WORLDVISION 62 - LIVE FROM YLFA, TALVEZOUT

[Talvezout]

OOC THREAD | HOST BID

The entire arena is lit up in subdued red. There is a curtain hiding the entire stage; a timer is projected onto it. The orchestra would be playing an instrumental rendition of the Worldvision 62 theme. Occasionally, images from social media with the hashtags #Worldvision62, #Ylfa, #Breaktheice would appear on screen with the timer. When the timer hit zero, all of the lights would go dim as a lone piano would being to play.

---

""BREAK THE ICE"

A spotlight would open to reveal Isobella Bachelor, one of our two hosts, standing on a platform in the middle of the audience. She would be wearing a black cloak, and with all attention on her she would begin to sing.

All alone in the spotlight
Are you ready for the great big show?
All alone on the Worldvision stage
Are you ready to start it all?

A large abstract glacier would be projected onto the curtain. As Isobella would gracefully moved her arms during her singing, cracks would appear in the glacier, mirroring her movements.

Could you ever leave, the magnificent scene
The great spectacle and the shine
The great spectacle for you tonight

Light would pour out of the cracks in the glacier, as Isobella sang. The mobile lights hung from the ceiling of the arena would descend and move like a wave, corresponding with Isobella's movements.

All alone in the spotlight
Are you ready for the great big show?
All alone on the Worldvision stage
Are you ready to break the ice?

The mobile lights would go out, as well as the projected glacier. There would only be a spotlight on Isobella.

Can you feel the nerves tonight, the terrible anxiety and song
Can you see the melody, yearning to be free
Just yearning to be free

During the small instrumental break a bunch of lights and pyrotechnics would start going off around the arena, as all of the spotlights would move from Isobella to the curtain. Suddenly, every light would focus on the curtain as suddenly, it would be ripped back to reveal the stage. All of the performers for this edition of Worldvision would be dancing on stage, as Isobella, clad in a simple but tasteful white gown, would be standing in the middle of the catwalk. Various spotlights and would be shining out and moving amidst the audience during the chorus.

All alone in the spotlight
Are you ready for the great big show?
All alone on the Worldvision stage
Are you ready to start it all?

The lights would start flashing again as the song moved to the verse.

Let’s put some light onto the songs
But keep the light for your life
And lets break the ice tonight!

A lone spotlight would be shining on Isobella, as she sang the bridge.

All alone in the spotlight
Are you ready for the great big show?
All alone on the Worldvision stage
Are you ready to break the ice?

The piano would play a few notes before suddenly transitioning into a new song.

---

""TONIGHT"

The lights would all move to Laura, would be standing on the left hand edge of the catwalk. She would be dressed in a similar fashion to Isobella. Several dancers would be standing behind her, all dressed in a similar way to her.

So you finally came and broke the ice
You're in your seats and seeing the spotlight
But are you ready for the show that will rock tonight?
Do you really think you're ready because you're not

Laura would start walking to the center of the catwalk, as the lights would gradually start moving out.

Those big singers, they have big teeth
You hope they see you
Thought you said that you would always ready, for it
But you're ready for it, no more
Did it frighten you
When you first saw the stars align
With the stage bathed in light?

The dancers would start moving with the song as it transitioned to the pre-chorus; both Laura and Isobella would be singing together.

And you hear sounds in you mind
Brand new sounds in your mind
But, honey, you'll be seein' them 'ever you go
But, honey, you'll be seein' them down every road
You've been waiting for it, tonight, it's coming!

Laura and Isobella would both hold hands as they would cross a bridge lowered from the ceiling; the bridge would connect the gap between the catwalk and stage, and they would join the dancing performers onstage.

'Cause, honey, you can stay or leave, but you won't let go!
(You've been waiting for it, tonight, it's happening!)
'Cause, honey, you can stay or leave, but you won't let go!
(You've been waiting for it, tonight, it's happening!)

The bridge would go back up as the lights would all focus on Isobella and Laura.

When the music hits it feels like something different
They sing something and you'll sing it back to 'em

The lights would go back to the audience, as the LED screens on the stage would start showing partying Worldvision fans from all over the multiverse.

Those big singers, they have big voices
You hope they see you
Thought you said that you would always ready, for it
But you're ready for it, no more
Did it frighten you
When you first saw the stars align
With the stage bathed in light?

And you hear sounds in you mind
Brand new sounds in your mind
But, honey, you'll be seein' them 'ever you go
But, honey, you'll be seein' them down every road
You've been waiting for it, tonight, it's coming!

As the partying fans were shown onscreen, the performers onstage would join Isobella and Laura in singing the pre-chorus.

'Cause, honey, you can stay or leave, but you won't let go!
(You've been waiting for it, tonight, it's happening!)
'Cause, honey, you can stay or leave, but you won't let go!
(You've been waiting for it, tonight, it's happening!)
'Yeah, honey, you can stay or leave, but you won't let go!
(You've been waiting for it, tonight, it's happening!)
'Oh, honey, you can stay or leave, but you won't let go!
(You've been waiting for it, tonight, it's happening!)

The arena would suddenly explode into a storm of light as the lights would all start going in random directions, alongside pyrotechnics and confetti going off on and around the arena.

You've been waiting for it, tonight, it's happening!
You've been waiting for it, tonight, it's happening!
You've been waiting for it, tonight, it's happening!
You've been waiting for it, tonight, it's happening!
You've been waiting for it, tonight, it's happening!
You've been waiting for it, tonight, it's happening!

All of the lights would suddenly go back to focusing on stage as the song ended. While audience erupted into cheers, the performers onstage would all shuffle off, leaving just Isobella and Laura.

---

Isobella: "Welcome everyone to the 62nd edition of Worldvision, coming to you live from the beautiful and icy city of Ylfa!"
Laura: "Yes ladies and gentlemen, for the third time we are back in beautiful Talvezout! I am Laura Ledin, and my beautiful compadre with me tonight is Isobella Bachelor."
Isobella: "We are the hosts tonight, and we'll be guiding you along the way for this year's Worldvision. But for now:"
Together: "MAY THE SHOW BEGIN!"

---

[Talvezout]

ACTS/POSTCARDS/COMMENTARY

---

01. VARTUGIA
FILLER-MAN- ft. Dick Arms - "Ahh... The Wonders of Communism!”

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02. TOGONISTAN

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03. ANTAHBRANTAHSTAN
Karolina Rabbanj - "Down That Road"

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04. MISTER X
Filius Deorum - "Why, Why, Why?"

---

05. ADAB
Kinan al-Salaman - "O Traitor"

---

06. NORTHURLAND
Albatross ft. Eyberg Sigurgrimursson - "Run"

---

07. TALVEZOUT
Paul Jez - "Morning Phase"

[Vartugia]

01.Vartugia

FILLER-MAN- ft. Dick Arms "Ahh... The Wonders of Communism!”

The USSR national Anthem, but its an extreme Earrape version (Warning: Turn down your volume! Alernative version of tune is linked here)

---

For their grand epic quest of getting a shiton of points, our heros (FILLER-MAN and Dick Arms (the copyright infrinment from Missus X) ) somehow became communists and desided to do what Löv did. (Withs went very "well" and a new record)

((OOC: The player of this account are not an actual communist))

---

Our hero are dressed like the guards from Moscow`s red squear and goosesteeps to in the middle of the stage. However, a bug causes the tune to get coruppted to death.

Ill make a song that steals cows
I`ll rekt all of you n00bz!
Today is the day i slay you
This song is too dank 4 u

We eats dollars for breakfast
A georgian as leader, Stalin his name
Stoping germans at Stalingrad since 1942
Now shut the fuck up and give me your points!

Our money is a fucking joke
We need no capitalists from Uganda
Commie so good, we do no need food
Vodka is our drink we drink today

We eats dollars for breakfast
A georgian as leader, Stalin his name
Stoping germans at Stalingrad since 1942
Now shut the fuck up and give me your points!

England the city is fear for us the commies
Lets die for our blood so we win
This song got stupid realy fast
Now its time to get our douze from the workers

As the duo leaves the stage, huge blocks begin to fell. More and more blocks begin to fall. Somehow, the tune has caused the venue to collapse, stopping the Worldvision for now. After 20 seconds, the venue is just a pile of demolished concrete, smashed glass and fire all over the place. Laugardalshöll exists no more. Thanks, Vartugia...

The rest of the contest is what happens if the venue didn't collapse, due to Vartugia`s tune.

[Togonistan]

02. Togonistan

Tina Malaitai - ''River''
Tune: Laura - ''Waterfall''

Tina Malaitai is a 24-year old singer from Tidriana, Togonistan. She has been singing since the age of 8, however she hadn't received wider recognition until participating in Togonistani version of The Voice, a singing talent TV show. Even though Tina didn't win the season (this glory was granted to Eliah Hamous), she did gain a lot of popularity, which eventually led to her signing a record contract with Amarillo Music and releasing her first album. Tina went on to participate in the 2nd Togonifest (a local song competition which, since WVSC 61, also acts as the National Final for Togonistan). Her song ''River'' eventually led her to the victory and here she is tonight, representing Togonistan in the 62nd WorldVision Song Contest.

Performance:

Tina is standing on the main stage with her back turned towards the audience. She is wearing a blue dress. Stage is lit up in light blue, with 3 LED screen in the back displaying an artistic impression of light blue smoke. Tina turns around and slowly starts walking towards the orchestra pit. Behind her, there is also some smoke with blue tint.

Our life has been a mess
Close to home, we're less and less
We are fading away
Fading away, we never rest

Place that was your home
Turned your back and now you're gone
We wanna let go
Wanna let go and go with the flow

Tina stops at the middle of the stage, after which she starts swinging her body from one side to another, holding the bottom of her dress with one hand and the microphone with another one. Stage lighting changes to yellow and the camera starts rotating around her as she sings and smiles to the camera when it passes her face.

