Liechtenstein seems to have stopped any procedure in order to debut in the Eurovision Song Contest.
The president of Liechtensteinischer Rundfunk (Radio Liechtenstein) confirmed on the website vaterland.li that plans for a future participation are currently on pause.
Liechtensteinischer Rundfunk is a public radio station that could serve as the gateway for the small nation to join Eurovision, provided it becomes a member of the EBU. However, Mr. Bachmann stated that discussions with the EBU have been suspended until the station’s future becomes clear.
We remind you that in October, the citizens of Liechtenstein voted in favour of privatizing the station, with 55.4% of the vote, effectively ending public funding by the end of 2025. Before the vote, it was revealed that the station was considering joining the EBU as part of its plans to participate in the Eurovision Song Contest.
Despite that, Mr. Bachmann remains optimistic about Liechtenstein’s future participation, stating that their goal of joining the EBU remains unchanged.
Would you like to see Liechtenstein make its Eurovision debut? Let us know in the comments!
Stay tuned on Eurovisionfun for all the news regarding the Eurovision Song Contest 2025, in Basel!
Source: brudiland.li
The Government of Monaco has announced that it will merge its existing channels to launch a new public broadcaster in September 2025.
Monaco will merge its two existing public broadcasters, TV Monaco and Monaco Info. The decision was made due to the challenges posed by having two channels with a high level of overlapping content. As part of the changes, TV Monaco will also withdraw from TV5 Monde.
During the National Council Assembly on December 16, Monaco’s Minister of State, who is leading the project, confirmed that a new professional and financially sustainable television channel with advertising revenue will be created in the Principality.
This channel will be independent of government communication, managed by a professional board of directors, and funded through a mix of public and private resources.
The development of the new channel will begin in January 2025 under the leadership of Geneviève Berti, Monaco’s current Director of Communication. She has been tasked with preparing for the transition, which includes managing Monaco’s exit from TV5 Monde, an international network in which the Principality holds a 5.3% stake.
The channel, which has not yet been named, is expected to launch on September 1st 2025. It will make use of the extensive technical resources of TV Monaco.
It is not yet known whether the new broadcaster will seek to acquire membership in the EBU, as TV Monaco currently holds, which gained its EBU membership in March 2024.
Monaco last participated in the Eurovision Song Contest in 2006, represented by Séverine Ferrer with the song “La Coco-Dance” but failed to qualify for the Grand Final. The country also won once, in 1971, with Séverine’s “Un banc, un arbre, une rue”
Would you like to see Monaco return to the contest?
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Source: Monaco Life
The cultural television channel ARTE is the newest member of the European Broadcasting Union (EBU).
The Franco-German public broadcaster dedicated to culture, ARTE, has joined the European Broadcasting Union after being elected as a member at the EBU General Assembly in Lausanne earlier this month.
ARTE was established in 1990 as a cultural collaboration between France and Germany and now broadcasts in six languages. It is available in eight countries through television and online throughout Europe.
The broadcaster has been collaborating with EBU members on content for several years, and currently has agreements with: ZDF, ARD, RTBF, ORF, SSR SRG, ČT, RTÉ, Rai, Yle, and ERT. These collaborations enable content exchange and joint production of programs, enhancing cultural exchange and the variety of content offered to the public.
EBU Director General, Noel Curran, said:
ARTE’s commitment to high-quality, cross-border cultural programming complements our shared mission to strengthen and promote public service media across the continent. Their participation in the EBU will enhance our ability to drive innovation and create deeper ties across borders, enabling public service media to continue enriching the lives of audiences across Europe.
Bruno Patino, President, and Heike Hempel, Vice President of ARTE GEIE, said:
Joining the EBU aligns fully with ARTE’s European identity and development strategy. ARTE has been open to Europe since its inception, with the mission of bringing Europeans together through culture. We support the EBU’s ambitions to provide strong public broadcasting services across Europe, and we look forward to exchanging views on the current challenges in the sector, as well as sharing our knowledge.
