Eurovision: Irish entry EMMY ready for lift-off with Laika Party
The pair collaborated on the song Laika Party - inspired by the stray Soviet dog who was sent on a doomed space mission in 1957.The dog, described as a female Russian breed, became the first living creature to orbit the Earth when she was launched aboard the space satellite Sputnik II. She died after 10 hours due to overheating and stress, but EMMY and her co-writers have imagined a different outcome in their bizarre, upbeat ode to Laika.So far, so Eurovision.
"I've heard her story since I was a little kid, but it came to me again as an adult and I thought about how extremely sad her story really is. I wanted to create a scenario where she gets to be happy and alive instead," EMMY said.After initially being rejected from the Norwegian Eurovision selection process, Laika Party was given a second chance when it was announced as an entry for Ireland's Eurosong."[Larissa] said she thought this song would fit Ireland, because of their love for animals... we decided to submit it and I'm so glad we did," she explained.
Evidently, they were right - the song succeeded over the likes of Irish pop royalty Samantha Mumba, who was left unimpressed by the selection process, and will make its Eurovision debut at the second semi-final on 15 May."Eurosong was actually my first time in Ireland," EMMY said. "We had about a week to become as Irish as we could!"I'm so grateful that Ireland actually chose us, you know, it's just an amazing journey and we have done these pre-parties around Europe and it's so amazing to see the audience sing along, that means a lot."
Israel and Eurovision controversy continues
However, speaking to BBC News NI ahead of the competition, EMMY acknowledged some of the controversies swirling this year's event.Last year, 2024 winner Nemo criticised organisers for not doing enough to support contestants amid tensions over Israel's participation.Likewise Ireland's Bambie Thug - who secured sixth place, the country's best result since 2000 - protested Israel's involvement, due to the humanitarian cost of the country's war on Hamas.About 1,200 people were killed and 251 others were taken hostage during the Hamas-led attacks on southern Israel on 7 October 2023, which triggered the war.At least 52,600 people have been killed in Gaza during the war, according to the territory's Hamas-run health ministry.
Against this backdrop, tensions emerged backstage during last year's Eurovision in Malmö, Sweden.Bambie Thug accused Israel's national broadcaster, Kan, of inciting violence against them while other participants accused the Israeli delegation of filming them and posting clips online without their permission.Kan, meanwhile, said the Israeli delegation had faced "an unprecedented display of hatred".The European Broadcasting Union (EBU) acknowledged that several contestants lodged complaints and has since implemented a new code of conduct and duty of care protocol. These include designated no-filming zones in artist areas, more private rehearsals and better schedules to enhance participant's welfare.
But the controversy has rumbled on - more than 70 former Eurovision contestants have signed an open letter, urging organisers to ban Israel from this year's event.Meanwhile, Ireland's national broadcaster RTÉ has asked the EBU to discuss Israel's inclusion in the competition, with its director general Kevin Bakhurst saying he was "appalled by the ongoing events in the Middle East". This led to speculation RTÉ may pull Ireland's entry - and EMMY - out of the competition altogether, a move ruled out by Mr Bakhurst when he said he did not want to "undermine" Israel's public service broadcaster.That confirmation may come as a relief to EMMY, who told BBC News NI she is "so grateful" to represent the Emerald Isle at this year's competition and cannot wait to see what Basel has in store for her.As for any controversial issues, the singer said she feels well supported as she prepares for the upcoming semi-final. "Everybody that was involved last year… they've experienced it now, and maybe [the EBU] have learned from it and there's some new rules to keep everyone happy, safe and satisfied," she said."I feel that people around me are taking good care of me, so I'm just very excited."
Laika Party lifts off during Eurovision Semi-Final 2 at 20:00 BST on 15 May. You can follow along live on BBC One and on the BBC iPlayer.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Scottish Sun
8 hours ago
- Scottish Sun
Emmy-winning actress who appeared in hit sitcom with her husband is unrecognizable in rare outing – can you guess who?
