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Eurovision Song Contest Changes Public Voting Rules After Israel Scandal: ‘We’ve Listened and We’ve Acted’
Yuval Raphael from Israel with the title “New Day Will Rise” on stage at the second semi-final of the 69th Eurovision Song Contest in the Arena St. Jakobshalle. Photo: Jens Büttner/dpa via Reuters Connect
The European Broadcasting Union (EBU), which organizes the Eurovision Song Contest, is enforcing new rules regarding its public voting ahead of the 2026 Eurovision in Vienna, Austria, following questions about Israel’s success in the competition this year, it announced on Friday.
In the 2025 Eurovision, held in Switzerland in May, Israel’s representative Yuval Raphael won first place in the public vote with her song “New Day Will Rise” and placed second overall in the competition, behind Austria, when the jury scores were counted. A number of countries — including national broadcasters in Spain, Belgium, Ireland, and the Netherlands — claimed the public vote was rigged in favor of Israel and asked for an audit. Eurovision Director Martin Green defended the results, saying at the time that the votes were “checked and verified,” and there was “no suspicion of bias or irregularities” in the voting process.
The EBU said on Friday it is now implementing new measures regarding its voting that are “designed to strengthen trust, transparency, and audience engagement.”
“We’ve listened and we’ve acted,” Green said on Friday. “The neutrality and integrity of the Eurovision Song Contest is of paramount importance to the EBU, its members, and all our audiences. It is essential that the fairness of the contest is always protected. We are taking clear and decisive steps to ensure the contest remains a celebration of music and unity. The contest should remain a neutral space and must not be instrumentalized.”
Fans will now be able to only cast 10 votes each — a decrease from 20 — via online, text, and phone call. Juries of music experts will also return for the semifinals for the first time since 2022, forming a 50-50 split vote between jury and audience votes at the grand final of the competition.
The number of jurors is increased from five to seven and there will be a greater range in their professional backgrounds. Jurors will now include music journalists and critics, music teachers, creative professionals, such as choreographers and stage directors, and experienced music industry figures. Each jury will now include at least two jurors aged 18-25, “to reflect the appeal of the contest with younger audiences.” All jurors will also be forced to sign a formal declaration confirming that they will vote independently and impartially; not coordinate with other jurors before the contest; and “be mindful of their social media use,” for example by not sharing their preferences online before the contest ends.
One of the jurors of the 2024 Eurovision Song Contest admitted that he refused to allocate points to Israeli singer Eden Golan because of his personal bias against Israel.
The EBU’s updates rules also “discourage disproportionate promotion campaigns” by third parties, including governments or governmental agencies. The EBU is barring its participating broadcasters and artists from “actively” engaging in, facilitating, or contributing to promotional campaigns by third parties “that could influence the voting outcome and, as outlined in the updated Code of Conduct, any attempts to unduly influence the results will lead to sanctions.” The EBU will strengthen its enforcement of its voting instructions and Code of Conduct to prevent “attempts to unfairly influence the vote.”
“These measures are designed to keep the focus where it belongs — on music, creativity, and connection,” said Green. “While we are confident the 2025 contest delivered a valid and robust result, these changes will help provide stronger safeguards and increase engagement so fans can be sure that every vote counts and every voice is heard. The Eurovision Song Contest must always remain a place where music takes center stage — and where we continue to stand truly United by Music.”
The EBU said the changes to the voting system were decided upon following an “extensive consultation exercise” with EBU members after the controversy surrounding Israel in the 2025 Eurovision. The EBU will also be strengthening its enforcement of existing rules “to prevent any misuse of the contest for example through song lyrics or staging.”
In the 2024 Eurovision Song Contest, Golan finished in fifth place with a modified song titled “Hurricane.” The original version was titled “October Rain” and included lyrics that referenced the deadly Hamas-led terrorist attacks on Oct. 7, 2023, in southern Israel. However, it was disqualified by EBU for breaking its rules on political neutrality. Israel was forced to change the song’s title and lyrics.
Several countries have called for Israel to be banned from the 2026 Eurovision competition because of its military actions in the Gaza Strip during the country’s war against Hamas terrorists following the Oct. 7 massacre. Some nations have threatened to pull out of next year’s competition if Israel participates, including Spain, The Netherlands, Slovenia, Iceland, and Ireland.
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How Hezbollah Terrorists Became ‘Local Residents’ in the Media
Lebanese army members stand on a military vehicle during a Lebanese army media tour, to review the army’s operations in the southern Litani sector, in Alma Al-Shaab, near the border with Israel, southern Lebanon, Nov. 28, 2025. Photo: REUTERS/Aziz Taher
During an operation earlier this month, the IDF reportedly clashed with Hezbollah operatives and “civilians” in the Lebanese village of Nabi Chit, leaving 41 people dead and another 40 injured.