Hey!
Don't you remember?
We belong to the sun, the night, the river flows
Sun, the night, the river flows

Turn back now
We could be here together
We belong to the sun, the night, the river flows
Sun, the night, the river flows

Stage lighting changes to blue again. Tina turns left and starts walking towards the right end of the catwalk. She is singing while walking and looking at the camera with a humble smile on her face.

Sirens, they sing from stern
Move away, and never return
We are fading away
Fading away, but not concerned

Wondered why, we are still here?
Sounds of sea, they cuddle my ear
It's time to come back
Time to remind who you are

Tina makes her way to the catwalk and starts walking on it.

Hey!
Don't you remember?
We belong to the sun, the night, the river flows
Sun, the night, the river flows

Turn back now
We could be here together
We belong to the sun, the night, the river flows
Sun, the night, the river flows

Tina makes her way to the middle of the catwalk, she lowers her head a bit as the camera shows her three female backing singers standing on the main stage.

Sun and light and the river flows, river flows
Thats the place where we belong, we belong
Sun and light and the river flows, river flows
This place is our home

Camera zooms out on the stage as it's lighting changes to yellow and gets more intense, 3 LED screens at the back start displaying a sunrise on the sea. Tina raises her left arm and looks up while singing the final chorus.

Hey!
Don't you remember?
We belong to the sun, the night, the river flows
Sun, the night, the river flows

Turn back now
We could be here together
We belong to the sun, the night, the river flows
Sun, the night, the river flows

Sun, the night, the river flows
Sun, the night, the river flows

Lights go out and leave Tina standing alone in the spotlight as the music cuts off. She smiles to the camera and says: ''Thank you Ylfa, thank you multiverse!''

[Antahbrantahstan]

3. ANTAHBRANTAHSTAN

Karolina Rabbani-Down That Road

Tune: Debbi-High On Love
m: Timothy Bartlett, Victoria Wilson, Maya Coleman
l: Karolina Rabbani

Karolina, the Anturian singer-songwriter who represented Antahbrantahstan in its debut edition, is seeking to gain the WV trophy with this 2000s-style pop, The song itself received warm reception in Antahbrantahstan,
charting at #11 in Anturian Singles Chart. Karolina was selected internally by RR, after internally selected, Karolina was offered this song by the composers, which she accepts, under one condition that she rewrote the lyrics to suit her style, the composers agreed, and that is how Down That Road was born.

We see Karolina, in a classic car. She is wearing a white hat and sunglasses, and she seems to wear a white-coloured blouse, the camera shots Karolina from the right side of the car, Some fake palm trees are put on stage. Due to the angle of the camera, the LED screen cannot be seen.

Many missed calls, on my own phone
That’s my ex-boyfriend who always said
That Honey, you’re my world
Don’t you remember, you said that sentence
To every girl, are you trying to build solar systems?

Karolina then exits the car and takes off her sunglasses, the LED screen is showing what seems to be a Los Angeles street at the afternoon, Karolina's outfit can now be seen clearly, she is wearing a white blouse, white hat and denim-coloured skirt.

All those memories, all of your "i love you"s
All those memories, When you say "i love you"
"i just want you", "i still need you"

The LED screen is now showing a timelapse of the same Los Angeles street at night, and the camera shots Karolina from the audience POV.

As i'm driving down that road, down that road
I remember the times when
We're together
And down that road, down that road
I remember the times when
We're still young and in love

The LED screen then shows the Los Angeles Street in the afternoon, and Karolina then enters the car again, in which a handsome man (i'll leave this to your interpretation) then enters the car on the front seat, Karolina seems very unhappy with him, and they both "fight" inside the vehicle (albeit the fight was done comedically)

We went so far, but you ruined it
All of my fantasies, the wedding bells
Everything is gone now
You want me to stay, but i spotted you
So fine, don’t see me forever

The camera then shoots a close shot of Karolina, the man, and the car, Karolina sings towards the camera with a seductive look while the man looks very unhappy.

All those memories, all of your "i love you"s
All those memories, When you say "i love you"
"i just want you", "i still need you"

The LED then shows the same LA street at night, while timelapse videos of the LA street is projected to the car.

As i'm driving down that road, down that road
I remember the times when
We're together
And down that road, down that road
I remember the times when
We're still young and in love

The projection stops and Karolina exits the car, while the man follows her, Karolina and the man walks to the front of the stage. The man then picks up an electric guitar from the stage floor.

All your "i love you-u", All your "i miss you-u"
All your "i want you-u" i can't get it out
All your "i love you-u", All your "i miss you-u"
All your "i want you-u", all those memories, all of
All of those "i love you", "i just want you", "i still need you"

Karolina then sang and dance on stage, while the man plays the electric guitar, the camera then shot a close-up of Karolina and the man, seemingly very happy.

As i'm driving down that road, down that road
I remember the times when
We're together
And down that road, down that road
I remember the times when
We're still young and in love

Down that road
I remember the times when
We're together
And down that road, down that road
I remember the times when
We're still young and in love

The arena cheers loudly, Karolina and the man bow down, and goes to the backstage.

[Mister X]

04 MISTER X

Filius Deorum - "Why, Why, Why?"
Tune: Troye Sivan - "My My My"

---

No one is quite sure how many times Filius Deorum has entered the WorldVision Song Contest, but the continued faith shown in him by MRX officials can only be a good thing. Filius Deorum made his debut for Mister X in WV30, so his longevity is somewhat outstanding. The entry, "Why, Why, Why?" was influenced by several artists and one Sunday afternoon television programme, quite bizarrely, a recurring theme being people often asking "why oh why oh why...". Filius's song is an important milestone in the chapter of Mister Xian WorldVision, with more money and more creative talent poured into the song than ever before. The staging was a problem (unsurprisingly) as MRX Television did not want to make the mistake of being too high-concept, a problem they have had on multiple occasions meaning no one quite understands what the staging is about, nor do they want to have the problem of low-concept, giving the mistaken impression of not caring. For the WorldVision Song Contest 62 trophy, it is felt, belongs to Mister X. The people of Mister X expect.

Filius provided a viral speech in an interview with TRT: "Surely, it's our time. We've been down for so long. But surely, those days are gone now. We've got the will. We've earned the right to show you one thing - it's our time this time. It's our moment, and we're not going to let go of it. We'll stand proud: there's nothing we're afraid of in this contest, we'll show you just what we're made of. Maybe this time, we'll break through, make our move for the WorldVision trophy. MRX's faith in me is incredibly strong. And why not? I've got the heart to reach the heights. It truly is our time."

---

Filius stands on the stage in a black cape, a huge amount of smoke, and a large wind is blowing at him. There is very little light: the floor, sides, and back are all black, and all the lights are off. As the music starts (0:05), he wafts his arms about as the camera, pointed down from the front right corner at the stage at a 45-degree angle, broadcasting solely in black and white, fades in to show Filius wafting on the stage. The shot rotates during the beginning of the song. As soon as it has faded in, however, it immediately fades out, meaning all the viewers see for a second is nothing except "04 Mister X" in the bottom left corner. This is repeated, with the camera on the other side of the stage this time. The camera then makes two short snippets (0:14), one shot on each of Filius's arms. As the lyrics start, the camera fades in, stops being in black and white, and is in a close-up on Filius's face. He stands almost emotionless, the colour of his cheeks the only light in the blackness of the stage.

My god
Tell me
Tell me what you do to me

Filius has a story to tell and he is going to tell it. One morning, two friends, Caecilivs and Matella, dropped by his house and noticed the heights to which Filius' career had extended. Caecilivs was praiseworthy but I am sorry to say Matella was not. It was difficult to tell whether he was jealous or just being plain rude. Eventually Filius fell out with Matella, and it left Caecilivs in a difficult position. The falling out is expressed through the staging too, the opaque symbolism and perissological touchpoints being that of the lights have a quick strobe and two more camera shots from the opening positions (front right and front left from the top of the stage), before focusing back on Filius's face.

Cause no one
Nothing
Was this all it's meant to be?

There are two more camera shots, except this time the one from stage right (front left from the audience's perspective) is shown first as the lights have another strobe. A camera then moves across the front of the stage from stage left (audience's right) to stage right (audience's left) during the pre-chorus, from quite a low angle, pointing upwards at Filius.

Now I'm
Coming for love
Coming for love
But now I'm
Coming

Now I'm
Coming for love
Coming for love
But now I'm
Coming

Filius stretches out both arms and there is an explosion of white light: a few months after they had fallen out, Matella was admitted to hospital and Caecilivs wanted Filius to go and see her, but he refused, remembering how they had fallen out in the first place. The white light, says Filius, represents the sudden escalation that Matella's admission to hospital represented and the camera provides a wide angle from the front of the stage. Filius' refusal is expressed via the lights strobing after the first line of the chorus repeatedly as the camera pans from a high angle from one side of the stage to the other, as Filius wafts his arms again, in a protesting manner.

Oh, why, why, why?
Why do I keep fighting with you?
Oh, why, why, why?
Every night it's me and you

The camera quickly fades to black, and then fades back into black and white and focuses on FIlius' right-hand side (the audience's left) as a figure appears in the shadows behind Filius. They touch Filius by wrapping their arms around his body. Filius shakes it off. It's a silhouette-like figure who gives no personal space to Filius. The stage is lit from behind, so the figure appears as a silhouette, but Filius is given some frontal light insofar as the figure remains unseen. Other than that, the light patterns repeat what they did in the first verse, merely this time the camera does not oblige in repeating its actions from before. From focusing on the side, it pans up and then zooms in to Filius' face.

Walk on
Don't run
Don't you turn and leave with me

Filius removes the cape, and on the next two beats, he joins hands with the figure (each hand connects to a different beat to the music) and pulls the figure into the light. The shadowy figure is Caecilivs; he is not that hostile after all: he twists Filius' hands so as to spin them, waltzing in perfect harmony, although not actually doing a Waltz, because the music is wrong.

