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The logo of the Eurovision Song Contest (ESC) is seen on the facade of the Stadthalle in Vienna on April 1, 2026. The organisers of the Eurovision Song Contest announced a rules change on August 12, 2026 excluding any country in an armed conflict from hosting the competition. Photo: Hans Klaus Techt / APA / AFP / Lehtikuva

The Eurovision Song Contest has introduced a rule that will prevent a winning broadcaster from hosting the following year’s competition when an armed conflict or other security crisis affects its country or surrounding region.

The European Broadcasting Union has included the measure in its rules for the 2027 contest, according to a public summary published by the organisation.

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In Finland, jackpot games have long held a special place in the global gambling landscape. The idea of a life-changing jackpot has been part of everyday life for decades, passed down from one generation to the next as an established habit rather than a passing trend. Understanding this pull, why high-volatility game formats keep such a loyal following in Finland, means looking beyond entertainment value alone: at cultural heritage, the psychology of play, the commercial trends shaping the market, and the regulation designed to keep it safe.

Cultural Heritage

Finland has a long history of interest in lottery-style games. Weekly draws have been a small household tradition for decades, creating something that connects people and carries our culture deeper than the gambling itself. As a nation, we're used to spending small amounts of money and believing in the chance to win something big, a habit that has become familiar over generations of tradition. It's a cultural phenomenon that has shaped leisure habits and social practices and made digital gaming a natural part of everyday life, and it explains why Finns have proudly called themselves the lottery nation.

A Jackpot Hosted at Home

While the roots of jackpot play settled firmly within domestic borders over the decades, the arrival of transnational jackpot formats has reshaped the market's financial and geographic logic. Finns were used to seeing themselves as a lottery-playing nation, and Helsinki, rather than some other European capital, unexpectedly became the host city of a pan-European jackpot. Pan-European draws are now held twice a week, on Tuesdays and Fridays. Hosting the draws gives Finns an entirely new sense of national closeness and ownership over a game that is at once national and a cross-border, multicultural experience. It merges a traditional domestic ritual, long tied only to the Saturday draw, with a modern, border-crossing phenomenon, keeping the pull of mega-jackpot games close to home while reshaping how large jackpots fit into Finnish everyday life.

Marketing Trends

Gaming trends are shifting faster than ever, yet the popularity of jackpot-style games has remained a fixture of Finnish culture. Jackpot games combine emotion, simplicity, and the lasting human pull of dramatic possibility, which makes them especially valuable from a marketing standpoint. They offer a clear, emotion-driven promise that works well in a digital, competitive market where operators need a strong hook to capture attention. Finland's fit with this model has its own twist: Finnish players reward platforms that combine usability, speed, and transparent presentation, which means jackpot marketing here leans heavily on strong interfaces and efficient payment options.

Real-Time Play

Innovation and technological change have transformed how jackpot games reach players, and in Finland this shift is increasingly balanced with regulation. Policymakers have no interest in eliminating jackpot games; the goal is to keep them within a framework that supports informed choice and a balance between play and the rest of life. Digitalisation hasn't changed that basic premise, it has simply raised the stakes on getting the details right. Finland's gambling market reform matters here: lottery-style jackpots will continue to remain with the state, while betting, online casinos, online bingo, and the progressive jackpots built into slots move into a competitive licensed market. Online platforms have already begun expanding their jackpot offerings and making them accessible on any mobile device, enabling real-time views where the pot grows before the player's eyes, a pull no printed lottery ticket could ever match.

Emotional Appeal

Emotional appeal is the most important reason jackpot games have stayed so popular in Finland. One explanation lies in prospect theory, a concept from behavioural economics describing how people tend to overweight small probabilities, dwell on unlikely outcomes, and see highly desired results as more probable than they really are. Seen through that lens, a player buying a lottery ticket isn't just buying a chance to win, they're buying anticipation and the experience of possibility, something that isn't unique to Finland or Finnish players. Even so, Finnish players have historically shown particular interest in games with a low entry cost paired with the lure of a large win.

