Those who'd like to go straight to the previews and predictions can skip the preamble below (or preramble, if you will) and begin reading at 'ESC 2023's state of play'.
Hi, hello
It's been a while. For those people who used to read this blog wanting some backstory about my three-year posting hiatus on it, there's an explanation at the very end of the post ('About my posting hiatus').
For those just reading this blog for the first time: this is my English-language blog that I keep a bit separate from the rest (I'm a Dutch-language writer of fiction, non-fiction, poetry, opinion pieces and a bit of a general language creative, but I also hold an M.A. in English language and literature and started learning English when I was 8). I am from and still live in Belgium.
Eurovision, you and me
As I was born in 1983, my Eurovision memories go back a pretty long time. The first Eurovision song I can remember hearing is Johnny Logan's 'Hold me now', which he won the contest with in 1987 (and to date is the only person to have won it as a performer twice, 1987 cementing his second win). Because the live-event took place quite late in the evening, the first Eurovision show I was allowed to (partially) watch was the 1992 edition, and the 1993 edition was the first one I watched completely. This was both the time of Ireland's absurd winning streak and the Contest itself being increasingly viewed as old-fashioned and of questionable artistic merit. Still, it was an important annual televised event. At the turn of Dana International's 'Diva' winning the ESC in 1998, I actively began enjoying the increasingly campy nature of it.
This was also the onset of a few confusing editions where the ESC was trying to reinvent itself and also struggling with the glut of new contestants from Central- and East-European countries. As it coincided with my college years and Belgium became an on-and-off participant, I lost interest a little until Lordi's 'Hard rock hallelujah' firmly entrenched ESC's modern era as a spectacle full of outrageous performance, thickly-applied camp and diversity in 2006. I've never skipped an edition since, even if I had to watch it all by myself, because a majority among my friends still thought of the ESC as an unserious, unartistic affair at best, and a stodgy, boring waste of time at worst.
But we've come a long way. I believe that the past decade has been a new Golden Age for ESC. After maybe overdosing a little too much on the irony and weirdness (I'm looking at the rogue gallery here of Jedward, Dustin the Turkey, a long list of utterly embarrassing British entries, gratuitous appeal to sleaze, and Zdob și Zdub's first entry), the Contest eventually self-corrected. This coincided with the poptimism movement and the advent of music streaming, which tore down the walls of genre pigeonholing, elitism and allowed genuine artistic intent to become part of the ESC mix once more.
ESC 2023's state of play
Apparently, ESC 2023 has the lowest number of participating countries since 2014. Bulgaria, Montenegro and North Macedonia didn't come back, citing financial reasons. That may well be true, but none of these countries had many memorable entries, so a lack of success may have also played a role. None of the countries who dropped out of the Contest earlier have broken their absent streak, so we won't be seeing Hungary, Luxembourg, Monaco or Türkiye again, so all participating countries belong to our list of usual suspects. Also, the total number of participating countries is still a hefty 37.
In the run-up to the contest in January-February, response to the tracks already released was a bit lukewarm, with pre-game talk of 2023 becoming a weaker edition after 2021's quality year and 2022's strong (but not as strong) follow-up. With the final dozen or so entries being confirmed in March, it buried that notion. In fact, 2023 looks as strong, if not stronger than 2022, so I expect it to be a highly competitive edition.
Qualifying statements
Because of changes in the voting procedure, the EBU has introduced a new element of uncertainty: the international vote. I was kind of wary of the concept initially. Why should countries who don't or can't participate get a say in all of this? I've since turned around and understand that this is a good community-building measure and is also good for inclusivity. The Eurovision Song Contest has long since ceased to be just a thing by and for Europeans (oh hi Ozzies). Barring unforseen shenanigans, I also think it won't affect the ultimate outcome of the Contest a lot. Now, let's dive into the meat and potatoes and slather ourselves with gravy.
