Yuval Raphael: The Queen of Europe’s People, Despite Elite Rejection

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The Eurovision Song Contest 2025 delivered a powerful performance by Israel’s Yuval Raphael, clearly winning the hearts of millions across Europe. Raphael earned a remarkable second place, with an impressive 297 public televoting points, making her undeniably the “Queen of Europe’s People.” Yet, behind this moment of public triumph lies a troubling story: the systemic institutional rejection and overt antisemitic hostility she faced from professional juries and certain media outlets.

The contrast between the public’s enthusiastic support and the jury’s dismissive stance was stark. Professional juries across Europe collectively awarded Israel a mere 60 points, a fraction compared to the overwhelming televote. The Netherlands exemplified this disparity vividly—public televoters awarded Israel their highest 12 points, while the professional jury granted just 5 points. This gap demonstrates not just a difference in artistic opinion, but a disturbing indication of underlying political bias and institutional prejudice.

The contest was further marred by controversy surrounding Spain’s national broadcaster, which blatantly violated Eurovision’s apolitical standards. Before Raphael’s performance, Spanish TV displayed an inflammatory political message: “When human rights are at stake, silence is not an option. Peace and Justice for Palestine.” This overt attempt at influencing public sentiment was resoundingly rejected by Spanish viewers, who gave Israel their highest televoting points, demonstrating a clear repudiation of politicized manipulation.

Despite her clear public acclaim, Yuval Raphael was subject to intense and unsettling hostility. In the Netherlands, media commentary stooped to shocking levels, with one Dutch newspaper callously suggesting Raphael was “lucky” not to have been shot by the IDF during the tragic events of October 7. Such rhetoric reveals the deeply entrenched antisemitic prejudices lurking beneath Europe’s veneer of progressive tolerance.

Further amplifying this hostility were virulent online attacks questioning Israel’s very legitimacy in the Eurovision context, such as, “Occupied Palestine is in the Middle East, which is in Asia, so why is so-called Israel in the Eurovision Song Contest?” Such remarks, beyond mere political disagreement, represent overt antisemitism, aiming to delegitimize Israel and isolate its participants.

Additionally, Raphael’s participation sparked significant security concerns. During her performance, an official Israeli security alert was issued, urgently advising Israeli nationals in Basel to avoid displaying visible signs of their Jewish identity due to aggressive anti-Israel demonstrations nearby. Swiss authorities intervened to manage these protests, highlighting the tangible risks faced by Jewish individuals merely attending a cultural event.

Moreover, a physical act of aggression marred the contest itself: a paint bomb was thrown in an attempt to disrupt Raphael’s performance. This act symbolized a chilling escalation from hostile rhetoric to actual violence, underscoring how deep-rooted antisemitism continues to manifest even within spaces traditionally celebrated as safe cultural havens.

Despite these adversities, Raphael’s resilience and talent resonated profoundly with the European public, who clearly recognized her artistic excellence beyond political biases. Her extraordinary popularity across the continent illustrates a powerful disconnect between Europe’s everyday people, who embrace diversity and cultural exchange, and certain institutional elites who seemingly allow prejudice and political agendas to cloud their judgment.

Raphael’s experience at Eurovision 2025 reflects broader societal dynamics: a disturbing tolerance for antisemitic attitudes within elite and institutional circles, contrasted sharply by widespread grassroots rejection of such hatred. It serves as a stark reminder that cultural events cannot exist in isolation from the societal contexts that shape them.

Europe must now confront these uncomfortable truths. Silence indeed is not an option—but neither is superficial condemnation sufficient. Active steps are urgently required to dismantle institutional antisemitism and ensure cultural spaces remain inclusive and respectful of all identities. Yuval Raphael’s story underscores an essential lesson: genuine progress demands courageously addressing prejudice wherever it is found, ensuring that Eurovision, and European culture more broadly, reflect the true values of inclusivity, diversity, and fairness.