Don't stop
Just go
And you are where you want to be

The mystery of the staging is slowly becoming less surreal. Now, the camera fades back into colour as more light is placed on the stage, but still in those contrasting colours of either white light or no light at all. The camera angles become more conventional and more soft, as it were, for the edginess is fading. This isn't a horror story after all. Filius and Caecilivs keep dancing with each other.

Yeah...
And now I'm
Coming for love
Coming for love
But now I'm
Coming

Now I'm
Coming for love
Coming for love
But now I'm
Coming

An army of dancers march on to the stage as Filius leaves Caeilivus behind and marches towards the front of the stage. The dancers dance a contemporary style - the figure is one of these dancers: sharp, inelegant movements, that are perfectly in unison and in time to the music. The camera pans from the back of the audience to the front, as more white light is shown. The Mister Xian staging department, often criticised for its staging, was determined to camp it up at this point, but Filius overruled them. There would be no bright colours or anything like that. Filius belts into a wind machine his lyrics.

Oh, why, why, why?
Why do I keep fighting with you?
Oh, why, why, why?
Every night it's me and you

Oh, why, why, why?
Why do I keep fighting with you?
Oh, why, why, why?
Every night it's me and you

Me and you...
Oh, why, why, why?

Filius is regretful that he did not get a chance to see Matella again before her death following her admission to hospital. To represent this, the lights and camera all fade out. The camera fades in to black and white, and with only one light now on Filius (lit from the front), the atmosphere is closer to how the song began. Apart from one or two of the dancers in half-light as a result of being directly behind Filius, there is no one else visible. The camera starts from the widest angle possible, level with Filius' face and in one long zoom finishes with him in close up by the end of the bridge.

Why, why, why?
I'll be there waiting for you
I'll be there waiting for you
Come on baby, come and find me
Come and find me...

The lights all turn back on, as the dancers repeat their dancing from the second chorus as Filius scats. Every time Filius scats, the camera cuts back to him in half-close up, i.e. his top half is visible, but nothing else.

Oh, why, why, why? (Oh, why, why, why?)
Why do I keep fighting with you? (With you, with you, with you, with you, yeah, yeah, yeah...)
Oh, why, why, why? (W-w-why?)
Every night it's me and you (Me and you, me and you, yeah...)

Oh, why, why, why?
Why do I keep fighting with you? (Oh, why, why, why? Oh, why, why, why?)
Oh, why, why, why?
Every night it's me and you (Every night it's me and you)

All the lights turn off except one vertical spotlight on Filius.

Oh, why, why, why?

And that light is extinguished - some would say just like Mister X's hopes of winning the contest. But for Filius, there is a light at the end of the tunnel - pun intended - and that marks the end of the performance. The audience stand to a man, and the ovation is greatly received. "Thank you! gratias ago!" says Filius, and that will be that. For now. Hopefully he reprises that later...

[Adab]

5. ADAB
Kinan al-Salaman - "O Traitor"
Tune: Elpamas - Pak Tua
Language: English

Al-Salaman performing for 100 fans at the Speedy Club in Adab City

Background
A few days after returning from the 61st WorldVision Song Contest, Kinan al-Salaman was summoned for jury duty in Adab City. The defendant, a businessman from Baghdad who had recently legally changed his name to Jamal Arthur Pendragon Sixtus Edward Khaldun, was accused of breaking into the Imperial Palace and poisoning an imperial prince, whom Khaldun had recently accused of defrauding him. Khaldun himself stated that he had accidentally trespassed into the palace grounds while walking around the parking lot in the middle of the night and that he was there to demand a meeting with the prince in question, but denied entering the prince's room and claimed that the knife found in his bag was only there for self-defense.

Khaldun assembled a high-profile defense team, comprising some of the best-known attorneys in the country, which proceeded to argue that the DNA evidence had been tampered with and mishandled and that the whole trial was an attempt by the government to dispose of Khaldun (a noted government critic). After a promising start, Khaldun's defense quickly fell apart in a haze of absurd claims, bickering among the attorneys, and Khaldun's own questionable sanity. His behavior in court (most notably, launching into a diatribe against the Emperor, the government, the jurors and their families, and "mainstream media" which he felt was persecuting him, among others) quickly turned the public against him as the defense team scrambled to convince the court that he had gone insane and ought to be committed to a psychiatric facility, only for Khaldun to claim that he was in full control of his mental faculties and perfectly aware of his own "strange" behavior. The prosecution suffered through a series of inconsistent testimonies and rumors that they had indeed tampered with the evidence; later on, it was revealed that there was a growing agreement among themselves that Khaldun might not have been the murderer after all. Nevertheless, the jurors were now firmly against Khaldun, including Kinan al-Salaman, who was especially incensed by Khaldun's insults against his family and what he saw as Khaldun's arrogance and self-righteousness. In the end, Khaldun was sentenced to death to the relief of millions in the country. His trial has since called one of the "worst" and "most bizarre" in Adabian history. Although many (including al-Salaman) believe he had indeed committed the murder, a vocal minority disagrees.

Soon after the trial, al-Salaman was approached by the Imperial Palace; they proposed that Khaldun be executed live on the WorldVision stage to make an example of those who dare try harm members of the imperial family. Al-Salaman was no stranger to this kind of performance; WorldVision fans might remember the execution of a convicted prince onstage some editions before, although the original plan did not call for his execution. Though reluctant to do it again, al-Salaman took comfort in the fact that he now could rely on the approval of the imperial family and, after mulling over it for a few minutes, agreed to the idea.

The performance
As the LED screens in the back turned bright red, a sombre procession entered the stage, led by five men dressed in black robes. At the front of the procession was Kinan al-Salaman, carrying with him an ukulele, and behind him were members of the latest iteration of his backing band. The audience could not help but comment on their choice of clothing, along with the fact that they were followed by fully-armed personnel from the Adabian Army, a few proudly lifting their pistols. The backing band and army personnel assumed their positions on the stage, while al-Salaman himself sauntered over to the mic at the front of the stage. "I understand that some of you are... a bit worried by what is going on in front of you," he began his speech, "but I assure you that this is all part of the performance. You are not being held hostage and there will be no violence here. Stay in your seats and make yourselves comfortable. You will know more within a very short time and I trust that you will find the performance... somewhat of a surprise."

"Now, I will not make this long. I know that you don't want me to waste too much time here." Al-Salaman reached for folded paper in his pocket. Having pulled it out, he raised the paper to his eyes and raised his voice. "This is a decree from the Imperial Palace. Jamal Arthur Pendragon Sixtus Edward Khaldun, having been deemed guilty of breaking into the Imperial Palace and killing His Imperial Highness the Prince Abulkadir and sentenced to death for these heinous crimes, we hereby decree that said punishment be meted out to you by way of lethal injection on the stage of the 62nd WorldVision Song Contest. May the Almighty have mercy on you. Soldiers, bring him in!"

As gasps erupted among the audience and some rushed for the exits, al-Salaman strummed his ukulele and signaled to his backing band to start the performance. Jamal Khaldun was about to have his life extinguished in the eyes of the multiverse, in a moment of musical extravaganza; let his fate serve a lesson to those who dare harm a prince of imperial blood.

Gather 'round men and women, you must hear of this
Stories of traitors and defectors, none of them end well
Listen to me and take heed, if only a bit
Obey your superiors, treat them with respect
These are the values we hold

Jamal Khaldun was ushered onto the stage in handcuffs, with no less than three tall, burly soldiers marching behind him. His face was pale and his eyes tired, and his hair looked as if he had just risen from bed. His eyes caught that of the stunned audience. He stopped and, opening his mouth, attempted to say something to the multitude about to witness his end from their seats. Whatever he said - if he said something at all - was drowned out by the commanding voice of one of the soldiers behind him. "On your feet, traitor! No one told you to stop!" the man called out to Khaldun, and he plodded to the middle of the stage, a few feet behind the ukulele-player singer who, not very long ago, had been one of the jurors in his trial, one of the countless people he angered and turned against himself thanks to his diatribes.

The greatest gift is love, they say, don't ever let it go
Love for God, family, country, it keeps us alive
Yet men still try to subvert it, give themselves to hate
Let no sane man listen to them, always trust yourself
Keep your faith in truth

A few stage technicians, apparently on the orders of army personnel, hastily wheeled out a stretcher onto the stage. Khaldun took one step towards the bed, then another, and then another, but it all seemed so slow, and the impatient troops quickly took hold of him and forced him onto the stretcher, removing his shoes in the process. The technicians quietly made their way out of the stage, replaced by a team of doctors and the imam of Khaldun's local mosque. Khaldun appeared to resist, but he himself must surely know that he had little, if any, chance of escaping his fate, and after a while he finally settled onto the stretcher, his face even paler than it had been when he entered the stage.

O traitor, what have you done?
Many've shed their blood for this great cause
O turncoat, you've fooled yourself
You'll never put this struggle to an end

By now, Khaldun had been strapped onto the stretcher, as a horde of doctors and nurses rushed to set up medical equipment all around him. An electrocardiograph was brought onto the stage and an IV inserted in each of Khaldun's arms. In the midst of the chaos, the band played on and another man, dressed in white and wearing an equally white turban, sauntered towards Khaldun. The imam of Khaldun's local mosque back in Baghdad, he had been hired by the government to "counsel and comfort" Khaldun and pray him one last time before the execution. His appearance caught Khaldun by surprise, but also gave some sense of comfort to the man on the stretcher. Meanwhile, more and more of the audience were streaming towards the exits, while others screamed obscenities and shouted their support for Khaldun. Unfounded rumors spread that Talvezout authorities were considering arresting and deporting al-Salaman and everyone else involved in the performance.

