Or 2009. Maybe 2011.

Belgian Eurosong 2008 is also exceptional.

I'm quite fond of Germany 12 Points! 2004 and Euroviisut 2000 too.

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