By Ephraim Agbo
Ireland’s public broadcaster RTÉ stunned the Eurovision world on September 11, 2025 by saying it will not take part in the 2026 Eurovision Song Contest if Israel is allowed to compete — calling participation under current circumstances “unconscionable.” That move came amid a wave of similar warnings from other European broadcasters and politicians, and it has pushed the European Broadcasting Union (EBU) into a sensitive, tightly timed consultation over who gets to be on the Eurovision stage next year.
Below I unpack what has happened, why it matters (beyond the usual TV headlines), and how this controversy ties into a broader debate about the role of cultural institutions and tech platforms in times of conflict.
The immediate facts
- RTÉ publicly announced it would not participate in Eurovision 2026 if Israel is allowed to compete, saying continuing would be “unconscionable” given the humanitarian toll in Gaza.
- Several other national broadcasters — including Slovenia’s RTVSLO and Iceland’s RÚV (and with public voices in Spain also expressing alarm) — have said they may pull out or are reserving the right to withdraw if Israel competes.
- In response to mounting pressure and the political sensitivity, the EBU has extended the deadline for member broadcasters to confirm participation until mid-December and is consulting members ahead of a meeting where Israel’s eligibility will be discussed.
Why this is not “just” a song contest
Eurovision has always lived at the intersection of culture, identity and politics. While the EBU’s official line has historically aimed to keep the contest apolitical, the reality is different: national broadcasters — which are public institutions in many countries — answer to their audiences and governments. Excluding or including a country is therefore not a neutral administrative detail; it becomes a signal with diplomatic and moral weight.
We’ve seen precedents: for example, Russia’s broadcasters were suspended after the 2022 invasion of Ukraine; that decision established a template for using participation as a form of cultural sanction. The current controversy shows the mechanism working in reverse: broadcasters are asking whether it’s appropriate to share a stage with a country whose government is widely accused (by some member states and public opinion) of actions causing large civilian suffering. That debate is amplified by the intimate, live and emotionally charged nature of Eurovision, which reaches households across Europe and beyond.
How broadcasters’ choices are being framed
Different actors are framing the choice in different ways:
- RTÉ and others frame withdrawal as an ethical stance — saying they cannot in good conscience participate while the humanitarian crisis continues. That framing emphasizes moral responsibility and public broadcaster accountability.
- Supporters of Israel’s participation point to past EBU rules and the risk of politicizing a cultural event that, many argue, should remain inclusive. Israel is an EBU member and has long competed in Eurovision; excluding it would be a major departure from precedent.
- The EBU’s pragmatic response — extending deadlines and consulting members — signals an attempt to buy time to avoid a rushed, ad-hoc outcome and to limit the number of last-minute withdrawals that could disrupt the contest’s logistics.
All of these frames are politically resonant. The EBU now faces a choice between strict rule-based consistency and ad hoc moral arbitration — and either path will anger someone.
Practical consequences to watch
- Participation fallout: If several broadcasters withdraw, the contest’s line-up, voting dynamics and host planning (production, security, sponsorship) could be materially affected.
- Precedent for culture as sanction: Decisions here will be cited in future cultural boycotts and debates — from sports to arts festivals.
- Domestic politics: Governments sympathetic to Palestine or critical of Israel may back broadcasters’ decisions; conversely, other governments may pressure public broadcasters to maintain participation. Expect political theatre at home as well as on stage.
- Calendar hinge: The EBU’s mid-December deadline and its General Assembly vote-window (early December meetings have been signalled in some outlets) will be the decisive timetable for final participation lists. Mark those dates: mid-December 2025 (participation confirmation window) and the early-December EBU assembly consultation window referenced in reporting.
What’s at stake for audiences and cultural life
- For viewers: The contest could look very different in 2026. Fans may find national line-ups smaller or altered; broadcasters’ withdrawals could sour the festive mood of a competition that has long marketed itself as unifying.
- For public media: This is a test of editorial independence and public accountability. Broadcasters must balance journalistic impartiality, editorial values, and government/political pressure.
Bottom line
The RTÉ decision and the ripple of broadcaster unease turn Eurovision into a test case for whether cultural institutions should act as moral actors during conflict — and whether shared cultural rituals can remain insulated from geopolitics.
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