Gather 'round men and women, you must hear of this
Stories of traitors and defectors, none of them end well
Listen to me and take heed, if only a bit
Obey your superiors, treat them with respect
These are the values we hold

One of the doctors swabbed Khaldun's arm with alcohol, only to be told that it was the wrong arm, after which he swabbed the other one too. As the realization dawned on Khaldun that he was about to face his demise, his eyes suddenly grew wide and he began to scream, only for another doctor to cover his mouth on the orders of nearby troops. Some in the horrified audience began climbing onto the stage to stop the execution, only for the troops to point their guns at them; that was enough to scare them off the stage and back to the seats, if not out of the venue altogether. A few others demanded to know why this spectacle was even allowed to take place; of course, no one bothered to answer their questions.

The greatest gift is love, they say, don't ever let it go
Love for God, family, country, it keeps us alive
Yet men still try to subvert it, give themselves to hate
Let no sane man listen to them, always trust yourself
Keep your faith in truth

A succession of drugs was injected into Khaldun's body; which drugs exactly were an Adabian state secret. Khaldun appeared to writhe at first. His eyes, which he had slowly closed in anticipation of the drugs, were suddenly wide open and his head jerked up, staring at those who had paid to watch WorldVision live at the venue but did not expect to watch an actual occurrence of capital punishment along the way. Suddenly, a small section of the audience rose up and stormed the stage. The soldiers, unwilling to open fire at civilians, ended up brawling with them, receiving assistance from some of the doctors and nurses present. One charged at al-Salaman and was promptly pushed off the stage by the singer. After a while, the troublemakers retreated and fled the venue, with the rest of the audience watching in horror.

O traitor, what have you done?
Many've shed their blood for this great cause
O turncoat, you've fooled yourself
You'll never put this struggle to an end

O traitor, what have you done?
Many've shed their blood for this great cause
O turncoat, you've fooled yourself
You'll never put this struggle to an end

Jamal Khaldun had lost consciousness and was soon pronounced dead onstage, his demise a public and spectacular one. The imam said a few prayers for his soul, after which the deceased was wheeled backstage, out of the sight of the multitude who had just witnessed his end. His mission accomplished, Kinan al-Salaman brought a close to the performance as the soldiers, doctors, and nurses quietly left the scene. "Thank you," he said simply to the bewildered audience before he and his band, too, left the stage.

[Darkmania]

Commentary

[Northurland]

06. Northurland
Albatross (ft. Eyberg Sigurgrimursson) - "Run"
Tune: River - Eminem ft. Ed Sheeran

---

The stage was completely dark apart from a single spotlight that shined over Eyberg, who sat in a chair with his old worn down acoustic guitar.

[Eyberg Sigurgrimursson]
I've been a beater, been a thug
Been a villain, been a drunk
My past is catching up to me, I feel it coming back
Well, lover girl, I want to warn you right now
'cause it is best you know
The truth of the matter is, is that I may someday run.
So I might as run.

The stage went from black to blue as the background was made to look like a heavy rainstorm hitting a window.

[Albatross]
I'm comin' home with my eye black, express my grief
My sweat jacket and dress pants, bloodstained
There's Morgan in his breath, a sneak theif
And now his wife wants to escape for relief
It's a stand off, she avoids him when to be brief
But he keeps tabs on her and all her chatter
And guess who really wants to move on to someone
Actually, this next guy is just the same, no different to what her ex had
'Cause she deserves it, so she will add
And you don't mess with a puncher, even she knows that
But she has a plan to escape her mess
Gun in hand barely keeping her head
She's been thinking about this lately
Says maybe she deserves to do what comes next
And she knows he won't miss her, he'll find someone else and
Goodbye world, should've said "Help me world"
That was after the first attempt

Albatross finally appears as a spotlight shined on him, wearing a black hood that covered the upper-half of his face and sitting on a chair, in the background are two interpretative dancers around a bed simulating an abusive relationship.

[Eyberg Sigurgrimursson]
I've been a beater, been a thug
Been a villain, been a drunk
My past is catching up to me, I feel it coming back
Well, lover girl, I want to warn you right now
'cause it is best you know
The truth of the matter is, is that I may someday run.
So I might as run.

Albatross sat up and threw the chair away, in to the, thankfully empty, orchestra pit.

[Albatross]
One bottle, turned to two bottles
It was "you're a bitch, now shut up" before another bruise, and...

Albatross was suddenly on the cat walk, rapping with increasing venom, the stage lights gradually went from blue to red as the dancers became more brutal in their routine.

[Albatross]
He got laid off at his job, now feels worthless and worn
He has wife and a kid, drown his sorrows in spirits
What is he supposed to say to his family there's nothing to do.
He couldn't find the words, and can only do one thing
Express his anger to drinkin' and hittin'
Daughter under the table screaming her ears off.
So he goes to the pub, his second home away
Drink until he cannot see straight
Daughter feels like her daddy was fading
Disgusting the way he prayed on her mother
And now he chooses hootch over household
Took advantage of everything, he smother
Why has he changed for to deserve this?
Gets on her pulpit and teach, her tirade and reach
Her solvent and leach just made things poor
'Cause now the family's bankrupt
She can no longer get what she wanted.
The family's broken and it was all his fault
Fuck!

Albatross yelled out in anger before he slammed his microphone down on the stage floor. Eyberg continued to sing and play his guitar as normal.

[Eyberg Sigurgrimursson]
I've been a beater, been a thug
Been a villain, been a drunk
My past is catching up to me, I feel it coming back
Well, lover girl, I want to warn you right now
'cause it is best you know
The truth of the matter is, is that I may someday run.
So I might as run.

[Bridge: Albatross & Eyberg Sigurgrimursson]
The world is (ooh), the world is (ooh)
Cruel (ooh), cruel harsh
Call it (ooh), call it (ooh)
Unfair (ooh), So I might as run.

Albatross knelt down next to a sitting Eyberg, with a new microphone and both sang together, Albatross wrapping an arm around Eyberg as they did their brief duet in the bridge.

[Albatross]
She takes her daughter and her bags,
What else can they do? There is nothing left
And abuse is outrageous, there's no excuse for it
She lost control of her life, like losing control over ice
That's why her life is a wreck, became a mess
She can't keep her lover straight
But he left her no choice to leave him alone
This failed marriage left her scared, afraid
What else can she say? It was her fault she stayed
The guilt bothered her and weighed
On her shoulders, but fuck it
Let's just blame the victim instead of the monster she married?

He rapped with pure venom in his voice.

[Eyberg Sigurgrimursson & Albatross]
I've been a beater, been a thug
Been a villain, been a drunk
My past is catching up to me, I feel it coming back
Well, lover girl, I want to warn you right now
'cause it is best you know
The truth of the matter is, is that I may someday run.
So I might as run.

The two sang together as the song finally ended and the stage went dark again.

[Talvezout]

7 - TALVEZOUT
PAUL JEZ - MORNING PHASE

In contrast to the highly ornate show around him, Paul and the Talvezian delegation opted for a rather simple show, with Paul in a suit singing the song while standing in the middle of the audience, on a simple platform. The fans around him would be holding an waving lights and flags, in tune to the music.

The song itself is about struggling with depression and self esteem - the protagonist of the song feels isolated and separated from his friends and family, and he feels like he is to blame for all of his issues.

---

Wake up with somebody near you
As it turns it was just a dream
You get up and look into the mirror
Things are not as right as they seem

Oh, the solution was finally here
That would set you free from all the bad things
In the morning everything's clearer
And the sunlight reveals your shame

You don't feel okay
And that's okay

Grab your clothes and head to the doorway
When you walk no one will look your way
Find the place for you and your friends
Even though they've forgotten your name
While you're sick in the head and you wish you were dead
Or at least instead of coming here you prefer your own room, come on
You feel that you suck at people things
Versus others' magnificent games

So you feel drained
And yourself
You blame

So when you run out and your mind is screaming
Inflicting words that only serve your pain
And they wouldn't know you were leaving
But they will all leave in the end, you know
So you go home and wait for the next one
You feel that you're the only one who's been destroying all the fun
Falling asleep to the loneliness of the morning phase
But the masturbation won't cure the pain
So you worry and you scream, but they're still screaming
"Hey, why won't you come for our next big meeting?"
So you never bother look at the screen
You just look right through them as if you are already dead
It's the pains of your heart, that can't stop beating
'Cause your soul wants what it's terrible at taking, oh
And you can't remember the last time
From the last time you were happy in the morning phase

Morning
(Wake up, wake up)
Morning phase
(Wake up, wake up)
Morning phase
(Wake up, wake up)
Morning phase
(Please wake up, wake up)

[Kalosia]

08
Kalosia
Moving On — Ella Verano
performed in English to the tune of Gave Me Love — Mimicat

Ella Verano, real name Isabella Verano, is a Kalosian singer. She came 2nd in the 2017 edition of La Voš di Kalosia and is still fresh in the minds of the Kalosian public. She was selected by Radiu-Televižju Kalosia to represent the nation at the 62nd World Hit Festival, 10 editions after Kalosia's 2nd and most recent victory at the contest.

For the performance, Ella is wearing a black dress with a veil, as if she was mourning (in the context of the song, a loss of a lover/the end of a relationship). She was joined by 3 backing singers, all wearing black (but in more simpler attire), on the side of the stage. The live performance is to be backed by orchestra (in addition to a backing track), with music producer Ǧiani Karloti conducting.
As the song begun, she was already standing in the middle of the main stage. The stage was dark, with only a spotlight on Ella. Between every line in the next part, the camera angle changed, but with a fade-to-black transition (kinda like the first verse of Only Teardrops).

When you said you loved me
You didn’t love me at all
Because you have found another me
But that girl isn’t me at all

Ella remained on the center of the stage, but the camera angles became slightly more dynamic (and without the transitions), while the strobe lights on stage began to flash to the beat (specifically the clapping sounds)

I’ve taught myself to breathe
In the midst of violent rain
I’ve learned to let it go
To walk away from it all, those affections, today

The strobe lights now flashed in a shimmering manner (similar to this gif).

