Bye bye banana wolves! Is social media ruining Eurovision?

TruthLens AI Suggested Headline:

"Social Media's Influence on Eurovision: A Shift Towards Conventionality"

Bye bye banana wolves! Is social media ruining Eurovision? analysis cover image The Guardian 5.9
Image Source: https://i.guim.co.uk/img/media/4b1e2eb770408cc5135cc3e5699272eb3cc2f84d/439_0_2444_1955/master/2444.jpg?width=1200&height=630&quality=85&auto=format&fit=crop&overlay-align=bottom%2Cleft&overlay-width=100p&overlay-base64=L2ltZy9zdGF0aWMvb3ZlcmxheXMvdGctZGVmYXVsdC5wbmc&enable=upscale&s=10f8bad20794cee7d14fa6ab70eb2f75
Original Article Source: https://www.theguardian.com/tv-and-radio/2025/may/14/bye-bye-banana-wolves-is-social-media-ruining-eurovision
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AI Analysis Average Score: 5.9
These scores (0-10 scale) are generated by Truthlens AI's analysis, assessing the article's objectivity, accuracy, and transparency. Higher scores indicate better alignment with journalistic standards. Hover over chart points for metric details.

TruthLens AI Summary

The Eurovision Song Contest has historically been a vibrant showcase of eccentric performances, such as dancing babushkas and unexpected stage antics. However, the growing influence of social media has transformed the experience for both artists and audiences, creating a pressure cooker environment where contestants must constantly generate engaging content to maintain relevance. This year, the uniqueness that once defined Eurovision seems to be diluted, with no standout oddities like a wolf receiving a banana. Instead, artists like Lithuania’s Katarsis and Georgia’s entry have produced alternate versions of their songs, aiming to captivate audiences on platforms like TikTok and YouTube. While this trend has allowed for some creativity, such as the deadpan cover by Go_A of the iconic Verka Serduchka's song, it also raises concerns about the potential loss of spontaneity and quirkiness that fans have come to love about the contest.

As social media metrics increasingly dictate the success of Eurovision entries, there is a noticeable shift towards safer, more conventional musical choices. In 2025, many countries, including Slovenia, France, and the Netherlands, have opted for basic ballads or electronic europop that could easily blend into the background of a club scene. This trend mirrors the sound of last year’s winner, Loreen’s "Tattoo," leading to a lineup that feels homogenized. Despite this, organizers remain hopeful that the contest will still deliver memorable moments, as it attracts a massive audience—163 million viewers tuned in last year. While the lineup may lack the outrageousness of past years, there are still elements of fun and unexpected performances, such as Estonia’s Tommy Cash and Australia’s provocative entry. With the contest's legacy of reinvention, there remains a possibility for future participants to embrace their creativity and push boundaries once again, perhaps inspiring more bizarre acts like the beloved Papa Pingouin in the years to come.

TruthLens AI Analysis

The article delves into the evolving nature of the Eurovision Song Contest, particularly highlighting how social media has transformed the experience for both artists and viewers. It suggests that the focus on creating viral content may take away from the spontaneity and fun that has historically characterized the event.

Changing Dynamics of Eurovision

The article paints a picture of a contemporary Eurovision where contestants must navigate an intricate landscape of social media engagement. Artists are now required to produce additional content to maintain relevance and attract attention. This expectation can dilute the unique artistry and eccentricity that Eurovision is known for, as performers feel pressured to conform to social media trends.

Impact on Creativity

By emphasizing the need for supplementary content, the article argues that the creativity of participants might be stifled. The mention of past quirky entries, like the puppet from Ireland, serves as a contrast to the current climate where entertainers might be hesitant to take risks. This shift suggests a potential loss of the whimsical nature that has made Eurovision memorable.

Perception of Seriousness

The article implies that the seriousness with which artists must approach their Eurovision campaigns is detrimental. This expectation to engage constantly with audiences can overshadow the actual performances, leading to a more commercialized atmosphere. It raises questions about whether the essence of Eurovision, known for its quirky and unconventional acts, is being compromised for social media appeal.

Social Media Influence on Voting

Moreover, the article touches on how social media popularity may influence voting outcomes at Eurovision. As audiences and juries may lean towards acts that have garnered significant online attention, this can skew the competition away from genuine talent. The concern is that Eurovision may increasingly reward those who excel in digital marketing rather than artistry.

Manipulative Narratives

There is an underlying concern that the article may be subtly manipulating perceptions about social media’s role in shaping Eurovision. By framing the discussion around the loss of creativity and spontaneity, it could incite nostalgia for a past era while casting a negative light on current practices. The narrative could be seen as an attempt to rally support for a return to a more authentic Eurovision experience.

Trustworthiness of the Article

In terms of reliability, while the article raises valid concerns regarding the impact of social media, it may also contain a degree of bias against contemporary practices. The framing of social media as a negative influence lacks a balanced perspective, as it could also be argued that social media allows for greater diversity and reach for artists. Thus, the article's trustworthiness is moderately low, as it leans towards a nostalgic view rather than an objective analysis.

Potential Societal Impact

The concerns raised could resonate with audiences who value artistic integrity over commercial appeal, potentially influencing public discourse around Eurovision and similar competitions. If enough viewers share these sentiments, it could lead to calls for changes in how the contest is structured or judged, impacting future events.