Semi-final 1
The first semi-final is the stronger of the two. Unfortunately, this will mean we will leave behind tracks that would have been deserving of a Grand Final performance, but it is what it is. It also means the SF1 top 3 is likely to contain the winner of the entire ESC, so if there is one semi to watch, I would recommend this one.
Norway
Entry: Alessandra - Queen of kings
Language: English
Quick description: Yass queen slay pop
What came before? They may not like to hear it, but Norway is kind of Sweden's eccentric little brother. Barring 2016, they've made ever final since 2013, but before that lies a record littered with very, very mixed results. Still, lately they are known as a competent and quirky country that many Eurovision fans would at least consider as sub-top. That's a good thing.
Best Norwegian result so far: Won 3 times (1985, 1995, 2009). They also came dead last a staggering 11 times, which is still the ESC record.
Opinion: Despite the small hype surrounding this entry and the smooth production, I'm afraid that this entry suffers from being too engineered (much like Ireland's) to appeal to the LBGTQ+, feminist and camp fans. While a good performance would probably carry it into the finals, it will likely end up in the second half of the table there because of its ultimate superficiality. Empowering bops are certainly a way to go, but in recent years, most of them have had underwhelming performances (Croatia 2019, Malta and Azerbaijan 2021, Ireland 2022). A bad performance may relegate it to the likes of Albania's entry last year, which also had hype from enfranchised audiences but failed to deliver.
Biggest competitor: Israel.
Prediction: Qualifying, likely to end up in the left half of the table but not cracking top 10.
Shot at winning: 1%.
Malta
Language: English
Quick description: Hipster rockers
What came before? Malta's recent record is quite spotty. They have a faint echo of the United Kingdom and Ireland's latter-day troubles in often trying to engineer a winning entry but then falling quite short, though their results are not as abysmal as those of the British and the Irish.
Best Maltese result so far: Came 2nd twice (2002, 2005), and 3rd twice (1992, 1998) as well. It's one of those ESC countries that people seem to be sure they will win soon.
Opinion: 'Dance (Our own party)' speaks to the likely ageing audience of hipsters by blending mundanity with smooth production values yet retaining an aesthetic of awkwardness and homeliness. Their track is also very Internet-friendly and probably jives with what casual ESC viewers think the Contest is like these days. They basically bring an act that is a bigger, wider version of the so-awkward-it's-cool vibe of Daði og Gagnamagnið, which would have purportedly won ESC 2020 and came 4th in 2021. Personally: I don't like it a lot. To me, it feels all a bit contrived and wink-wink, nudge-nudge. Maybe not as overtly hipster-baiting as 2022's Citi Zēni for Latvia, but it does edge into that territory.
Biggest competitor: Portugal's entry has a similar energy even if it's musically very different.
Prediction: Qualifying, but not convincingly so.
Shot at winning: 0%
Serbia
Language: English, Serbian
Quick description: Sassy witch-house influenced by 'The Matrix' and anime
What came before? Serbia won the Eurovision Song Contest on its first entry as an independent nation in 2007, with Marija Šerifović's 'Molitva'. Serbia tended to do pretty well after, usually qualifying for the final, but their entries getting stranded there in the zone of mediocrity. However, Serbia is on an upward trajectory. Konstrakta's 'In corpore sano' did surprisingly well last year, demonstrating that a committed artistic entry that doesn't take its audience for idiots can perform.
Best Serbian result so far: Won once (2007), came 3rd once (2012).
Opinion: I'm not surprised Luke Black has some connections to last year's Konstrakta. They operate in the same art-pop area, though Luke Black slants more to the pop side of things. I think people who liked Konstrakta's entry will also like his, and he has a built-in audience of a younger crowd (under 40) who appreciate references to anime, 'The Matrix' and his finely-tuned sassiness as a performer. Serbia is sending a visually very appealing package with a confident performer who is very aware of Eurovision camp but just dips into it (seriously, his little laugh near the end!) instead of completely embracing it to hide a lack of substance.