For I’m strong and bold, you know
I’m leaving all my feelings
And I’m marching on my own

As the music paused, the strobe lights all went off along with some of the other stage lights, creating the impression that everything came to a standstill. Eventually Ella belts out the first line of the chorus and everything energetically comes to life again.

I’m moving on
I’m moving on
Cause this is who I am
Still standing even with no man
I’m moving on

In the first line of the next part, the light movements slowed down, and then in the next line the strobe lights flashed to the rhythm (particularly the clapping noises).

I went off your radar
Even if you tried so hard
And I won’t be there to listen
To your lies and fiction, you’ve lost my trust

The lights came back to the same setting as the previous pre-chorus. In the final verse of the next part, Ella takes off her veil.

Because I’m strong and bold, you know
I’m leaving all my feelings
And I’m marching on…
I’m marching on my own!

The lights come to life again as in the previous chorus.

I’m moving on
I’m moving on
Cause this is who I am
Still standing even with no man
I’m moving on

The lights and camera angles are as lifelike and dynamic as ever. Ella gets on the catwalk, moving toward the frontmost part of the stage.

Time to clean up your act
While I find someone with faith in me
Words can never mend
The mess you made

As Ella is right in front of the audience, the stage effects become more energetic and dynamic towards the end of the song.

I’m moving on
I’m moving on
Cause this is who I am
Still standing even with no man
I’m moving on

The song ends, seemingly abruptly, and all stage lights and effects come to a halt. The crowd cheers. "Gražia, thank you Talvezout!" Ella shouts before leaving the stage for the Britonish entrant.

[Britonisea]

#09 BRITONISEA
Alisha Hagarty - "Where I Belong"
Tune : Alessia Cara - How Far I'll Go
Music: Alisha Hagarty, Lyrics: Alisha Hagarty, Phillip Borough

---

Alisha was standing in the middle of the stage as the nautical sounds filled the stage behind her. On the screens behind; blue serenity. A projection was on her whole body, with as she swayed for left to right. The introduction was quite a long one, and as the introduction went on and grew on dynamics, the brightness of the sea did too. Though, as she was about to sing, she stepped forwards as the whole stage faded in to white;

For years I have been waiting for this moment,
I’ve been dreaming this moment, and finally it’s come true.
Fell down - I had to pick myself back up
Despite the pain I felt inside, I had to ignore it all.

The nautical theme stayed on the screens behind the girl. Alisha slowly walked to one side of the stage and leant down on the floor as though she was on the side of the beach, near the waterfront. The camera zoomed in on her huddled on the floor; and during this she would occasionally look up at the camera before doing what she was doing.

Every route I made, every path I took - they got me nowhere, I had to walk back.
There was no hope left, I was on my own,
Lost inside my thoughts…

The pre-chorus was a good time to show some sort of change and so, the camera tilted down to Alisha's hands, and in it was a circular hologram of the world which was spinning and blue. Then, as the backing singers started to be heard in the back of the song, she placed it down on the bit of the stage floor that was in front of her. The floor was of the water washing the world hologram away. Alisha stood up and watched it before going up towards it, touching her head as she sung "lost inside my thoughts"

The piano then came in and she turned around in a similar place to how she was at the start of the performance. As she sang more and more, the blue earth moved further and further away and then went up on the screens behind her.

I thought the whole world was against me,
So I walked far away, no looking back.
Nothing dared blocked me, because I was determined
To go far! And at the end I would reach where I do belong.

The earth grew to the size of the whole screen behind her, and she walked more and more away from the back of the stage. She stood right at the end of the stage and belted out "To go far!" And then continued singing before falling forwards nearly in to the crowd but someone managed to grasp her around the stomach. A quick shot was of the screen behind her as well as the blue earth suddenly bursted with grey television static effect showed on the screens, with the earth in the middle of it (something is shown in the middle).

The camera zoomed out of the whole stage showing this. The audience applauded loudly as the person who held her ran towards the back of the stage before just disappearing. Alisha looked back and wondered how she was held back. She then put her hair behind her ear before singing again;

Held back, many times I was held back
For reasons I never knew-ew.
But when I look back I am grateful.
I can't help but ask where I fit in,
But the answer will come from...
Where I gotta look for the answers.

The blue sea came back on to the screens behind and the hologram made its way from the screens down to Alisha, who stood at the front of stage. She picked it up as she sang;

Maybe there's someone, who does keep me safe.
Never realised, never thought 'bout it
But I do know now, I can now pass through
So now I will walk...

I thought the whole world was against me,
So I walked far away, no looking back.
Nothing dared blocked me, because I was determined
To go far! And at the end I would reach where I do belong.

During this bit, a golden waterfall fell behind her as she looked up. She was on the circular object which moved her whole body around. The camera captured her as she looked up, slowly moving outwards from her face.

I thought the whole world was against me,
So I walked far away, no looking back.
Nothing dared blocked me, because I was determined
To go far! And at the end I would reach where I do belong!

Where I belong!

Alisha looked back towards the audience with her hands out. The audience ringed out with enthusiasm, "Thank you everybody, really, thank you all!" Alisha then ran off the stage in way for the next country performing, Estogium.

[Estogium]

#10 ESTOGIUM
Kenzie Eléen - "Red-Handed"
Tune : Delia - "Da Mama"
Language: English
Duration: 3:53

---

The sounds of phones pinging off fills the outdoor stadium. As the camera positioned itself towards the stage, which had dancers scattered across it, the audience at home and those watching in the outdoor area could see the screens behind. The screens were stylised to be a message service, and a picture of a man alongside a woman, but in the picture, the woman was kissing the man - and he looked as though he was a willing participant in that. A message below it said "OMG. Kenzie, I'm sorry <3" and after that was said, an electric guitar slowly made it's entrance in to the song. From downstage, Kenzie appeared, right in front of the image of the man and woman kissing. One could infer that she was upset, or angry as she stood there, aimlessly looking in to the crowd.

The camera came closer and closer to the stage before a steadicam joined Kenzie and the dancers on the stage. All of the dancers on the stage had phones in their hands, and they all looked at it in shock, as though they saw the image of the man and woman. For the first few seconds, as Kenzie begun to sing the song, the steadicam followed its way around the stage, around to each of the dancers. Every few people that the camera passed, the dancer would slowly turn towards Kenzie, who still stood on the stage, downstage middle. The dancers also begun miming some of the lyrics as they moved around to face Kenzie.

I have been strung along for too long now,
I can't believe how - how I could have fell for this.
I felt so stupid; silly. I felt like this was the end.

This burning feeling I felt was stronger than ever,
It felt so good, but I needed to do something about it.
Had to put it in to good use...

The steadicam had finally found it's way around to Kenzie who stood still in her position. Kenzie, however, used her eyes to interact with the camera, following the lens as it passed across her face. A man, the same one who appeared in the image which was still able for you to see on the large screens behind Kenzie, came on to the stage wearing jeans, and an unbuttoned shirt. The first position he made was holding Kenzie around the waist, in front of her, with his back towards the audience. Kenzie turned her head the other way, very quickly. At each of the sudden increase of the song (when the percussion came in, during the pre-chorus), the man would change his position, his status and gestures he had towards Kenzie.

As she sung the word "insane," another bit of percussion entered, the man suddenly dropped to the floor, looking up Kenzie, who was still in the same position as she was before. The dancers had now all turned towards Kenzie and the cheating man to witness what was happening. They all put their phones up, with the flashlights on. The camera turned from facing towards Kenzie to behind her, witnessing all of the flashlights of each of the dancers' phones turning on from her left to the right in canon.

The big boys' been released from the cages,
Their howling takes over the town, a siren that drives the people insane.
And they don't know what to do (they just don't know what to do...)
I've got a grand plan. (oh)

They're very hungry - hungry for justice,
Don't purposely stand in their way, 'cuz if you do they will go right through you.
Guess what? I'm their ringleader...
And no one is exempt.

After having sung "The boys are raging mad," the man changed his position again - now lying across the floor, and with this, Kenzie moved forwards, closer towards the audience who were already swaying their hands along with the beat of the song. As she begun to get closer to the chorus, strong red lights from around the stage focused on her as she walked closer to the audience, upstage middle. The intensity of the red light was at it's highest during the parts where the percussion came in. The dancers, those who were scattered around the stage, walked towards the middle of the stage and formed two lines either side of her. She walked down the middle of the two lines, as though she was walking a catwalk. A steadicam was with her, following her, moving backwards as she commenced forwards. She did not simply walk straight down the makeshift walkway, though. She walked, not in a straight line, but almost as though she was a bit drunk or done with life. Occasionally, she would even walk towards the dancers in the line and caress their hair or give them a dirty look.

In addition, as she walked down the line, the dancers whom she passed started walking behind her. After exclaiming, "And no one is exempt," she was handed a wooden bat and with it, she swung it at the camera lens, causing the camera to break - or that was certainly the effect that you would see on the television. Giving time for the steadicam to walk of the stage, a far away shot was next for the audience at home to see, featuring the large audience cheering for Kenzie and those on the stage with her. All of the stage turned from red to mixtures of the colour, alongside with grey and white, creating a stormy effect. There were distortions with the camera too, with the camera going hazy or Norway 2017. The camera slowly moved itself forwards.

I caught you red-handed,
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.

You're sorry - you want me?
You're sorry that finally you're caught.
Don't think about me, I hope you move on...
Lord, I pray for the next one that comes along.