Joining the European Broadcasting Union means that ARTE is now eligible to participate in EBU-organized competitions.
Stay tuned to EurovisionFun for all the latest updates!
Source: EBU
The Eurovision Song Contest 2025 in Basel is set to introduce an innovative commitment to fair play, inspired by the Olympic Games. Following the controversies and protests that overshadowed the contest in Malmö, Bakel Walden, chairman of the contest’s supervisory board, announced the new rules in a statement to the German Press Agency.
Participants in Eurovision 2025 will need to follow a code of conduct similar to the Olympic Oath taken by athletes. This commitment aims to foster an atmosphere of respect and neutrality, ensuring the contest remains a space free from political or personal agendas.
“Negative behavior will not be tolerated,” Walden stated. “Violations will lead to warnings or even access restrictions. There are areas where freedom of expression has limits, especially when it affects others.” He emphasized that, just like the Olympics, neutrality is essential for the Eurovision’s success.
The push for stricter rules emerged after the tumultuous contest in Malmö, where the atmosphere was significantly affected by anti-Israel protests. Beyond the demonstrations, incidents of hostility and offensive remarks toward the Israeli performer created a divisive climate.
Walden expressed concern that if participants and fans continue to openly express opposing beliefs, the cohesion of the contest could be jeopardized. “If this trend continues, Eurovision simply won’t work anymore in three to five years,” he warned.
The new measures aim to preserve Eurovision’s legacy as a celebration of diversity and unity. Participants will be required to commit to a fair and safe environment, respecting the inclusive spirit of the event and ensuring it remains a platform for music and culture free from divisive actions or hate speech.
With Basel hosting Eurovision 2025, these regulations represent a significant step toward reinforcing respect and neutrality at one of Europe’s most beloved cultural institutions. Fans and participants hope that this approach will restore harmony to the contest and safeguard its tradition as a unifying cultural celebration.
Practically, all of the above means that the EBU is determined not to allow incidents in Basel that could inflame tensions, whether caused by statements or actions from artists, accredited journalists, or delegation members. Political neutrality will be mandatory for everyone accessing the contest venues. As mentioned earlier this summer, the EBU’s model will follow the environment seen at the Paris Olympics, where athletes, stakeholders, and spectators alike demonstrated respect for all sides. These international events aim to bring people closer, not resolve global issues.
Stay tuned to Eurovisionfun for all updates!
Source: SRF
The European Broadcasting Union (EBU) is introducing new initiatives and changes aimed at improving the experience of Eurovision Song Contest participants and reinforcing the values of community, respect, and equality. These changes seek to create a more positive and supportive environment and will be implemented for the first time at the 2025 contest in Basel.
For the first time, adhering to a Code of Conduct will be mandatory for accreditation at the contest, fostering a culture of professionalism and respect. The Code will include compliance with local laws, a ban on political statements, and guidelines for responsible communication and behavior.
Additionally, the Duty of Care Protocol will ensure the safety and well-being of participating artists, encouraging collaboration between the EBU, the Host Broadcaster, and participating broadcasters to prevent unnecessary physical or emotional strain.
To better support artists, the EBU has announced the following measures for Eurovision 2025:
The Eurovision Song Contest continues to stand as a symbol of unity and diversity. In 2025, the EBU will introduce the Eurovision Pledge, reaffirming its commitment to community, respect, and equality.
Martin Green, the new Director of the Contest, emphasized:
“We are united through music – and it is everyone’s responsibility to ensure the Contest remains an event that promotes unity, diversity, and inclusion. The changes we are introducing for Basel 2025 aim to offer the best possible experience for participants, staff, and audiences alike.”
Bakel Walden, Chair of the ESC Reference Group, added:
“The new measures to be implemented for Eurovision 2025 represent an important first step in the responsible development of this iconic music event, tailored to modern needs.”