Biggest competitor: Sweden's entry has some overlap with Serbia's, although Serbia's is darker. I also don't think they will be direct competitors in the semi because these are both acts with a fully-developed style and identity.
Prediction: Qualifying for the final, and top 10 position there, possibly even top 5.
Shot at winning: 15%. The only thing keeping Serbia's winning chances down is Sweden. It won't matter in the semis, but it will in the finals.
Latvia
Entry: Sudden Lights - Aijā
Language: English, Latvian
Quick description: 2010s alt-rock
What came before? Latvia failed to qualify for the final for the 6 preceding years, and discounting 2015-2016, for another 5. Despite winning the Contest back in 2002, they now share the space with a couple of other countries with the label "unpredictable and possibly weird", often enjoyed by the in-crowd but less favoured by the general public. They share this space with e.g. Georgia, and Belgium used to be in this space in the 1970s and 1980s, but being a small and relatively lesser known country doesn't help their case. Latvia's performance and staging is usually on point, though, which can't be said about Georgia and Belgium.
Best Latvian result so far: Won once (2002), came 3rd on their first participation in 2000 (which may have set the tone for "lovably quirky").
Opinion: One of the reasons I spent so much words on 'What came before' is because I tend to sympathise with Latvia's entries - well-produced, sometimes out-of-the-box, sometimes duds, and this entry in particular is both polished and aimed at alt rock-loving audiences who are looking for a more authentic performance (also the rumbling claps reminded me a lot of some of Moderat's work). I think Sudden Lights' performance will depend on Europe's mood a lot during the first semi.
Biggest competitor: Maybe the Netherlands. If they make it into the finals, Germany.
Prediction: This won't be a popular darling, I'm afraid, but they have a very solid chance at qualifying.
Shot at winning: 2%.
Portugal
Entry: Mimicat - Ai Coração
Language: Portuguese
Quick description: Electroswing meets Iberian folk-bop
What came before? Portugul is still riding the ripples of their win in 2017 but later entries seem to have fallen back into the fold of middling results.
Best Portuguese result so far: Won once (2017). Portugal also came last 4 times, though (1964, 1974, 1997 and 2018).
Opinion: 'Ai Coração' is a very now Eurovision-y entry, for lack of better words, displaying authenticity, cheekiness and a recognisable form of ethnicity without going overboard on any of these things. Despite the performance's energy, I find the song itself kind of middling ESC fare that many people will like but fewer will actually love.
Biggest competitor: None really in the semi (barring maybe Azerbaijan and Israel), which is a good thing, but should Mimicat make the final, it'll likely fall flat against bigger, more engaging, more now and more ethnic productions.
Prediction: Ultimately not qualifying.
Shot at winning: 0%
Ireland
Entry: Wild Youth - We are one
Language: English
Quick description: Lab-grown ESC rock with a positive message
What came before? The days of Ireland being a Eurovision juggernaut are long past us. Barring a few bright spots in 2000, 2006 and 2011, Ireland has consistently performed poorly. Even when it did make it into the finals, it got destroyed there, becoming last in 2007 and 2013, and also becoming last in the semis in 2019 and 2021.
Best Irish result so far: Won 7 times, which is still the Contest's record (1970, 1980, 1987, 1992, 1993, 1994 and 1996). In addition, singer Johnny Logan is known as Mr. Eurovision on account of winning the contest two times as a performer (1980 and 1987) and one time as a producer (1992). Lastly, Ireland came 2nd 4 times (1967, 1984, 1990 and 1997). I will never forgive Ireland for unleashing Riverdance on the global public, though.
Opinion: These aren't the droids you're looking for. While in the past 15 years or so, the general ESC audience has dunked on the United Kingdom for sending uninspired, tone-deaf or plain bad entries, Ireland has actually suffered from much the same issues and seems to be caught in a similar vicious cycle. Wild Youth's entry is certainly a competently made song and nothing about it is bad or controversial, but it is stuck in its own idea of engineering for Eurovision. Added to that, Ireland has had some staging issues in the past few years, which unfortunately diminished the inherent quality of the contestants they've sent. While I have the impression the staging will at least be decent this time, the song itself seems to be a relic from the 2000s batch of genetically enhanced pop-rock songs aimed at the broadest possible audience.