Target Audience

This article likely resonates with long-time Eurovision fans and those who appreciate the contest's quirky history. It aims to connect with individuals who may feel disillusioned by the current trends in entertainment and social media culture.

Economic and Political Relevance

While the article primarily discusses cultural aspects, its implications could extend to broader issues in the entertainment industry, including how artists are marketed and perceived. However, it does not directly address economic or political dimensions, making its influence on markets or geopolitical concerns minimal.

Technological Considerations

It is plausible that AI tools could have been employed in crafting this article, particularly in generating content that resonates with current trends and sentiments. However, the lack of overtly technical language suggests that the writing is primarily human-driven, focusing more on emotional appeal than analytical depth.

The article constructs a narrative that critiques the current state of Eurovision while invoking nostalgia for its past. However, it may manipulate opinions by framing social media in an exclusively negative light, which could hinder a more nuanced understanding of its role in modern entertainment.

Unanalyzed Article Content

Source URL: https://www.theguardian.com/tv-and-radio/2025/may/14/bye-bye-banana-wolves-is-social-media-ruining-eurovision

Eurovision has always been a time to gather round the TV and experiencedancing babushkas,gorilla stage invasionsand someoneinhaling from a helium balloonhalfway through their song. But being a Eurovision entry now looks like being part of an exhausting social media content factory, which may be driving some of the wackiness out of it. No one isgiving a wolf a bananathis year.

In 2025, a Eurovision artist needs to tread on eggshells to avoid putting a foot wrong during months-long internet exposure, but must also stay interesting enough to attract likes and follows. It has also become the norm for contestants to provide alternative versions of their own or other Eurovision songs for the viral content mills. And it is difficult to do that if you are, like Ireland in 2008,sending a puppet.

So if you were thinking of sending, say, novelty buxom butter churners, as Poland did in 2014 to accompanyDonatan & Cleo singing We Are Slavic, you must bear in mind that they have to commit to the bit and be prepared to churn butter all over TikTok for months, plus provide additional YouTube video for the official channel.

This year’s standouts on that alternate content score include Lithuania’s Katarsis supplyinga more intense choir-laden versionof their alt-rock entry Tavo Akys, andGeorgia’s entry doing a cover of the Netherlands entry. We have also been treated toan acoustic Greek entrywith an additional lovely dog in the video, anda darker versionof Laura Thorn’s entry for Luxembourg,La Poupée Monte le Son, that arguably puts the original in the shade.

Still, this trend for extra content did at least give us theincredible deadpan Go_A coverof fellow Ukrainian Eurovision legendary entryVerka Serduchka’s Dancing Lasha Tumbai, so perhaps it isn’t all bad.

Voting atEurovisionisn’t as secret as a papal conclave, and social media success is clearly going to make a difference. The lengthy pre-contest campaign may influence people, and juries, to converge on popular acts, making the result a self-fulfilling prophecy.

The number of YouTube views a song racks up also affects its betting odds. At the moment, Sweden’s KAJ lead both withBara Badu Basta. The producers who shape the running order of the final are hardly going to relegate a favourite of fans and bookies alike to an unfavourable slot on the night.

Yet the modern environment seems to have driven a lot of countries to send something safe in terms of song and artist profile. Slovenia, France, Switzerland, Israel and the Netherlands have all gone for basic Eurovision ballads. And there is a proliferation of electronic europop seeking to become club anthems. Perhaps taking a cue from 2023’s winner,Tattoo by Loreen, this year Germany, Spain, Ireland, Denmark, Cyprus and Belgium have all turned in entries that are so similar the world’s worst DJ could seamlessly mix them.

Even Austria’s entry (currently second favourite), JJ’s emotional and operaticWasted Love, makes a point of finishing in a way that could be timed to work perfectly for a rave crowd watching the sunrise in Ibiza.

Will it still be an absolute riot of fun in Basel on Saturday? Of course. With the advent of streaming there are fewer and fewer genuine live event television moments, and apart from sport they are scarce, especially one that the whole of Europe watches at the same time. Last year the European Broadcasting Union (EBU) claimed that 163 million people watched the three live shows across its 37 broadcasters.

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And this isn’t to say there isn’t anything quirky in this year’s lineup. Pre-watershed queasiness about howthe original lyrics “Serving kant”might sound mean Malta’s Miriana Conte risks delivering a joke stripped of its punchline in her song, but the bendy-legged dancing ofEstonia’s Tommy Cash in Espresso Macchiatowill be sure to raise a smile. Australia has sent a sexual innuendo masquerading as a song, with an official video mostly shot at crotch level just in case you hadn’t got the reference.

In 2025 there aren’t any absolute clunkers, but equally, several artists who narrowly missed out on winning in past year – thinkSam Ryder’s Spaceman,Käärijä’s Cha Cha Cha, and Joost Klein’s oustedEuropapa– must be looking at this year thinking they would have romped to victory in Basel.

But there is always room for optimism. Assuming the contest doesn’t get ripped apart by rows about who participates –Ireland’s RTÉ has asked the EBU for talksafter 72 former contestants called for the Israeli public service broadcaster to be banned from taking part – countries who don’t succeed often react to failure by sending something totally different the following year.

Maybe someone out there will be watching Saturday’s final in Basel and think, come on, let’s go to the 70th Eurovision song contest, and let’s show Europe something way more weird. We demand morePapa Pingouin!

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Source: The Guardian