The behavior of many accredited individuals during Eurovision 2024 appears to have been the tipping point that prompted the EBU to take these decisions. It is time for those attending the contest in a journalistic capacity to recognize that while they may also be fans, they are professionals within the press center and must act accordingly.
Stay tuned to Eurovisionfun for all the latest updates!
The European Broadcasting Union published a report for this year’s Junior Eurovision 2024!
The 22nd Junior Eurovision Song Contest, broadcast live on Saturday, November 16, proved extremely popular with young audiences worldwide, reaching 23 million viewers in 15 measured television markets and many more millions through the event’s official digital channels.
The spectacular 2-hour event, organised by the Spanish public broadcaster, RTVE, in Madrid under the slogan “Let’s Bloom”, achieved a 15.7% audience share among children aged 4 to 14, more than three times the channel’s average (4.9%). It also surpassed last year’s share of 14%.
The Contest also achieved an 8.1% audience share among people aged 15-24, significantly exceeding the average of 5% usually achieved by the same group of broadcasting channels.
Furthermore, 43% of those who watched the event on the official Junior Eurovision YouTube channel were under 24 years old, with the largest number of viewers for the live broadcast being recorded in the host country, Spain, followed by Poland, Armenia, the Netherlands, Germany, the United Kingdom and Greece.
The online viewing of the Junior Eurovision Song Contest has also seen significant growth each year.
On Instagram, content featuring talented artists from 17 countries reached 5.6 million accounts, marking a third year of year-on-year growth. TikTok also saw massive growth with 46 million post views, up from 28 million in the same period in 2023. On Facebook, 6 million accounts were reached, up by 4 million compared to the 2023 contest.
The Executive Supervisor of the Junior Eurovision Song Contest Martin Österdahl stated:
“We’re thrilled to see the huge success of the 22nd Junior Eurovision Song Contest, capturing the hearts and imaginations of millions of viewers worldwide with unprecedented engagement and growth among younger audiences.”
“From record-breaking digital interactions to massive TV viewership in participating countries, the Junior Eurovision Song Contest has once again solidified its place as a global celebration of young talent, creativity, and unity. Our thanks go once again to RTVE for hosting such a memorable edition for everyone involved.”
In this year’s Junior Eurovision there was an increase in the number of the participating nations, since 2021, thanks to the return of Cyprus and San Marino, raising the participating countries number to 17, from 16 that there were in the 2022 and 2023 editions.
It was also the first time since JESC 2015 that the contest took place on Saturday.
On television, the host country, Spain, saw its third largest audience for the Contest with 1.1 million viewers on channel La 1. An annual increase of over 200,000 viewers year-on-year.
France and Poland attracted the largest television audiences, with around 1.3 million viewers each. For France, the winner of the previous two Contests, this marks the second highest audience ever recorded.
In Portugal, the audience increased significantly in relative terms, doubling in size to become the fourth largest ever recorded for the event. On average, more than 500,000 viewers watched their participation, with Victoria Nicole, who finished in 2nd place in the contest (being the big favorite to win the trophy).
Junior Eurovision 2024 had an average audience share of 8.4%. 10 out of 15 markets delivered a better audience share than the broadcaster typically achieves.
Armenia achieved the highest audience share of all broadcast markets by a significant margin. At almost 40%, this figure is four times the channel’s typical primetime performance.
In the winning country of Georgia, tens of thousands tuned in to watch Andria Putkaradze’s victory with “To My Mom.” The broadcast nearly doubled the channel’s typical primetime viewership share.
Andria’s victory gave his country a record-breaking 4th victory in the Junior Eurovision Song Contest – all with songs written by Giorgi Kukhianidze.
Finally, as far as the 2025 edition of the Junior Eurovision Song Contest, the official announcement for the host country is expected by the EBU within the new year.
Source: EBU
Stay tuned on Eurovisionfun for all the news regarding the Junior Eurovision Song Contest 2025!
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Members of the European Broadcasting Union (EBU) have elected a new Executive Board composed of eleven senior public media executives from across Europe during the 93rd General Assembly in Lausanne.
