1 Because Eurovision is a Utopia
The official reason the contest was created for, is because in a torn Europe rebuilding itself, the European Broadcasting Union wanted to find “ways of bringing together the countries of the EBU around a “light entertainment programme”.” Although it was more seen as a technological experiment in live television first, the contest actually managed to bring together the countries of Europe throughout the following decades up to this day, and this, no matter how tense some periods have been during the post-war epoch.
Yugoslavia which doesn’t exist anymore took part from 1961 to 1992. It only took a year for some countries that came out of the dissolution to join the contest on their
own, in 1993.
The same applies for Serbia & Montenegro, after Montenegro parted from Serbia, both taking part independently from 2007, one year after Montenegro’s proclamation of independence.
Also, in more recent times, and no matter the reactions of the public and the fans, the EBU feels free to work hard remaining the “bringing together ideas” by actions like maintaining the participation of both Russia and Ukraine despite the recent turmoil.
We thus have every single year, for decades now, arenas throughout Europe full of flags, happiness and excitement. So in the end, although the contest firstly is a mean to put technological ideas in place, it has this common thing with a utopia to be enliven by the desire to make people move forward (here technologically more than politically, or ?…)
2 Because Eurovision fans always support their country, no matter what
They always feel butterflies when they see their flag appearing to the screen announcing the big moment when the artist or the band representing them is going to take the stage (or be taken by the stage…), as if a part of themselves was going on that stage too, with their hearts beating faster than for any other contestant. The world stops spinning for a moment and they can’t hear anything but the sound coming out of the TV. I know it because I felt it every single year, and this year too actually until Lorent Idir opened his mouth and the whole feeling turned into furious anger against the impostors of producers we have in my country to work on the contest.
3 Because Eurovision is something easily taken personally for them
They spend their time mourning bad results, even if it’s not for their country (even especially so), even decades after (Germany 1996, Belgium 2006, United Kingdom
1968, this list is very long and we already know we can add Israel 2014…). They will always overdramatise the outcome of what in the end simply is a song contest (Yeah, I am being reckless on this one). They will always put the blame on everyone else and never on the artist/performances (politics, even when it often is a crime for them to say that Eurovision is about politics…, corruption…). This reaches such lengths that sometimes the EBU feels like they have to bind to some suggestions like in the late 2000’s, when the national juries got back after so many complaints about the qualifications of only eastern countries in 2007 and the victory of Russia in 2008. We noticed this year that after a few misfortunes like Poland (who would have ended 5th only by televoting) that those same people want to scrap the juries !
Nothing ever pleases anyone, there’s always something wrong. So about this 3rd point, I’d say that if you’re looking for a definition of fanatism, schizophrenia or hyprocrysy, or the 3 of them combined, looking at eurovision fans wouldn’t be so much of a bad idea.
4 And as a result they spend their time redoing the contest, recreating what would be the perfect contest and therefore by definition, just like utopias, can’t exist.
They’ll do it over and over again, countless times; forums and Facebook groups are full of this. When some only like to think about what it would have been like if other voting systems were in place (that is to say how would a utopia be written by someone living under different political systems), others will totally rethink the contest with the outcome of the National Finals (yeah, no capitals there would be a crime), and so many other things people can custom as they like when you know that every year, it’s in the end thousands of musical productions that are involved. That’s a DIY customisable Eurovision that a lot of fans will spend huge amounts of time with, because it can be as large and infinite as imagination; the thing you can’t take away from anyone, fan or not.