Biggest competitor: Malta and Switzerland, but the former is more fun and the latter more sincere.
Prediction: Not qualifying.
Shot at winning: 0%
Croatia
Entry: Let 3 - Mama ŠČ!
Language: Croatian
Quick description: A mixture of drag, cabaret and low-brow street theatre
What came before? Croatia hasn't had the best Eurovision results. It hasn't reached a top 10 result for 22 years and has failed to progress to the final 9 out of 13 times since 2010. The country is clearly in an extended ESC tailspin, and while it came very close to qualifying for the final several times with interesting packages like Albina in 2021, it just never gelled and Croatia are unfortunately regarded as bottom-tier ESC competitors.
Best Croatian result so far: 4th place twice (1996 and 1999).
Opinion: This entry competes with Poland for the worst entry of the 2023 edition in my opinion. Both seem to be flashbacks to the early 2000s era, but different aspects of it. In Let 3's case, they hearken back to the days of camp edgelording and tread the line between serious and unserious, which could be forgiven if the song was appealing in any sort of way. Which is not the case. It's more performance than music, but the performance that I've seen from the official release looks messy and incoherent, like a carnival after-party with drunk revelers slapping on shoddy costumes and cheap wigs at the local bar. Whatever message Let 3 is trying to convey is lost in a mess of a poorly produced track, and worse, because it is sung entirely in Croatian, it is also literally lost on anyone not from ex-Yugoslavia.
Biggest competitor: Viewers who love irony and camp will likely be drawn more to Finland.
Prediction: This will not survive the semis, unless the public is in a big contrarian mood and ends up both pushing Finland and Croatia.
Shot at winning: 0%
Switzerland
Entry: Remo Forrer - Watergun
Language: English
Quick description: Anti-war power ballad
What came before? Switzerland's recent entries have had mixed results to say the least, in part because of the engineering problem I pointed out earlier for other countries.
Best Swiss result so far: Won twice (1956, 1988), came 2nd three times (1958, 1963, 1968) and came 3rd 4 times (1961, 1982, 1993 and 2021). Switzerland also came last 5 times and was the first country to score 'nul points' in a Semi-Final with the now infamous Piero & The Music Stars' awful vocals, the lead vocalist slapping himself in the face with his microphone and his screechy, sinister laugh near the end.
Opinion: While a competently-made anti-war power ballad, it feels a little generic and could have been an entry from any country between 2010 and 2019. The song's general pacifist message may also not sit well with an audience gritting its teeth at "why can't we all get along"-media pieces about the Russo-Ukrainian war, but then again it might actually resonate with the audience that's tired of this war, as callous as it sounds. Remo Forrer has a warm voice with a lot of range, and staging could help him out a lot.
Biggest competitor: In a way, Czechia is Switzerland's opposite in this semi. The more the public likes Czechia's entry (which is better by degrees), the less likely it is for the Swiss to progress.
Prediction: Qualifying, but barely, and then getting relegated to the bottom tier in the Grand Final.
Shot at winning: 0%.
Israel
Entry: Noa Kirel - Unicorn
Language: English
Quick description: Girly power pop
What came before? Despite turning in mostly middling performances in the last 15 years (barring Netta's 'Toy'), Israel can still coast on a respectable pedigree and will always stand out if only because it is the only country located in Asia that performs in the Contest. This conspicuousness isn't all good, though, because it's also a lightning rod to attract attention to Israel's Apartheid regime, and raises more red flags every year, especially since Russia was banned in 2022. I dislike introducing politics into this post, but to not metion them is leaving the elephant in the room unmentioned. Also, unfortunately, last year's performer, Michael Ben David, probably was ESC's most disliked performer as a person due to his antics in the Green Room. On the musical side of things, Israel, again excepting Netta, have struggled more recently due to their glow of otherness and orientalism (which is a problematic concept in itself, but it is there) now being shared with other nations like the Caucasus and Balkan entrants.
