It is quite true
that Cornelia Jakobs wins this year's final.
The bittersweet, string-driven, Lana Del Rey-inspired Hold me closer was undeniably the competition's best song.
Hold me closer is a masochistic story about nagging yourself to one last night because you do not want to let go if someone you know has to leave.
That's what it's - bottomless pit - love songs are all about.
The other artists had not understood.
The parade with marching drums
that started the final was the second best of the evening.
We have far too few parades in Sweden.
The fact that Friends Arena was finally full of live audiences did not make matters worse.
27,000 people have a tendency to raise the temperature, and even if that is not true, it felt like tonight's folk festival also marked a farewell to the pandemic years.
The program management was also good.
Farah Abadi has an almost Malousk obviousness in the box and Oscar Zia was fun during the artist interviews in the "green room", even though he did not radiate the same lick-your-face-unpredictability as the insecure David Lindgren did in 2017.
As you know, Eurovision is
a wonderful madness.
This fact was underlined by the wild scoring of the international jury.
Out of eight voting countries, as many as five different twelve points were awarded.
The Netherlands gave its to MEDINA, the Czech Republic to THEOZ, Ireland to LIAMOO (yes, all three spells their names in capital letters) and so on.
For a while, LIAMOO seemed to be able to take home the international votes, but when Spain, Australia and Italy followed Israel and voted for Cornelia Jakobs, the matter was settled.
And that was good.
Jakobs has the Loreen factor, ie a song and star quality that works even outside the Mellobubblan, and can go far in the Eurovision Song Contest in Turin in May.