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Cookie Fonster’s Eurovision Blog Conclusion Post

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Yesterday I finished reviewing the Eurovision Song Contest 2024 (semifinals, final), the most recent contest as of this writing, which means I’ve finally finished my project of reviewing every single Eurovision song, along with the production of every contest. As always, it feels so goddamn great to finish a project. I’m especially pleased with the speed at which I finished this project: it took me only a year and five months in total! And I didn’t go on any ultra-long breaks; the longest was between my 1985 and 1986 reviews, because I went on a trip to Germany and then made a video about part of the trip.

I had so much fun making all these blog posts and I’m really glad I got an audience of commenters here, unlike so many of my prior blog projects. I’m especially flattered I inspired a few other people to write their own Eurovision blogs. I love reading people’s reviews of prior Eurovision years and I’ll be real, I can never get enough of them. They make for such great reading material, whether I’m bored out of my mind or just want to chill out and read people be right about some songs and completely wrong about others. And especially when people defend a song that I never gave much thought.

In this post I’ll list some overall records throughout my Eurovision journey, then list 20 songs that I consider to be hidden gems, and finally give some shoutouts to my commenters.

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Cookie Fonster Sails Across Eurovision 2018 (Semifinals): A Refreshing Revival of Native Languages

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Intro Post

< 2017 Final | 2018 Semifinals | 2018 Final >

Starting from this post, my Eurovision blog schedule will speed up a lot! That’s because I now have a more efficient schedule for when to watch the shows with Liv and when to write the posts.

Introduction

If I had written this post before visiting Gothenburg, Malmö, and Copenhagen for Eurovision 2024, then Eurovision 2018 would be first contest since 1983 to take place in a city I’ve been to: Lisbon, Portugal, a beautiful city that I visited in 2014. I have a huge soft spot for Portugal as a country. It’s a little rustic and less modernized than other western European countries, which gives the country a lot of charm, though Lisbon is very much a modern city deep down. I particularly remember exploring an elaborate network of underground malls there with my dad and sister, and we were all blown away.

But I’m not here to talk about my vacations from a decade ago, I’m here to discuss Eurovision! RTP had waited over 50 years for this opportunity, and I’m blown away by how good of a show they put on. Most of the first-time host broadcasters in the 21st century ranged from “a respectable first attempt” to “ugh, these hosts are stilted and the show is too self-indulgent”. I’d say Finland’s Yle was the best newbie host broadcaster in the 21st century, until Portugal came along. They made their show feel as Portuguese-themed as can be while still passing perfectly as a modern Eurovision year. Hiring four hosts (all women, I can’t remember which is which) is a bit excessive, but they’re enthusiastic and professional exactly as hosts should be. It was one of only two contests in the 21st century (along with 2010) to do away with LED monitors, but this time the stage doesn’t feel any less modern than the last few years.

This contest featured the same lineup as 2017, except Russia came back and for the only time in Eurovision history (unless you count 1996) failed to qualify. This means this year is close to having a complete map of Europe: the most noticeable gaps are Turkey, Slovakia, Bosnia, and Luxembourg. It features an impressive 43 countries, equaling 2008 and 2011 as the years with the most participants.

As with last year, I watched the semifinals together with Liv with Swedish commentary, then alone with German commentary.

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