At least, that is what CNN, the Associated Press (AP), Sky News, BBC, and The Guardian all reported.
But not a single outlet actually questioned who these “civilians” were that clashed with the IDF, or why there were clashes in the first place.
The operation was carried out in an attempt to return the remains of Ron Arad, an Israeli navigator who has been missing since his fighter-bomber was shot down over Lebanon in 1986. He was believed to have originally been captured by the Amal Movement and handed over to Hezbollah, before being presumed dead.
As is the protocol with any missing person or soldier, the State of Israel works to recover every body for a proper and dignified burial in their homeland.
Based on intelligence, the IDF believed Arad’s body to be buried in a cemetery in Nabi Chit, a village located close to the Lebanese-Syrian border in the Beqaa Valley.
IDF special forces initiated a raid into Lebanon in an attempt to recover the remains of Ron Arad, an Israeli airman shot down in 1986.
But it wasn’t only Hezbollah terrorists who engaged in a firefight with IDF soldiers on the ground:
@guardian: Hezbollah “fighters ambushed… pic.twitter.com/wOuWa9AXVj
— HonestReporting (@HonestReporting) March 8, 2026
On Friday, March 6, well before the operation began, the IDF issued an evacuation warning, urging innocent civilians to leave.
The village has long been a stronghold of Hezbollah, with several past leaders, including the second secretary-general, Abbas al-Musawi, born there. Being that Hezbollah has systematically embedded its infrastructure and operatives into the town itself, many — presumably including a significant number affiliated with or supportive of Hezbollah — appeared to defy the evacuation orders, staying in their homes.
Late Friday evening, Israeli commandos entered the village, hoping to quickly locate the body of Arad and leave without disturbance. According to some reports, the IDF forces arrived undercover. Had the IDF been seeking a battle, it would have entered openly rather than disguised, indicating that the goal was a targeted retrieval mission, not a confrontation.
However, soon after the IDF’s arrival, a firefight broke out between Israeli forces and Hezbollah operatives. This is precisely where international media coverage begins — and where the crucial context disappears.
Hezbollah operatives are suddenly grouped in with the “civilians” or “local residents” who supposedly rushed out to defend their homes against an Israeli invasion, leaving their houses with guns to engage in battle with the IDF.
But the IDF had entered the village on a limited mission: to retrieve the remains of a fallen soldier. There was no broader offensive and no threat to civilian homes. That raises a fundamental question: why did so many outlets lead with descriptions of “residents” or “local fighters” joining Hezbollah in “defending their homes,” when their homes were clearly not under threat?
Following the ensuing battle between the IDF commandos and Hezbollah, the Israeli Air Force provided air cover through targeted strikes to ensure the safe extraction of all troops. Sadly, they were unsuccessful in locating the body of Arad.
By the time the operation ended, the Lebanese health ministry reported that 41 people had been killed and 40 wounded. Yet, when reporting these casualties, the media failed to acknowledge the obvious likelihood that many of those casualties were Hezbollah operatives — or what Sky News and AP described as “local fighters.”
The narrative that Israel intentionally killed innocent civilians was not limited to the international media, but quickly spread across social media.
Posts circulating online framed the operation as a reckless mission designed to target civilians with no clearly defined operational purpose. This is despite the IDF’s clear intention to limit civilian harm while preserving the dignity of all Israeli soldiers, no matter how long ago they fell in battle.
Israelis can be weird. They sent special forces into Lebanon to retrieve the remains of a dude who died 40 years ago, and this against the wishes of his widow. They randomly killed scores of civilians in the process and failed to find any bone, and yet they are bragging about it. https://t.co/DzEutjWCpP
— Prof Francois Balloux (@BallouxFrancois) March 8, 2026
Hezbollah’s strategy of embedding its infrastructure and operatives within civilian areas has long blurred the line between civilians and combatants, resulting in armed terrorists who attack Israeli forces being framed in media coverage as innocent “local residents.” The IDF’s operation in Nabi Chit and the ensuing battle illustrate this strategy in full, exposing just how effectively Hezbollah has manipulated the media.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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Forverts podcast, episode 8: Israeli voices
דער פֿאָרווערטס האָט שוין אַרויסגעלאָזט דעם נײַנטן קאַפּיטל פֿונעם ייִדישן פּאָדקאַסט, Yiddish With Rukhl. דאָס מאָל איז די טעמע „ישׂראלדיקע שטימעס“.