Another steadicam came from upstage left and quickly went to face of Kenzie. Smoke could be seen from the back of the stage rising and as it did, it looked as though the dancers, who were once all standing united with Kenzie, got in to a big fight, throwing each other around. The camera tried to make this look as chaotic as possibly, quickly panning in and out from her face, as she twisted her body about. For those who were eager, they would've been able to see the man who we were introduced to at the start starting to come nearer to Kenzie, but she didn't notice as she was too busy looking at the camera. Alongside the camera, though, the lights tried to make the scene as chaotic as possible too. Lights flashed on her face, and those behind her too which well complimented with the distortions.

Abruptly, as the chorus ended after two large hits of the drum, the dancers in the back just froze in the positions they were in, but Kenzie didn't stop moving like the rest of them. She did, in fact, calm down as was moving less than the rest. The lighting also changed back to red, just filling up the whole of the stage. The man from earlier crept up behind Kenzie as put his arms around her neck, almost in a headlock, though it seemed a bit more subtle than him trying to kill her, it was almost done in a lustful manner. And while she was singing, she was trying to get herself away from the headlock that she was in, but she simply couldn't because of the lust she had for the man, she didn't want him to let go of her.

Now I can drink myself in to oblivion,
I've been waiting a long time for this moment.
I will feel so energised, I know I will feel brand new
I can thank you for what you've done, I've learnt my lesson.
I promise I won't get myself someone like you,
And if I do, that day's the day that I'll rue.

Slowly dwelling in to his large frame, a look of contempt on her face begun to show, though along with the lyrics she was singing, "I've learnt my lesson" and "I won't get myself someone like you," she started to realise what she had let herself in for, and the look of contempt she had washed away in to anger as she remembered to stay away from this man who had some sort of hold over her. The camera caught her as she sung the last few words of that sentence, and with that she managed to break away from the man, though his hands only slipped from her neck to her waist.

As the pre-chorus begun again, the dancers in the back started to move out of the tableaux that they were in, slowly turning their heads, and tilting it towards Kenzie and the man as she broke free of the man. Then the man seemed to all join in on the tableaux behind them, with him holding his hands out towards kenzie, but she walked forwards towards the audience, and a camera from behind her swooped past her, twisting it's self as it took flight over the audience that watched on. She gave a slight smile to the camera as it repelled from her.

The big boys' been released from the cages,
Their howling takes over the town, a siren that drives the people insane.
And they don't know what to do (they just don't know...)
I've got a grand plan.

I gotta plan for getting redemption...
For the months and months of asking, "Staying at work overnight again, right?"
I'd would get the same reply...
Yes, I am raging mad!

Another camera, however, did meet her - a simple mid-shot from the audience. As it slowly came closer to her, she looked in to it, swaying from the left to the right and back to the left. She would also move her leg to the time signature of the song, showing the conviction as she bent her knees to sing the pre-chorus. Her hand gestures were also aimed at the camera, as though she was speaking to those at home. The screens behind her were moving pictures of fire flames, and as she sung the fire was quite slow burning. However, when the song went to "Now I am raging mad," the fire on the screens behind her started to move quickly, as though it was sped up.

The dancers that were frozen now came to life, almost continuing from the chaotic scene that they had left off at. Kenzie ran around the scene and a steadicam followed her, going backwards, still shaking to make the scene look as crazy as possible. To aid the intenseness of the stage, the lights kept on flashing on and off, with the hints of red also getting in the mix. She begun singing the chorus again, but she started singing directly in to the camera before stopping on the side of the crowded stage of all the dancers. As she sung, "I won't be strung along..." she slowly started to back in to the crowd, and the dancers slowly engulfed her whole body, and she was unseen. The shot then cut to a far shot of the outdoor arena, focusing on the glare of the lights filling the lights and the audience bashing their heads to this contemporary, unique sound from Estogium.

The next chorus started and within the dancers, she kept on singing...

I caught you red-handed,
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.

You're sorry - you want me?
You're sorry that finally you're caught.
Don't think about me, I hope you move on...
Lord, I pray for the next one that comes along!

During the first bit of the chorus, the scene seemed to become even more chaotic, with dancers now climbing on top of each other, simulating some sort of mountain being built in front of the eyes of the audience. Lights were focused on the mountain of people as the fire in the back kept on burning very quickly. The smoke that was present at the start started to build up again. However, there was a change in what was happening as the dancers suddenly stopped moving as Kenzie sung "You're sorry, you want me." before beginning to descend from each other. An aerial camera circled around the edge of the mountain of people as it started to deteriorate. In the middle of this, you saw Kenzie laying there with the her surrounded in the floor being coloured red - inferring many things.

There was a change in the intensity of the son. To compliment this, a shot of the top of the rigs slowly closed in on her. Kenzie was not even looking at the camera, though, she was singing in the direction that she was looking. By this time, the mountain of people all moved away from each other and stood in the positions that they were in at the start of the performance. However, this time, they were dancing on the spot, all doing the same dance, which was all relating to the lyrics of this part of the song - a moment of peace from the staging and music.

I won't submit, no no no no no no no no no no no no.
I'll rise above, oh oh oh oh oh oh oh oh oh oh oh oh.
Karma will come and bite his ass,
I will laugh.

I caught you red-handed,
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.

The music was even more scaled down as she started to speak the lyrics to the first chorus of the song. The lights from the phones of people in the audience were switched on a single white light was positioned on the laying body of Kenzie. There was a far shot, and as this chorus of her speaking carried on through, the camera started to pick up pace, before reaching her near the end of this part. Someone else took over for Kenzie as she came in with a mighty roar from deep within her, and with that she jumped up from laying down.

A taller figure came from behind her and Kenzie and this figure started to do some dancing together (similar to Sweden 2012, but more advanced), with him consistently grabbing hold of her, and her breaking free from him.

(Ahhhh! Noo-Nooo!)
I caught you red-handed,
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.

You're sorry (sorry?) - you want me?
You're sorry that finally you're caught.
Don't think about me, I hope you move on...
Lord, I pray for the next one that comes along!

Similarly to the start of the performance, another steadicam came from the side of the stage and went past all of those who stood in their places with their phone, and like the start of the performance, they were all holding their phones up at Kenzie. As the camera interweaves it's way closer and closer towards the main stair on the stage, the light intensity increases - and with that, flames shot in to the air from the sides alongside fog which went metres in to the sky. You could see the glare of the flame shooters of the faces of the dancers. There were also two people standing on the side of Kenzie, a few steps behind her, with flame shooters, shooting them in to the air, to bright highlight to Kenzie and whatever was happening with her and that man.

For granted!
And I won't be taken for granted,
Sadly, you were once all that I wanted
But now I am alone and broken-hearted.

Sorry, you wanted me?!
You're sorry that finally you're caught.
Don't think about me, I hope you move on...
Lord, I pray for the next one that comes along!

By the end of the song, Kenzie had smiled to the camera which arrived towards her, but her facial expression changed to an expression of fear and with the man, they suddenly dropped to the ground, with the flame shooters shooting the fire towards the camera, and that being the only thing the audience sees before the stage goes fully dark. The audience then started to applaud loudly for the performance and Kenzie got up with the man before speaking in to the microphone, "Thanks my gorgeous people!"

[Norjihan]

|11|
Norjihan
|Markka Tome - "Ruins"|
Tune: Beirut - Elephant Gun

---

The stage was pitch black as the final preparations for the act were made and the finishing touches were added. Everything had led to this moment, and in a matter of seconds Markka would finally perform on the WorldVision stage... As the song began, a single, faded white spotlight shone on the front of the catwalk area, where Markka stood, playing a small balalaika-esque instrument and wearing something like this, except more worn and with a threadbare jacket on the top, unbuttoned, and the denim jeans were instead just blue trousers. He strummed along to the music, looking down towards the floor as the camera moved in from above the audience to show his face, illuminated by the spotlight faintly whilst the rest of the area stood in blank, dark silence. As the camera reached the area where he was standing, he looked up and began singing, a forlorn look etched on his face. He carried on strumming and swayed slightly to the melody, but with an indelible mark of melancholy whilst he did so. The spotlight, ghostly faint, slightly strengthened in its intensity, but not so much that it lost the feeling of slowly fading into the darkness of the arena.

What can you do?
There's no stopping, there's no stopping now
So here we go
The choice is made
It wasn't ours, it wasn't ours

As the second half of the verse began, the background LED screens sprung into life, showing a series of roman ruin. The left hand screen showed a marble statue leaning on its side, with a crack straight down the middle from its face, which edged further and further along the statue as the song progressed. The right hand screen showed a crumbling pillar, and the central screen showed an image like this (obviously, minus the whol Josef Salvat thing, along with the head), the trees in the background of the image blowing ever so slightly in the breeze. The camera remained on Markka as he continued to strum away, moving around more so than he had in the last verse and beginning to clearly lose focus on strumming the instrument - which was actually being played by someone in the orchestra - whilst he moved around (this is either laziness on his part, or a deliberate statement on live music; this is up to you to interpret). The whole thing was framed so that the large, open vertical size of the stage wasn't really noticed, playing with perspective so that the background screens weren't as large and imposing as they might have seemed. As the verse drew to an end, the crack finally reached all the way down the statue, and it cracked open to reveal an almost paper like sun, it rays extending into the other two screens.

Tell me that you wanted this
Look me in the eyes
And tell me again
As the flames engulf our souls, engulf our souls

Markka began to travel along the catwalk to his right to get to the main stage, the camera following him as he idled along. He spun around and generally just moved around (I would suggest, to those who would get this, think of Malo', but that probably wouldn't help). Behind him, on the stage a group of men in similar clothing to him has appeared, with a menagerie of instruments, surrounded by bales of hay, bright coloured fabrics and lots of other various trappings, bits and thingamajigs. They waved to him as he approached, and of course he waved back at them, the camera splitting in two for a split second, showing one of the men on the central stage almost staring directly at Markka (although this wasn't really happening). As the person on the stage waved, some more of the paper-like rays of sunlight as on the LED screen seemed to emmenate from him; in reality these had been superimposed onto the camera feed.

