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I only watch the finals and pretty much sit there and take the mickey out of every single act. Plus as an American living over here it is just mind blowing sensory overload like I have never seen before.

I got your call! :-) For all who don't know: I am not that a huge fan of this competition.
Agility is about continuos learning and not continuos change. Change is only implemented were it would create more value or happiness. Yes, happiness. Only a happy team creates the most possible value, because they are passionate about what they do and love their work.

Therefore, the interesting question for me would be, how do they manage their learning process across the whole Eurovision organization, probably starting with retrospectives in the participating countries. Who decides and agrees about adjustments and how? How are they implemented later?
To have a good concept in this area, would as well make sure all participants knowledge is growing kind of equally over the years (highly agile!). Which eliminates risk partially on the hosts side, which is a different one every year. Because eliminating risks, can contribute to increased value as well.

@Fabienne This is Zurich calling. Thanks for pointing out that real value comes from continuous learning. I totally agree with you. And a happy team really does create the most value. That's an important value to encourage every day.

I know the participants study all the previous shows in order to create a three minute spectacle to prompt the happiest viewers to vote for their act. (The Swiss delegation often seem to make the mistake on stage of only copying the other acts they study while leaving real innovation behind. They have been somewhat more innovative in the selection process.) Each country organizes themselves to produce the highest value three minute performance, but it is unclear to me how much of this is created from the top down by the producers. I suspect the countries (like Sweden) who have fully embraced the wisdom of the community in their selection process and through social media and other means usually have more success than countries who dictate the selection process.

The body of Eurovision production knowledge has certainly been growing over the last 56 years. I do wonder again how much of this production knowledge is held by the team of Eurovision countries and how much is held by the producer and the outsourced production team that oversee a good portion of the broadcast year after year.

This year producers say they are now looking for ways to streamline the competition process to make it more lean and therefore less expensive and less risky for the host broadcaster.

@Kat it was fun watching the contest with you via Twitter this year.