אין דעם קאַפּיטל וועט איר הערן צוויי אַרטיקלען: מיכאל קרוטיקאָווס רעצענזיע פֿון שירי שאַפּיראַס בוך דערציילונגען, וואָס אַנטפּלעקן דאגות פֿונעם „מילעניאַל“ דור, וואָס איר קענט אַליין לייענען דאָ, און בני מערס פּערזענלעכן עסיי, „דאָס אײַנפּאַקן אַ טאָרבע פֿאַרן לויפֿן אין שוצקעלער האָט עפּעס דערוועקט אין מיר“, וואָס איר קענט לייענען דאָ.
צו הערן דעם פּאָדקאַסט, גיט אַ קוועטש דאָ.
שירי שאַפּיראַס דערצײלונגען
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Tidbits: The first director of the Polin Museum is back
Tidbits is a Forverts feature of easy news briefs in Yiddish that you can listen to or read, or both! If you read the article and don’t know a word, just click on it and the translation appears. Listen to the report here:
דער ערשטער דירעקטאָר פֿונעם „פּולין מוזיי פֿון דער געשיכטע פֿון די פּוילישע ייִדן אין וואַרשע“ — דאַריוש סטאָלאַ — איז לעצטנס ווידער באַשטימט געוואָרן ווי זײַן דירעקטאָר. אַ צאָל אָבסערוואַטאָרן האַלטן אַז דאָס איז אַ סימבאָלישער נצחון פֿאַרן ייִדישן אָנדענק אין פּוילן.
באַלד ווי דער מוזיי איז געגרינדעט געוואָרן אין 2014 האָט סטאָלאַ, ווי דער דירעקטאָר, שטאַרק באַטאָנט דעם חיובֿ פֿון פּוילן צו אָנערקענען איר פֿאַרטיליקטע ייִדישע פֿאַרגאַנגענהייט. דער געוועזענער קולטור־מיניסטער פֿון דער נאַציאָנאַליסטישער פּאַרטיי, וואָס האָט דעמאָלט געהערשט אין פּוילן, האָט אים אָבער באַשולדיקט אין „פּאָליטיזירן“ דעם מוזיי.
סטאָלאַ האָט למשל אַרויסגערופֿן פּראָטעסטן בײַ די הויכע באַאַמטע פֿון דער רעגירונג צוליב אַן אויסשטעלונג אין 2018, וואָס האָט דאָקומענטירט דער רעגירונגס אַנטיסעמיטישע קאַמפּאַניע אין 1968, וואָס האָט פֿאַרטריבן ייִדן פֿון זייערע שטעלעס און געצוווּנגען בערך 13,000 פֿון זיי צו פֿאַרלאָזן דאָס לאַנד.
הגם סטאָלאַ האָט דעמאָלט געוווּנען אַ קאָנקורס צו פֿאַרלענגערן זײַן קאַדענץ האָט דער קולטור־מיניסטער אים פֿאַרטריבן פֿונעם פּאָסטן.
מיט אַ יאָר פֿריִער, אין 2018, האָט פּוילן דורכגעפֿירט אַ געזעץ, וואָס פֿאַרווערט דאָס באַשולדיקן פּוילן אָדער די פּאָלאַקן אין קאָלאַבאָרירן מיט די דײַטשן. שפּעטער האָט מען עס געביטן פֿון אַ פֿאַרברעכן וואָס דראָט זיצן אין תּפֿיסה אויף בלויז אַ ציווילער געזעץ־ברעכונג. קריטיקער טענהן אַז דער גאַנצער ענין האָט אָבער שטאַרק געשטערט דעם געביט פֿון פֿאָרשן די געשיכטע.
איצט איז סטאָלאַ ווידער באַשטימט געוואָרן ווי דער דירעקטאָר פֿונעם מוזיי דורך דער קולטור־דירעקטאָרין פֿון דער הײַנטיקער צענטריסטישער רעגירונג, מאַרטאַ טשענקאָווסקאַ. רעדנדיק צו סטאָלאַן האָט זי דערקלערט: „אין 2019 האָט דער מיניסטער פּיאָטער גלינסקי באַשלאָסן צו איגנאָרירן די רעזולטאַטן פֿונעם קאָנקורס. מע האָט אײַך דעמאָלט, מיט זעקס יאָר צוריק, געדאַרפֿט באַשטימען פֿאַר דעם אַמט. טײַערער פּראָפֿעסאָר, זאָל זײַן מיט מיט מזל!“
סטאָלאַ האָט זי באַדאַנקט און געזאָגט: „די מיסיע פֿונעם מוזיי איז נאָך וויכטיקער הײַנט צוליב די פֿינצטערע כּוחות וואָס פֿאַרקרימען דעם אָנדענק פֿון דער פּויליש־ייִדישער פֿאַרגאַנגענהייט.“
צו זען דעם אַרטיקל אויף ענגליש, גיט אַ קוועטש דאָ.
To see the article in English, click here.
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