And only ruins remain
To tell the story
Hollow, they must stay
As they sneer and laugh at us

Markka finally reached the group on the stage, who greeted him almost as if he was a long lost friend as he continued to sing, his instrument being lost somewhere in the mix. However, he suddenly rebuked their advances whilst the 'sun' in the background began to let out faded red rays alongside the yellows and the oranges, which was also reflected in the background lights. He sat on one of the bales of hay at the edge of group, looking as forlorned as he had at the beginning, as two of the men did their best to try and cheer him up. As they sang, however, more superimposed images appeared, showing at first wind coming out of their mouths, blowing on Markke, followed by a shadowy hand which perched itself on his shoulder.

Only ruins remain
Echoing in the wind
The smile that caresses and mocks
The helping hand of death

The hand faded away, and the camera gave a shot of Markke looking downbeat as the 'band', happy and upbeat, played behind him, a perfect juxtaposition. They all generally swayed and played in time to the music, spreading around the stage as the camera switched between their upbeat playing and Markka wondering around the stage as if troubled, trying to figure something out. Each of the members tried to cheer him up in some way, but he kept ignoring them or rejecting their attempts entirely. The background images changed to show an old style compass, but one that was clearly broken as the needle moved around rapidly. The other pages showed strown notes, scribbles and and other various things, mostly with lyrics to the song along with other random nonsense that I'm certain people decided to interpret in different ways.

Ooooooh
Ooooooh Oooooh Ooooh
Ooooooh
Ooooooh Oooooh Ooooh

Ooooooh
Ooooooh Oooooh Ooooh
Ooooooh
Ooooooh Oooooh Ooooh

The notes blew away to reveal a scene of the stars on a dark blue night sky, and the compass slowly transformed into the moon, and began to move backwards and away from the stage as the bright yellows and reds of the main stage lights changed in turn to whites and blues, but not so much in a harsh way as to create a gentle scene of the night time. In the background image, old buildings and ruins stood beneath the moon, but with little lights flickering through them just as a group of gymnasts began to dance around the stage with yellow ribbons, the little flickers of light dancing around the member of the band who had now gathered around Markka in the middle of the stage - although not too tightly packed. The gymnasts generally performed and weaved around one another, alongside performing general acrobotic moves. The camera slowly began to focus on one of the band members who played a fiddle, before switching to the trumpeter who had been seperated from the rest of group towards the left of the stage, who stood on a sort of stone plinth whilst around him a dark blue cloth writhed and moved about as people below it moved, creating the effect of being lost at sea - this was shown towards the end of the instrumental before the camera feed moved elsewhere.

As Markka began to sing again, the lights faded and the camera focused on him oncemore, as he strumed the balalaika-like instrument he had earlier and had, during the instrumental, regained. A faint orangey-yellow spotlight shined on him and showed the faces of the rest of the band, looking up almost expectantly at him as he sung, looking up towards him as if he was a wise teacher giving them a lesson. The wind machine blew slightly, blowing Markka's hair around ever so slightly. As the first half of this section ended, the lights began to regain their intensity and the background image of the moon and stars appeared again, although all the gymnasts etc. were nowhere to be seen. Markka and the band carried on playing in the centre of the stage, the cameras panning slowly around them in a circle, as the song began to draw to a close. The moon too began to 'set', and on the two side screens the stars began to dissapear and be replaced with the peachy-blue hue of a morning sky, although the sun never fully appeared again as the song finished, the camera ending almost where it started by showing Markka's face.

So help us all
As we fall into
The drunken stupour of life
At the steering wheel of our destiny
But not on the road

So help us all
As we fall into
The drunken stupour of life
We can't ignore it
We can't drive past the signs

The crowd cheered and did whatever crowds do at the end of an entry, whilst Markka and the musicians thanked the Yfla crowd, shouting "Thank You, Rola, Rola WorldVision" (rola is a Norjihani equivalent of thank you, used especially after a performance).

[Balkvla Islands]

12
Balkvla Islands
Derrick Kaye - "The Fool"
Tune: Darren Criss - Foolish Thing

---

Derrick sat behind his white grand piano in an all white suit. Behind him are tied balloons weighted to the floor, potted plants and two three-step gold platforms.

Good evening, and welcome to my story
A tale about the biggest fool in the world
It goes exactly how you think
But I'll go and tell it anyways.

As he started to sing, the background LED's started to show a flowery landscape.

One afternoon out by the pub,
A solider was going out on his leave
He wants a single night of passion
But all this time
But all this time he's been a fool

Being the fool
is common when in love
It's something he can't help it
But he would never give up hope
They're always deflating his ego
and tell him off, saying that he's not smooth and
and he'd never learn a thing
He's the biggest fool in love.

As he sang the chorus the entire stage turned white and the piano began to slowly rotate around with him on it.

The barman laughed at his misfortune
His towers of pride are deteriorating
And as much as he knew
He would rather go and disappear

After the chorus, everything went back to normal, only instead of him facing stage right, he's now facing stage left.

He needed a new procedure
He needed a new proposal
A way to get what he wanted
Because what he feels
Is an emptiness
An emptiness to be filled
No matter what it took

Being the fool
is common when in love
It's something he can't help it
But he would never give up hope
They're always deflating his ego
and tell him off, saying that he's not smooth and
and he'd never learn a thing
He's the biggest fool in love.

This time when he sang the chorus, a group of children in colorful medieval inspired outfits come out and stand on the golden platforms doing backing vocals.

The world is never fair
But it will not cure one thing
His entitlement

Being the fool
is common when in love
It's something he can't help it
But he would never give up hope
They're always deflating his ego
and tell him off, saying that he's not smooth and
and he'd never learn a thing
He's the biggest fool in love.

Derrick and the children sang as sparks rained down on the stage.

Being the fool
Being the fool
He's the biggest fool in love.

Being the fool
Being the fool
He's the biggest fool in love.

Being the fool
Being the fool
Being the fool
Being the fool

As the song ends, Derrick gets up and thanks the crowd before he bowed towards the audience.

[Saviera]

13. Saviera
Is He Man?, by Jorts Sirmemes
To The Tune Of Are You There By Justs

Jorts Sirmemes was Transported from Another Universe to Represent Saviera in This One. He is Joined by This Backing Singer, Who Sings in the Brackets.

Every sword is stolen
And my heart is blue
Let it out, my feelings
Just want to cope

Though I see your beauty
Displayed in my head
I never know what I’m seeing
Until my hands feel

I said he~ey
Is he man?
I said he~ey
Is he man?

I said he~ey
Is he man?
I said he~ey
Is he man?

I just want to end it
Wanna know the truth
Is gender a social construct?
Maybe I’ll just follow my heart

I said he~ey
Is he man?
I said he~ey
Is he man?
I said he~ey
Is he man?
I said he~ey
Is he man?

What's going on, what's up?
What's going on, what's up?
What's going on, what's up?
What's going on, what's up?

I said he~ey (What's going on, what's up?)
Is he man? (What's going on, what's up?)
I said he~ey (What's going on, what's up?)
Is he man? (What's going on, what's up?)

I said he~ey
Is he man?
I said he~ey
Is he man?

The Song Ends and Everyone is Happy. Jorts Sirmemes Says: Thank You!!! and Now He has to Prepare to Get Teleported Back into His Universe of Origin.

[Missus X]

14 MISSUS X

Rick Leg - "You Resung In The Wrong WorldVision Song Contest Because This Contest Has A 1,000 Degree Knife Gone Wrong Gone Sexual With Trump In The Hood With Fireman Sam NOT CLICKBAIT"
Tune: Theme from Fireman Sam

On the stage lie a glowing-hot knife, a naked woman in a box, a figurine of a Missus Xian man known as "Donald Trump", and 4 lifesize versions of cartoon characters - Robbie Rotten, Fireman Sam, the Fat Controller, and Wallace (without Gromit). Rick saws the woman in half with the knife, intending to perform magic, but accidentally kills her. This causes a smoke detector to go off as her blood boils and the music starts

When I hear that sound again
Fuck, I've fucked up yet again

Wallace and the Fat Controller try to protect the woman from the audience's sight. Rick is oblivious as to the carnage behind him.

Getting a banning order
Blowing up South Korea

The man dressed as Trump drops bombs in the audience, which explode.

You crashed in the yard
Gone sexual
And you reposted my trousers
Gone sexual
Return to sender please
Come and help me kill us all!

All the cartoon characters then kill audience members through their own means of overly complex murder techniques. Robbie force-feeds the audience raw sugar, enough to cause terminal diabetes. Donald Trump bombs everyone. Wallace force-feeds them cheese, Wensleydale to be precise, and the Fat Controller gives them lung cancer through force-inhaling bottled steam train smoke which he just happened to have on him. Fireman Sam drowns people.

Running through a field of wheat
Killing sheeples as they bleat
We can't all be killing, man,
So get out and let me, fam

The cartoon characters jump back to the stage and Rick dives into the audience. No one knows what happened next owing to a well-timed TRT technical failure, but the audio still comes through; hundreds of people scream as Rick keeps singing.

No, don't run away
Gone sexual
And let me have a swing
Gone sexual
You cannot escape
Rick Leg's going skkkkkkkkkrap

A large chunk of the audience remains in place as Rick and his accomplices are led away in handcuffs, and a coroner comes to autopsify the woman, and an undertaker removes both sections of her body.

[Merecendi-]

_15. MERECENDI_

Tune: We Don't Talk Anymore (BCE FInal Duet)

I Adore

Lyssa Lyssanao & Rocha

He stands up and starts singing

You know how I adore, every day I implore, all this time and before we came to
Don't you

The music suddenly cuts out and everyone stares in silence

[Talvezout]

After a couple of awkward minutes following the back to back technical issues with the Missus X and Merecendi entries, Isobella would take to the stage, dressed in gorgeous red ball gown.