Her husband sadly died in 2012 WHO IS SHE? WHO IS SHE? Emmy-winning actress who appeared in hit sitcom with her husband is unrecognizable in rare outing – can you guess who? Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) AN EMMY-winning actress who appeared in a hit sitcom with her husband is unrecognizable while on a rare outing. This lady starred in some seriously massive films alongside the likes of acting icons Clint Eastwood and Gene Hackman. Sign up for the Entertainment newsletter Sign up 6 Can you guess who this very famous sitcom star is? Credit: The Mega Agency 6 She starred alongside her husband in the hit series Webster Credit: The Mega Agency And alongside her NFL star husband, she starred in a hit 80s sitcom that became a household favorite. This lady even posed up a storm for a Playboy spread, and took on an extremely racy tole in a comedy flick. In 1981, took on the role of Cherry Forever, a sex worker, in the hit sex comedy Porky's. Yep, you've guessed it... It's Susan Clark! Susan, who is now 82 years of age, is best-known and loved for her role in the hit sitcom Webster. Stepping out over the weekend for a dog walk, Susan looked unrecognizable as she made a very rare public appearance. Donning green trousers, a beige zip-up jacket, a straw hat and some black sneakers, she looked laidback and relaxed on her walk. At one point, Susan unzipped her jacket to reveal a green and black abstract patterned top. Completing the look with some dark sunglasses concealing her eyes. The Canadian actress made her big screen debut in the 1967 drama film Banning and the following year played the female lead in the crime thriller Coogan's Bluff. 80s Icon Tom Selleck Spotted Unrecognizable in Rare LA Outing She then went on to star in a string of films such as Night Movies, Airport 1975, Skin Game and Murder By Decree. She received a Primetime Emmy Award for Outstanding Lead Actress in a Limited or Anthology Series or Movie for playing Babe Didrikson Zaharias in the 1975 television film Babe. She then receieved an Emmy Award nomination for playing Amelia Earhart in the 1976 television film Amelia Earhart. From 1983 to 1989, she starred as Katherine Papadopolis in the American sitcom Webster. While acting on Webster, Susan starred alongside her husband, Alex Karras. For her role as Katherine, she received a Golden Globe Award for Best Actress – Television Series Musical or Comedy nomination in 1985. Susan married American football player turned actor Alex in 1980 after he played the role of her on-screen husband in Babe. They welcomed daughter Katie in 1980. The couple were married for 32 years until Alex died on October 10, 2012. Since her husband's passing, Susan has kept a very private life and has rarely been seen in the public. 6 Susan Clark of Sitcom – Webster – US, Credit: ABC Credit: ABC 6 Susan Clark of Sitcom – Webster – US, Credit: ABC Credit: ABC 6 Football Player Alex Karras with wife Actress Susan Clark, July 17, 1983 in Los Angeles, California. (Photo by Bob Riha, Jr./Getty Images) Credit: Getty
Graziadaily
8 hours ago
- Graziadaily
‘And Just Like That' Had Its Flaws, But We'll Miss Our Old Friend Carrie
'What's going to happen to the woman?' asked Carrie's neighbour Duncan Reeves - one of those slightly disquieting, cerebral, 50-something British men with a Margaret Thatcher thing - and Carrie Bradshaw's latest (and *sobs* last) love interest. 'The woman' being the subject of Carrie's recent, unexpected move from sex guru to awks podcaster to author of historical fiction. Just one of the bizarre, if insanely watchable plot twists in And Just Like That season three. 'Do you have the ending yet?' Well, does she? Last weekend, prior to the tenth episode of the current season of AJLT , showrunner Michael Patrick King announced some good news for fans. There would be two more episodes than expected. 'Fans', in the case of And Just Like That , is a broad church. It takes in everyone from those who genuinely love the tales of Carrie and co., to those who watch despite shivering at key storyline signifiers, like 'LTW', 'ghost sperm' or 'karaoke'. Then MPK announced some bad news: after episode 12, season three airs, Carrie Bradshaw's story will come to an end. Gulp. Mostly, we have watched And Just Like That through clenched fists, brows furrowed. But the key word here is 'watched'. And Just Like That is one of those televisual anomalies. The more incredulous the storylines get, the more it seems to settle in viewers' hearts. As a female friend texted at the climax of what can only be referred to as 'the silver catsuit episode' (IYKYK) – 'just because your best friend goes stark raving bonkers doesn't mean she isn't still your best friend.' Really, the end of And Just Like That is only the end of Carrie Bradshaw. Miranda ended long ago, when she was mysteriously transposed from the zenith of Manhattan power-broker womanhood, into a homeless intern. Charlotte is now Martha Stewart - not just on steroids but told through a psychedelic prism that intimates a writers' room on hard drugs. Samantha, some say prudently, was