irmants

@Cbb0fe how i lock in , I am basically starting from zero I have nothing to my name

@Polymarket could we please get more Eurovision 2026 markets. Betfair has had eg for a long time Top Balkan, Top Big Four. These would be good. Could we also get ‘what is gonna be the winning score’ market?

The odds for #Eurovision 2026 televote results are now out! Israel is currently first in odds to win the televote.

Returning to ‘Liekinheitin’, and picking up on the comparison raised on the @TalkAboutESC podcast with Goodbye to Yesterday (GTY), it actually feels like a really useful reference point. Not because the songs are similar, but because they highlight the same kind of staging issue. With GTY, Elina and Stig told a very clear story. It was an argument, played out through distance between them, and it ended in a breakup. You could follow it easily, but that was also the limitation. There was no coming back together, no shift in emotion, no real catharsis. It just slammed the door. It always felt like a strong entry, but not quite a winning one because it kept everyone at arm’s length. Liekinheitin runs into a similar problem, but in a more uncomfortable way. It is not just distant, it is actively hostile at times. Pete takes over a minute to even look at the camera, and when he finally does, it is not inviting, it is a hard, almost aggressive stare. That delay really matters, because viewers are given very little to connect with early on. Then you have Linda, who should perhaps bring some contrast or light into the performance, but instead adds to the intensity in a way that feels quite dark. The way she is shot and lit, especially under those red strobes, gives off a slightly witch like impression, as if she has Pete under some kind of spell. As the performance builds, that feeling only gets stronger. Linda pacing down the catwalk with the fire effects behind her, scowling into the camera, does not come across a uplifting - it leans into something more malevolent. When Pete appears trapped in the burning window frame, looking desperate, and then disappears as the camera circles it, the imagery becomes quite unsettling. By the end, with Pete almost shouting toward Linda against those pulsing red lights, there is a lot of energy, but it is all negative and lacking a call to action. This is where the comparison to GTY really clicks. GTY showed an argument and a breakup in a clear, contained way. Liekinheitin also shows conflict, but without explaining what it is or what the relationship between the two performers actually is. In both cases, there is no release, no moment where emotion can shift, no catharsis. And that is the key issue. #Eurovision winners almost always give you something to hold onto by the end, whether it is connection, hope, or triumph. With Liekinheitin, you are left with intensity, but also hostility. Instead of drawing the audience in, it risks pushing them away to vote for a song with an easier and more compelling hook.

What a season start in VIP Music🤑🤑🤑 83 bets✅ 296.8 u plus ✅👀 ROI 190.5%✅👀 Overall: 372 bets 658.7 u plus✅👀 ROI 142.3✅👀 Eurovision season starts now, hurry up if you want a spot📝 Its fun, its party💰 #Eurovision #Betting #Eurovision2026 #Betdk

LOOK MUM NO COMPUTER - Eins, Zwei, Drei Eurovision UK Entry 2026 Full song #eurovision #UKentry #eurovision2026