In 2003, "big show" entries with massive choreography, set pieces and active use of props became common and highly celebrated in the ESC. Though minor trends came and went, they stayed popular and many of the winners until 2009 had fully crowded, elaborate stagings. But in 2010 the tide turned, both with the winner and the entries in general, and the only winner to feature a particularly elaborate staging is the overhyped Denmark in 2013, which perhaps not coincidentally was in Sweden (more on that later) and perhaps Sweden in 2015, which only featured Måns and some unusual interaction with rather simplecartoon projections. So there was a clear trend change, and in recent years elaborate "big show" entries with memorable songs have mostly barely reached the final, like Moldova's "I Want Your Love" in 2014, Iceland's "Hear Them Calling" and Bosnia's "Ljubav je" last year.
It's no secret Christer Björkman, who is not just in charge of the Swedish NF but one of the individuals with most influence on the ESC as a whole, and now also trying to maximise his influence over this year, is a big fan of the big show numbers. He often expressed dissapointment when such entries didn't make the final in both the ESC and the NF, and openly supported those entries even when he should have remained impartial (especially 2013 and 2016, when Sweden hosted).
After Eric Saade came 3rd in 2011, many expected Sweden to continue sending fast-dancing boys, which we never did - but Björkman & co sure did their best to fill each semi of the Swedish selection with such entries every year, but the people had the good taste not to choose them! Eventually it became obvious it just didn't work, but the Björkmafia countered in 2014 by adding a in-house dance team, dubbed the "Wall of Sex" that were extensively featured in every other entry and often stole attention from the actual singers and songs. They were often added needlessly to entries that didn't call for dancers at all, and including backing vocalists, the total number of people on stage often went way above the maximum 6 that would be allowed in the ESC. And - of course - the 2014 and 2015 NF winners did not feature any dancers.
So, the "Wall of Sex" kind of went away, and the last two years extensive choreography has been used more in (uncreative and unfunny) interval acts than actual entries, and the few exceptions have often flopped (like Dinah Nah this year). But this is not the development CB wants. It's obvious he's trying to force "big show" entries to become popular again, through whatever his next plan will be. What do you think he has in his sleeve?
It's no secret Christer Björkman, who is not just in charge of the Swedish NF but one of the individuals with most influence on the ESC as a whole, and now also trying to maximise his influence over this year, is a big fan of the big show numbers. He often expressed dissapointment when such entries didn't make the final in both the ESC and the NF, and openly supported those entries even when he should have remained impartial (especially 2013 and 2016, when Sweden hosted).
After Eric Saade came 3rd in 2011, many expected Sweden to continue sending fast-dancing boys, which we never did - but Björkman & co sure did their best to fill each semi of the Swedish selection with such entries every year, but the people had the good taste not to choose them! Eventually it became obvious it just didn't work, but the Björkmafia countered in 2014 by adding a in-house dance team, dubbed the "Wall of Sex" that were extensively featured in every other entry and often stole attention from the actual singers and songs. They were often added needlessly to entries that didn't call for dancers at all, and including backing vocalists, the total number of people on stage often went way above the maximum 6 that would be allowed in the ESC. And - of course - the 2014 and 2015 NF winners did not feature any dancers.
So, the "Wall of Sex" kind of went away, and the last two years extensive choreography has been used more in (uncreative and unfunny) interval acts than actual entries, and the few exceptions have often flopped (like Dinah Nah this year). But this is not the development CB wants. It's obvious he's trying to force "big show" entries to become popular again, through whatever his next plan will be. What do you think he has in his sleeve?
