Eurovision 2025: What to expect from Saturday night’s final in Basel?
Country-pop trio join 37 nations in the world’s biggest song contest as political tensions simmer.
Holly-Anne Hull, Lauren Byrne and Charlotte Steele of Remember Monday representing United Kingdom perform during the Semi Final Round 2 of the 69th Eurovision Song Contest
Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
The stage is set in Basel, Switzerland, as the 2025 Eurovision Song Contest gears up for its grand finale on Saturday, 17 May. The show will be broadcast live from the St. Jakobshalle arena at 8 p.m. UK time on BBC One and iPlayer, with radio coverage on BBC Radio 2 and BBC Sounds. Hosting duties in the arena will be split among Swiss presenters Hazel Brugger, Sandra Studer, and Michelle Hunziker, while Sophie Ellis-Bextor will reveal the UK jury vote.
The UK is represented this year by Remember Monday, a country-pop trio from Hampshire. Their entry, What The Hell Just Happened, mixes rich harmonies and storytelling. The band: Lauren Byrne, Holly-Anne Hull, and Charlotte Steele rose to attention on The Voice UK and have roots in musical theatre.
This year’s theme, Welcome Home, nods to Switzerland’s role in Eurovision’s origin story. The first contest took place there in 1956. Switzerland earned hosting rights again after Nemo won the 2024 edition with The Code. Now, Zoë Më will represent the host nation with her song Voyage.
In total, 37 countries are competing. Moldova is sitting this one out due to logistical and financial difficulties, while Montenegro returns after a two-year break. Among the automatic finalists are the “Big Five” (UK, France, Germany, Italy, and Spain), who secure their spots thanks to their funding contributions.
The final running order includes strong contenders like KAJ from Sweden with the quirky and nostalgic Bara Bada Bastu, currently leading the odds. Austria’s JJ, with his emotive track Wasted Love, and France’s Louane with Maman also feature in the top five favourites, according to bookmakers.
Israel's presence continues to be polarising. Their 2025 entrant, Yuval Raphael, is bracing for public backlash amidst ongoing global criticism of Israel’s actions in Gaza. Eurovision has faced increasing pressure to reconsider its stance on political neutrality, with many calling for Israel’s exclusion.
The final result will be determined by a combination of jury scores and public votes across participating countries. Non-participating nations also get a say through the "rest of the world" vote.
Whether you’re cheering from London or tuning in from Melbourne at 5 a.m., Eurovision will continue to remain a global celebration of music, politics, and pop spectacle, but messy, loud, and impossible to ignore.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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