You mean aside from last year when he ran the Cult of Paenda against all better judgment (and called Matt out on his failing German values when he expressed indifference towards her
if anything, Lindon is not disloyal.)
I mean Austria is generally... not very good at Eurovision? I find their entries sterile and overtly earnest. It's like they're
trying to have fun but don't really know how. They're like that dork dad who tries to hang out with his son's friends and be cool. That's definitely how "Alive' vibes towards me. It's an
attempt, I guess, but very little else.
But hey, at least Austria gave us two brilliant shining stars on Conchita and Zoë Straub in recent years. It's more than what, say,
Ireland has given us over the course of my lifetime.
The cult of Paenda was unapogetically ran by myself. In a parallel universe she would have won with a stellar performance, her staging also elevated her song. She just did not get her act together. LIMITS IS FUCKING BEAUTIFUL. Period.
I am not aware of calling him out on Matt, but I for one am not a big fan of German values anyways xlol
The problem with Austria - AGAIN - is that Ö3 guys are having too much to say. Ö3 is run by ORF and terrible. Dull, meaningless, insincere pop, toxic waste for the ears. They took over in 2011 and actually managed to pull of a decent national selection, but 2012 things already took a dive when they allowed Trackshittaz to return ,and 2013 the national final was a disaster, and so was Eurovision. Shine was mediocre through and through but this is what is typically played on Ö3. The other national finalists were similarly bad. ORF was ready to pull the plug until Conchita's management offered to help out. 2015 the came up with a great national final that I enjoyed. Makemakes terribly underrated. 2016 took a dive again. The national final was full of generic shit that sounded like a playlist of ö3. If it wasn't for Zoe, Austria would have been dead on arrival.
And 2017 they ditched the final again and since then Ö3 has 100% control of the everything. Nathan Trent, a cheesy guy with a drab song. Cesar Sampson, the saviour, but obviously Vienna-based Symphonix is not working anymore with ORF. My guess is ORF Enterprise can't control Symphonix.
2019, I rooted for Hyäne Fischer, which would have been a breath of fresh air. We would need something like this very soon. However, Paenda pulled all my strings and I was her willing marionet.
And now, finally, the incompetence of ORF Enterprise and Ö3 is on full display yet again. It makes me angry. We were redeeming our Eurovision reputation, but an internal selection process to come up with something as bland and insincere and unrelatable as Alive is a crime. Maybe they want to play it safe, because they are not ready to win this year. Maybe they are delusional, as they were many times. Delusional 2002, 2005, 2007. In 2005, they sabotaged the televote, which was won in a landslide by Alf Poier, which would have upset Eurovision big time back then.
To me it appears though that reactions towards Austria are more vitriolic and full of schadenfreude. Netherlands is boring, Switzerland is drab, Spain fails, the Balkan countries, Norway, Ireland, Finland, UK, Denmark. Complete failures year after year. But well, we can take that as a compliment.