Best Israeli result so far: Won 4 times (1978, 1979, 1998 and 2018), came 2nd twice (1981, 1982) and 3rd once (1991).
Opinion: Noa Kirel seems like a charismatic performer and the song is a well-crafted power pop affair, true to the tradition of excellent Israeli production. I do fear it may not stand out a lot, especially in this competitive first semi-final, and a lot will depend on her staging and performance. Israel tends to do staging well, though, so I wouldn't entirely write off Noa. Also, the creature flashed twice in her videoclip is a centaur, not a unicorn (unikirel?).
Biggest competitor: Norway and to an extent Portugal, but neither country has the millstone around its proverbial neck the way Israel does.
Prediction: Not qualifying, but barely. Or barely qualifying.
Shot at winning: 0%.
Moldova
Language: Romanian
Quick description: Balkan house bop
What came before? Moldova qualified for the Grand Final 12 out of 17 times since their first entry in 2005. The enfranchised ESC audience as well as the general public has come to recognise Moldova as a country with understated but clearly present ambitions to one day win the whole thing and sees e.g. Zdob și Zdub, Natalia Gordienko and SunStroke Project as Eurovision nobility. In addition, Moldova's staging tends to be free-spirited and infectious. The juries tend to be more cautious in their voting patterns, and outsiders still struggle with name-recognition, but Moldova is a consistent player in ESC's sub-top. I am quite confident that barring unforseen events, one day Moldova will win ESC within the next 15 years.
Best Moldovan result so far: 3rd in 2017.
Opinion: This is Pasha Parfeni's second Eurovision participation. While most other Balkan nations are shying away from the "typical" Balkan pop entries, Pasha is doubling down on it, but this is not some 2007 rehash. 'Soarele și luna' has slick production values and brings a more poppy offering to France's (unfortunately!) failed 2022 entry and Ukraine's top 5 banger from 2021. If the staging and performance are solid, which Moldova is known for, this could be a sleeper hit.
Biggest competitor: None, though they will face similar competition in the Grand Final.
Prediction: Probably qualifying, though it will depend on the voting public's mood. If they are in for Czechia's entry, they will also like Moldova's, which could ride its coattails.
Shot at winning: 1%.
Sweden
Entry: Loreen - Tattoo
Language: English
Quick description: 'Euphoria' in a 2023 remake
What came before? Since 2011, Sweden replaced Ireland as the country to beat. While Sweden's dominance hasn't been as earth-shattering as Ireland's in the 1990s, perhaps them not winning it too often has resulted in a bit more sympathy from the audience. Also, Sweden's entries may not be avant-garde, but have a really good sense of Europe's musical taste.
Best Swedish result so far: Won 6 times (1974, 1984, 1991, 1999, 2012 and 2015), came 2nd once (1966) and 3rd 6 times (1983, 1985, 1995, 1996, 2011 and 2014).
Opinion: Loreen has a good chance of winning the whole thing (again), perhaps to the chagrin of contrarians. While it's true her 'Tattoo' musically riffs off of 'Euphoria', if she can bring the same energy, volume and art to the main ESC stage as she did in the finals of the Swedish selection contest, she is dead-on making the final. Musically, 'Tattoo' isn't very innovative, but its production and Loreen's stage presence lift it up several levels above other competitors. Also the lifting ceiling is a nifty staging trick.
Biggest competitor: Maybe Serbia.
Prediction: Loreen might win it all again.
Shot at winning: 30%.
Azerbaijan
Entry: TuralTuranX - Tell me more
Language: English
Quick description: early 2000s pop- and relaxing rock
What came before? Azerbaijan tends to send smart entries that are in tune with Eurovision's mood and temperature. Out of their 14 entries, only one missed finals qualification, and only by a hair's breadth.
Best Azeri result so far: Won once (2011), came 2nd once (2013) and came 3d once (2009).
