As it is known, Russia as the aggressor state reacted extremely painfully to not being allowed to participate in the “Eurovision – 2022” song contest, as well as to the subsequent victory of Ukraine in the corresponding event in Turin.
The occupiers’ propaganda was forced to respond to the disqualification of the Ukrainian contestant Alina Pash because she tried to hide her trip to the occupied Crimea and provided falsified documents for this.
Many viewers considered it symbolic to replace the Ukraine’s finalist, due to the “Crimean scandal”,.with the “Kalush Orchestra” group, which brought victory to Ukraine.
Therefore, it is predictable that after “Eurovision – 2022”, the “Crimean media” controlled by the Russian invaders, simultaneously began to write about the alleged “insignificance of the contest”, which “does not matter”.
At the same time, the Russian scandalous “authoritative producer” and “father of show business” Iosif Prigozhin proposed to make an “alternative to Eurovision” and hold it in occupied Yalta. The proposal was “ardently supported” by the fake “mayor” of the occupied Crimean city, Yanina Pavlenko, and the noted “interesting idea” was widely disseminated by Russian propaganda.
At the same time, it did not occur to the authors of such “import substitution” to find the answer to two simple questions. Firstly, it is not clear how to ensure the “international level” of the fake “competition”, since no self-respecting performer from third countries will obviously come to the occupied Crimea.
Secondly, it is not clear why the Russian occupiers are trying to hastily make a cargo cult out of “Eurovision”, which is obviously not only an “insignificant politicized event”, as the occupiers wrote on the peninsula a month ago, but also refers to the “European civilization”, from which , according to the criminal statements of the fake “Crimean speaker” Volodymyr Konstantinov, allegedly “Crimea has forever refused”.
Under such conditions, the mouthpieces of the fake “civilizational break” among the Crimean collaborators continue to discuss in the language of hatred even “music that should be outside of politics”.
As an example of a fake “senator from Crimea”, Olga Kovitidi is “very worried” that “homosexuals will not take part in the new contest”. And the fake “Head of Crimea” Sergey Aksyonov, during his “visit” to Feodosiya, where he “imposed additional tribute” on local collaborators, paid great attention to the “terrifying event” when children performed in one of the occupiers-controlled town’s schools to the song of Ukrainian artist Andrey Danilko.
But in fact, it was not the fight against the songs of Verka Serduchka or LGBT people in show business that made Russian propaganda and Crimean collaborators think of “Eurovision”.
After all, before that, the leadership of the European contest announced the transfer of “Eurovision – 2023” from Ukraine to the UK due to the situation of Russian aggression. But British Prime Minister Boris Johnson responded by expressing full confidence in Ukraine’s ability to host the song contest next year. This obviously means the sad prospects for the Russian aggressors of the complete collapse of their criminal plans for Ukraine, and therefore Russian propaganda began to “on its knees” come up with “reciprocal” fake “competitions” in the occupied Crimea.