Isobella: "Ladies and genetlemen, those were the 15 entries of this year's Worldvision. Now, here comes the exciting part: the voting. We will be showing a recap of each entry from each nation, with the number to text or call to vote. You can also use the Worldvision app to vote. Your broadcaster may be using alternate numbers or ways to vote, so please check before your cast your points. The points of course, are distributed from a 1 -8, 10 and 12 fashion, with the 12 points going to the favorite entry, 10 to the second favorite, and so on.

SO WORLDVISION, START VOTING NOW!

[Talvezout]

INTERVAL ACT 1
LAURA SEDIN - "CONGRATULATIONS WORLDVISION!"

As Isobella left the stage, a giant, lavish, and sparkly swing would be lowered from the ceiling. Laura, wearing an ungodly massive dress, with a train draping all the way down to the stage, would be perched on top of the swing. She would start singing once the swing was half way through being lowered.

Hello, multiverse!
Okay, okay

Laura would get up and stand on the swing as it finally reached the floor of the stage, with six stage hands dressed in all black coming out to carry Laura off the swing.
 

Hey you, lookin' at me, I'm talkin' to you
I'm Laura Sedin, standing out in the din, I know you want me too
Born in Ylfa in a different league, no damn Talvezian-freak
So while the votes are in, I'm here all prim
To entertain and stimulate you

Laura would hoisted aloft by the six stage hands, with the gigantic train of her dress billowing about in the background.
 

So congratulations, I have arrived
I'm Laura Sedin, coming from the din
Oh Worldvision nations, your dreams are coming true
You've been waiting and waiting for me to love you
Wham bam boom!

The six stage hands would set Laura down and rip off the black clothing they were wearing, revealing impossibly sparkly white suits underneath. Laura herself would lose the massive train, leaving a slightly more manageable outfit. Laura and the six performers would start strutting about on stage.
 

Oh my God...
 
This song – ain't it cool, def' not yesterday's news
It's hot and great, ready to slay
Y'all others better sashay sway
Want a piece of me, listen carefully
You'll be D.E.A.D.
You're all so lucky I ain't competing
Or else I'll be posing with the trophy

 
So congratulations, I have arrived
I'm Laura Sedin, and are you ready to shine?
Oh Worldvision nations, your dreams are coming true
You've been waiting and waiting for me to love you
 
(So congratulations, so congratulations)
Oh my God, is that you dog?
(So congratulations, so congratulations)
(So congratulations, so congratulations) C'mon, answer now
(So congratulations, so congratulations) Oh my God, oh...
 
(Ring, ring, ring) Hello, is this God?
(Ring, ring, ring) What's up, dog?
(Ring, ring, ring) It's me, Laura Sedin, your favourite gal pal ever
(Ring, ring, ring) I'm performing here in Ylfa
See you soon. bye!
 
(So congratulations) I have arrived
I'm Laura Sedin, and tonight I will shine
Oh Worldvision nations, your dreams are coming true
You've been waiting and waiting for me to love you
 
Congratulations, I have arrived
I'm Laura Sedin, tonight is my time
Oh Worldvision nations, your dreams are coming true
Remember to vote for your favorites, that's what you should do
I love you, my beautiful Worldvision children!

[Vartugia]

01 /15. Vartugia

Hello. I`m Kalosia and im druged and kidnaped by Vartugia pliz halp im the spokeperson of myself. Totally not Vartugia. Anyway here are Vartui… I mean my points.

1 Togonistan
2 Antahbrantahstan
3 Norjihan (or NorjiHAM)
4 Balkvla Islands
5 Talvezout
6 Mister X
7 Britonisea

8 to Saviera

10 to Merecendi-

And our 12 points go to Vartugia for his high-quality song. Not to Missus X, who really got 12 points. Now shut up and give him all your points!

OK NEXT!!!!!!!!!111111111111111111one

[Estogium]

12 Balkvla Islands
10 Mister X
8 Norjihan
7 Arab
6 Saviera
5 Britonisea
4 Togonistan
3 Missus X
2 Vartugia
1 Antahbrantahstan


edit: changed typo of 1 point

[Togonistan]

03. Togonistan voting

Points are announced by Sefina Tufele, Togonistani model and actress.

Sefina: ''Good evening Ylfa, good evening multiverse. Here are the results of Togonistani voting.''



''Our 8 points go to...''

Antahbrantahstan

''10 points go to...''

Kalosia

''And finally, 12 points from Togonistan go to...''

Estogium

''Thank you and have a wonderful evening!''

[Mister X]

Robert: Hello, ladies, gentlemen, and non-conformists, and welcome along to the 62nd WorldVision Song Contest.
Sam: Yes, good evening everyone, what a contest we have in store for you today. I also have an expanded softness rating, ranging between hypersoft (yoghurt) and superhard (plate): we go yoghurt, plum, jam, butter, bread, bottle, plate.


01 Vartugia

Sam: Oh... my... holy Thatcher...
Robert: SORRY!?
Sam: Was that being sung by a cross-channel ferry?
Robert: Well, whilst they rebuild the arena, that was so absolutely shite I can't really rate it as a song. Proving that just because you can do something, it doesn't mean you should.
Sam: Plate. That's a full 7/7 on hardness.

02 Togonistan

Robert: Well, I suppose it's OK. It's all a bit clichéd power ballad for me.
Sam: Yep. Agreed. I can see this doing well, but I don't like it. Butter, a 4/7 on hardness, i.e. in the middle.

03 Antahbrantahstan

Robert: As for this one... I initially thought it was the same song as Togonistan. What do you think?
Sam: I think it's a bit harder. Bread, a 5/7 on the softness scale with 1 being hypersoft and 7 being superhard.

04 Mister X

Robert: Have we got a winner here?
Sam: I bloody well hope so. I think that goes under bottle (6/7), which replaces the knife category because we've been ordered to do so.

05 Adab

Robert: And from that... to this.
Sam: Kinan... maybe you should retire. This is becoming not as good as you once were.
Robert: This is all a bit 1973 for me, I'm afraid.
Sam: Oh yeah, I see what you mean, now. I think it has to go down as jam - i.e. that's a 3/7 in terms of hardness.

06 Northurland

Robert: Hey, this isn't too bad, is it?
Sam: Well it wasn't to begin with, but it's total rubbish, I'm sorry, but I have to say it. The song was just appalling after the introduction. Sorry, not sorry.
Robert: Well, we hate rap here at MRX Television, so that shows you, doesn't it?
Sam: Correct. It was like the song had 5,000 parts and 1 was missing. Plate on the softness scale - a full 7/7. Hard and edgy. Ew.

07 Talvezout

Robert: Oh look, a Viennese Waltz.
Sam: Really, Robert? Where?
Robert: I actually meant the song...
Sam: Oh, I see. Yeah, not having dancers there was a bit like trying to nail jelly to the wall for me. It was all a bit... naff. I appreciate the message but I don't think it belongs in WV.
Robert: I suppose is it plum or yoghurt?
Sam: Plum - a 2/7 for hardness.

08 Kalosia

Robert: Ah, that's better, that's more like it.
Sam: Yeah, I agree, this is the best so far (excluding our song) by a mile. A country mile. A entire Grand Prix distance. You get the idea.
Robert: I have to say that so far there are only two candidates to win - us and Kalosia. But how hard is this song?
Sam: I think it's a bottle - a 6/7.

09 Britonisea

Robert: Well... it was OK. But I don't think it's all that good frankly. Another huge cliché unfortunately.
Sam: I have to agree, sadly. But I can see what they are trying to do here. Such is the poor standard it might get some points from us. But I think it's butter with regard to its softness, that's a 4 out of 7.

10 Estogium

Robert: Not as good as its neighbour. Harder, though.
Sam: Absolutely, it's bread - and I agree, I prefer the Britonish one.
Robert: Yes. Next.

11 Norjihan

Robert: That went on forever. I'm glad it's over, because it was very much a case of "oh, what a shame". Norjihan has such a good record of entries and this just doesn't live up to it. It's like the song got rearranged by a circus band.
Sam: I have to agree, this is not their best entry, but like I said earlier, the standard is so rubbish tonight that will end up getting points. In regards of its hardness, it's bread.

12 Balkvla Islands

Robert: Ooh, now then, now then, now then, then, now, now, then, then now now then then. Now.
Sam: That's another winner, and it's well-deserved. We've got a fight on our hands, here, Robert!
Robert: Yeah, looks like a 3-way horse at the moment.
Sam: In terms of the softness scale, that is bread. Could have done with someone doing a foxtrot on stage, though. I didn't get the medieval kids at all. That might weigh it down.

13 Saviera

Robert: Well, there was no staging there at all. Jorts and the backer just stood there. Very understated from Saveira, oddly.
Sam: Yes, and we're all the better for it, not least that entry itself. I liked that. A lot. It might be one of my favourite entries tonight, amazingly.
Robert: How hard is it?
Sam: That's hard. It's a bottle; a 6/7 for hardness on the softness scale.

14 Missus X

Robert: Oh Rick. What have you done?
Sam: It's bread. Let's move on.

15 Merecendi-

Robert: I'm not even going to consider that as an entry.
Sam: Well, I have to. It's plum.

---

Robert: So here is a reminder of all of tonight's entries. Dial 9 12 12 from a mobile or 01721 12 12 from a landline followed by the number of the country you want to vote for. So if you want to vote for Vartugia, it's 9 12 12 01 or 01721 12 12 01. Remember if you're voting from a landline, call the long number, and if you're voting from a mobile, call the short number!

01 Vartugia
02 Togonistan
03 Antahbrantahstan
04 Mister X
05 Adab
06 Northurland
07 Talvezout
08 Kalosia
09 Britonisea
10 Estogium
11 Norjihan
12 Balkvla Islands
13 Saviera
14 Missus X
15 Merecendi-

[Mister X]