Opinion: Shamelessly ripping off Sixpence None the Richer's 'Kiss me' may not be readily noticeable to the younger audience, but to me it is. Still, that doesn't mean my generation of voters will dislike it. It's a competently-made entry that seems to have taken lessons from mortal enemy Armenia's 2022 entry 'Snap', but mellowed it down a little. It's nice. Not very inspiring, but nice and not bland.
Biggest competitor: The Netherlands, perhaps Portugal.
Prediction: I think this could qualify, if only on the back of Azerbaijan's reputation as a strong ESC country.
Shot at winning: 1%. If Europe is in the mood for another go at the Olsen Brothers 2.0, who knows! It's been 23 years and I'm still not over how mystifying it was seeing two old men with the charisma of a burnt-out campfire win ESC.
Czechia
Entry: Vesna - My sister's crown
Language: Bulgarian, Czech, English, Ukrainian
Quick description: Slavic feminism by way of harmonies and Kalush Orchestra
What came before? Czechia has yet to make any real impact on Eurovision, having only participated since 2007. Some of its entries received modest hype, but none of them have been truly memorable in a good way. We Are Domi's 'Where are you now' last year faced an uphill battle as a pure house track, but managed to push through on account of its sublime staging and basically vibing more with the crowd than Austria's entry that covered a similar space.
Best Czech result so far: 6th place in 2018.
Opinion: 'My sister's crown' feels like a genuinely-lived entry that luckily shies away from the 2018-2021 hipster stuff that mainly seemed like it was trying to copy Swedish productions. In other words, engineered. The hype surrounding it is positive and judging by the staging in the Czech national selections, it will make an impact. The only potential problem (and it's a big one) I see is that is riffs off of the vibe of Ukraine's winning entry last year. If Europe decides it's kind of tired of the folksy, dramatic and empowering Eastern European tracks, this may well fall flat on its face. In no way I mean to diminish Ukraine's continued suffering by saying this, but 'Stefania' did face minority opposition after its win by people who claimed it won only because of an alleged sympathy vote (I don't buy this, by the way).
Biggest competitor: Norway, perhaps. But Vesna's track feels much more intelligent, gripping and well-thought out.
Prediction: Qualifying for the final, and top 10 position there.
Shot at winning: 15% if Europe is still in the same mood as it was in 2022.
The Netherlands
Language: English
Quick description: Power ballad duet
What came before? The Netherlands have comfortably nested themselves into the top and sub-top spaces in the past 10 years, and are now experiencing a second ESC Golden Age after the 1970s, often with country and singer-songwriter-like compositions that would likely score in the American Billboard charts. It's an old Belgian joke, but the Netherlands truly are Europe's America.
Best Dutch result so far: Won 5 times (1957, 1959, 1969, 1975 and 2019) and came 2nd once (2014) as well as 3rd once (1974). Duncan Lawrence is the only ESC winner to have held the title for two consecutive years, even on a technicality, but it would be unfair to say that's the only reason he's ascended to the Eurovision pantheon.
Opinion: This entry is the kind of stuff the Netherlands are very competent at, what with the meshing of country rock and ballad. It has a 'draw-you-in' kind of force just like S10's entry last year, but it might suffer a bit from a very competitive semi as well as ultimately sounding a little 2005-like by way of Kelly Clarkson. 15 years ago, this would have been a surefire top 5 contender in the Grand Final. Now? Not sure.
Biggest competitor: Latvia, maybe Switzerland.
Prediction: Likely qualifying on the back of the Dutch' recent raised profile with the general audience.
Shot at winning: 1%.
Finland
Entry: Käärijä - Cha cha cha
Language: Finnish
Quick description: Happy hardcore turns into Eurovision glam rock meets 'The Human Centipede' halfway
What came before? Finland recent ESC record has been spotty at best. While often qualifying for the Grand Final, they usually strand there unceremoniously. Finland has tried out all manner of genres, artists and vibes, but seems to score best with rock and metal, which is unsurprising, since the country has the highest density of metal bands per 1,000 inhabitants.