Nine new members were elected, joining six returning members, including President Delphine Ernotte Cunci (France Télévisions) and Vice-President Cilla Benkö (Swedish Radio). New members include Simona Agnes (Rai), Nathalie Biancolli (TV Monaco), and Roland Weissmann (ORF).
Nathalie Biancolli, Director General of TV Monaco since 2023, sparks optimism for Monaco’s potential return to Eurovision in 2025. The Board will serve from January 2025 to December 2026.
Stay tuned to Eurovisionfun for all the updates!
Source: EBU
The Eurovision Song Contest 2025 is already shaping up to be one of the most dynamic editions in recent decades. Early official announcements confirm that at least 38 countries have expressed their intention to participate, surpassing the number of entries in Malmö last year, as Montenegro joins the list of returning nations. However, what truly stands out is the complete collapse of the anticipated boycott that many had predicted following the events of 2024.
Following last year’s contest in Sweden, several voices — including politicians, artists, and fans from various countries — called for a boycott of the competition. The protests mainly focused on Israel’s continued participation due to geopolitical tensions, along with claims that Eurovision was straying from its original purpose as a cultural and musical platform of unity.
Despite these calls, predictions of mass withdrawals fell flat. Not only did no country exit the competition, but Montenegro’s return adds to the participant count, making the 2025 contest even larger than in 2024. This highlights Eurovision’s enduring resilience as a cultural institution, capable of withstanding political controversies and challenges.
The announcement of 38 confirmed participants sends a clear message: the contest is not only intact but continues to unite nations and people through music. Discussions of a boycott now seem irrelevant, as the number of participating countries has increased. Furthermore, the official list from the European Broadcasting Union (EBU) may hold even more surprises, potentially welcoming additional returning nations.
The fact that predictions of Eurovision’s disintegration proved baseless underscores the deep-rooted significance of the event. Eurovision is more than just a music competition — it is a platform for cultural diplomacy. Even in the face of challenging geopolitical circumstances, music remains the prevailing force.
With 38 countries already confirmed, Basel, Switzerland, is gearing up to host a contest that already carries the hallmarks of success. Montenegro’s return, along with the potential for additional nations to join, not only reinforces Eurovision’s significance but also disproves exaggerated claims about the contest’s decline.
Eurovision 2025 promises to be much more than a competition: it will serve as a symbol of unity and resilience in the face of challenges. It will leave behind the political disputes and reaffirm that music is a universal bridge.
The voices of a vocal minority predicting the contest’s collapse and the mass withdrawal of nations due to last year’s controversies — including Israel’s continued participation — have been proven to be mere wishful thinking. Public broadcasters, as EBU members, ultimately had a very different perspective, choosing to uphold the spirit of the contest.
With May just around the corner, all indications point to Eurovision 2025 being the most dazzling answer to those who doubted the strength and importance of this beloved event for Europe.
Stay tuned to Eurovisionfun for all the latest updates!
The Eurovision Song Contest 2025, set to take place in Basel, Switzerland, recently announced changes to its sponsor lineup, removing TikTok and adding pharmaceutical company Novartis as an official partner. This shift may reflect strategic decisions to align the contest’s image with new sponsors like Novartis, a company focused on medicine and innovation, thereby enhancing Eurovision’s social image and raising awareness around health issues.
Novartis now appears among the official partners listed on Eurovision’s website, while TikTok, which previously promoted the contest through exclusive backstage and rehearsal content, is no longer included. Though there has been no official statement explaining TikTok’s removal, this decision might aim to diversify Eurovision’s partnerships or respond to broader concerns over data policies and the social impact of digital platforms.
In recent years, TikTok had exclusive backstage access and posted early rehearsal footage, a move that sparked mixed reactions from Eurovision fans.
So far, neither the European Broadcasting Union (EBU) nor TikTok has released a formal comment on the matter.
Stay tuned to Eurovisionfun for all the latest updates!