gone before the first season. And episode one killed off the love of Carrie's life, Mr Big, bringing on an unexpected PR crisis at the consumer home gym giant, Peloton. As we write, And Just Like That still has zero Emmy nominations, not even in the technical categories. Since her 1998 debut, soundtracked by a jaunty theme-tune, pasted onto the side of a bus careening down Broadway, 'knowing good sex', Carrie Bradshaw established herself as Manhattan's first lady of letters. She was the inverse of Madonna's 'Ray of Light' era, also released that summer. As Madonna discovered her spiritual side, Kabbalah bracelets and the redemptive power of motherhood, Ms Bradshaw rejected the lot, glorying in tasteful consumerism and the power of a good cocktail, inventing an irresistible buy-your-way-to-the-perfect-you identity, conjured by a few bon mots scripted on her vintage Olivetti typewriter. Madonna might've harboured the darker secrets of life, but Carrie reminded you that, isn't it fab, also, to have great hair just in case the next hookup is sitting round the corner, on a tattered banquette in Pastis? Since then, Carrie Bradshaw has been, arguably, the most memorable fictional heroine of her age. Virginia Woolf, if the Bloomsbury Group met in the accessories department of Saks Fifth Avenue, perhaps. Carrie Bradshaw was shoes, sex and soliloquies. She had a kind of life we all desired, mistakes and all. I always thought it was absolutely brilliant that they gave her no family members. So clever. Imagine all that stress and anxiety, just – poof! – gone. I once asked the actress Sarah Jessica Parker if she was proud of the number of women who became writers because of her Writers! she laughed. If she had a penny for the amount of New Yorkers who told her daily they'd moved to the city because of her... Even at her most divisive – sauntering through Union Square in an outsized tam' o shanter, 'making it work' with a contemptible man who wants to commit only to relationship by postcard, pronouncing the word 'lover' – Carrie has been someone we can safely lean on in times of trouble. She magicked from nowhere the plausibility and success of lifestyle. When chaos was everywhere, there was always Carrie Bradshaw, nailing the little stuff that affects our lives largest. For now, farewell old friend. Of course, unless they kill off Carrie Bradshaw – and at this stage, one wouldn't quite put anything past the people writing this stuff – any permanent ending to Carrie Bradshaw should be taken with a pinch of salt. In 20 years' time, surely the three pals could return as a kind of Golden Girls du nos jours . In the meantime, we must wish our definitive 21st century heroine adieu, in the recent manner to which she is familiar:
The Guardian
9 hours ago
- The Guardian
Rosie O'Donnell: Common Knowledge review – sentimental sermon with a self-mocking edge
A month ago, Donald Trump branded comedian Rosie O'Donnell a 'threat to humanity' and threatened to revoke her US citizenship. Judging by this fringe hour, he'd be welcome to it. Common Knowledge is a hymn of praise to O'Donnell's new home, Ireland, where she and her child Clay moved at the time of Trump's inauguration. Clay, who is non-binary, is the other focus of the show, and of their mum's rapturous affections, in a set that's more a love letter to these two presences in the 63-year-old's life than it is let-it-rip comedy. The show is bookended by reflections on O'Donnell's mother, whose death when our host was 10 years old is recounted in a solemn opening. Now a parent to five adopted children, motherhood is clearly a major concern of the comedian, and here we get the whole story, with a slide show, of how Clay arrived in her life. Autistic, prodigiously intelligent, fearlessly truth-telling, this is a child who dismays and instructs their mother in equal measure. That cycle supplies the show's rhythm: we get the funny story about Clay's behaviour, then the earnest lesson O'Donnell has derived from it. That, combined with a sonorous and sentimental quality to the storytelling, can make Common Knowledge more sermon than standup. At points, it's a rallying call for autism awareness. Elsewhere, it plays like a heartfelt thank you to Ireland (which she keeps referring to as 'here') for saving the New Yorker from depression and the disintegrating US, with O'Donnell starry-eyed at how safe, cheap and progressive her perfect new homeland seems to be. But the earnestness is regularly punctured with self-mocking comedy, as with the tale of Rosie and her then teenage son's joint visit to her therapist; or the story of her mistaking the friendliness of her new Irish pharmacist for flirtation, with humiliating consequences. There's no standup cut and thrust to this: O'Donnell cleaves tightly to her script and stately delivery. But the tale she's telling means a lot to her and she tells it authoritatively, and with enough irony, self-reflection and (Trump, take note) humanity – to make it engaging for the rest of us. At Orchard at the Gilded Balloon, Edinburgh, until 10 August All our Edinburgh festival reviews