Best Finnish result so far: Won once (2006) with fondly-remembered monster rockers Lordi, who arguably ushered in the prelude to ESC's current Golden Age. Finland has come dead last 9 times, only being beaten by Norway (11 times).
Opinion: 'Cha cha cha' pursues the manic energy of Russia's Little Big (even the frontman's haircut and moves are somewhat similar) which would have normally represented Russia in 2020 and hearkens back to the deliberately humorous and over-the-top-entries of the early 2000s, but with a better ear for composition and music. Käärijä is not here to make fun of anyone or to troll the audience, but to entertain it. As such, it wouldn't be right to dismiss Finland's entry as just "typical Eurovision" (though it very much is), and it would be more correct to put them in a similar space as Norway's Subwoolfer entry last year: jokey and quirky on the surface, but well-considered underneath.
Biggest competitor: For extremely casual viewers, maybe Serbia or Croatia. But Serbia serves a different audience, and Croatia's entry pales in comparison to Finland's showmanship and energy and doesn't come with the baggage of being a "message" song.
Prediction: Qualifying for the final, right side of the scoring board in the finals.
Shot at winning: 2% - if the stars align really, really well, the frontrunners turn in a tepid performance and a scandal breaks out.
My qualifying prediction for semi-final 1:
- Azerbaijan
- Czechia
- Finland
- Malta
- Moldova
- Netherlands
- Norway
- Serbia
- Sweden
- Switzerland
About my posting hiatus
Even as early as 2014, I got burnt out on writing satire and parody because locally (Belgium), I felt things had gone beyond the power of satire, as if reality had actually become satire, which German calls 'Realsatire'. Then, after 2016 happened and turned out to be a terrible year internationally (e.g. Donald Trump's ascendance to the United States presidency), I got turned off on writing about social justice, politics and culture in English almost permanently. This also coincided with my release of 'De Nieuwe Staat' ('The New State') in which I gave structure to my political thinking about a possible way forward for Western democracies. With this process finished, it didn't give me much of an incentive to continue posting separate ideas or thoughts about these topics here.
I did power through to end the '20 people I admire' series. Knowing what I know now, I would scrap the 9th entry (Hadley Freeman) and the 18th entry (Neil DeGrasse Tyson), the former on account of her joining the transphobic movement in the United Kingdom, and the latter because of his tone-deaf "well ackshually"-responses to ongoing debates that have now relegated him to being basically the American Richard Dawkins: a brilliant mind who doesn't know when to shut up.
I did focus on pop culture stuff a little in the following years, but less so on social and political stuff, but I wanted to address this because I know my deconstruction of the toxicity of so-called Men's Rights Activism remains a popular topic on this blog, with a faint echo in the series 'Men at work'. If it offers some reassurance to readers of those series: my ideas on these topics haven't changed. I still think cishet (white) men are an important group to win over as allies for social justice movements and that is mainly if not fully the responsibility of progressive cishet (white) men. Especially so after I spent 2012-2015 deeply engaged with feminist and social justice movements and noticing that other cishet men within it mostly seemed to be there to validate women and be fellow travelers instead of going out and talking to other men.
Despite the manufactured moral panic about 'wokeism', which is an overblown rethread of the same old show reactionaries stage about any kind of progressive idea gaining traction, there also have been personal annoyances with progressive movements on my part. To name a few examples: a part of the far-left so ideologically bound to the idea the United States is imperialist that it contorts itself into defending Russia's genocidal invasion of Ukraine or at least pretending Russia's casus belli is somehow valid; the apparent refusal of some liberal feminists to acknowledge that "yass slay queen"-feminism is just skin-deep; or the age-old problem of centre-left people who still think reactionaries present real and honest concerns and arguments - they don't, they're just pretending. The latter topic especially might be food for an actual political blog later down the line.
Anyway. Be well, take care. I love you all.