Digital Literacy

Finns have built a strong international reputation for innovation and quality education, which has in turn produced a population with exceptionally high digital literacy by international standards. Finland's early involvement in mobile infrastructure development is one of the key factors behind that literacy, and the country has been the setting for several milestones in mobile gaming. Finns are demanding consumers of digital entertainment, and they've also acted as a catalyst accelerating digitalisation across the wider gaming world. They expect intuitive interfaces, clear structure, and strong data security as a baseline, not a bonus. For this audience, moving comfortably through a wide range of connected options is simply part of daily life.

Future Outlook

Jackpot games hold a distinct place in Finland, one that will remain part of the national identity. They generate interest, attract genuine demand, and produce meaningful revenue for operators, which keeps the drive to develop the market naturally strong. For many players, taking part in jackpot games will keep being seen as entertainment rather than a serious financial activity, and that emotional pull toward the chance of a big win will endure. That creates tensions that Finland's shifting gambling landscape is bringing into sharper focus. As the market opens to competition, the regulated offering will expand to cover more casino and slot jackpots from both domestic and international operators, while pure lottery jackpots stay with the state. Whether the new system succeeds will depend on how well it balances wider choice with effective player protection.

A Balanced Path Forward

Finland's approach to jackpot games will most likely continue to be defined by a search for balance rather than prohibition. That means an ecosystem of varied solutions and opportunities, where the appeal of these games is clear: they're simple, engaging, and effective at holding attention in both domestic and international markets. At the same time, Finland's long-standing emphasis on consumer protection means that appeal will keep being weighed against harm, benefit, and the maintenance of public trust. Jackpots will always attract players, but appeal alone won't settle how they should be marketed or managed. The long-term test is whether the industry can hold onto that excitement while operating within a framework that protects players and sustains public trust.

Photo: Mika Ruusunen

Helsinki Pride Week reaches its peak on Saturday as the parade moves through the centre of the Finnish capital and tens of thousands gather in Kaivopuisto for the park festival.

The 2026 event, Finland’s largest human rights and cultural event, runs under the theme Vapaus kasvaa, or Freedom to grow. Organisers say the theme focuses on young people and their right to explore identity, express themselves and grow without pressure from prejudice, social norms or public hostility.

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Text supporting Palestine and Congo on the main stage at Flow Festival on 8 August 2025. Photo: Roni Rekomaa / Lehtikuva

Flow Festival and the activist group Flow Strike have reached an agreement that brings an end to a boycott campaign that has targeted one of Finland’s largest music events for nearly two years.

The deal ends calls for artists and audiences to boycott the Helsinki festival over concerns about links between its ownership structure, corporate partners and companies operating in Israel.

Flow Festival's chief executive Katariina Uusitupa and Flow Strike spokesperson Jenna Jauhiainen confirmed the agreement on Thursday.

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Joanne Robertson performing in the Helsinki Cathedral on 15 May as a part of Helsinki Music Week. Photo: Rasmus Purola

Helsinki Music Week returned for its second edition with a programme that treated the city less as a backdrop than as part of the performance. Across five days, from 13 to 17 May, the festival moved through churches, clubs, theatres and a public sauna, placing experimental music in direct contact with Helsinki’s architecture and nightlife.

For visitors, the format offered a route through the city. For locals, it reframed familiar places. Temppeliaukio Church, Helsinki Cathedral, Dance House Helsinki, Ääniwalli, Post Bar and Kulttuurisauna each carried a different part of the programme, from ambient and organ works to rap, club music, panels and sauna sound pieces.

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Activists protest against the participation of Israel ahead the Grand Final of the Eurovision Song Contest in Vienna, Austria, on May 16, 2026. Photo: Heikki Saukkomaa / Lehtikuva

Bulgaria won the Eurovision Song Contest for the first time on Saturday night in Vienna as protests and broadcaster boycotts overshadowed the final.

Singer Dara secured victory with the song Bangaranga after a close contest with Israel’s Noam Bettan, whose entry Michelle finished second amid demonstrations against Israel’s participation throughout Eurovision week.

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Fans display a Palestinian flag (R) during the first semi-final of the Eurovision Song Contest 2026 (ESC) at Wiener Stadthalle in Vienna, Austria on May 12, 2026. Photo: Tobias Schwarz / AFP / Lehtikuva

Four audience members were removed from the first Eurovision Song Contest semi-final in Vienna after protests during Israel’s performance, organisers said, as the contest opened under pressure over Israel’s participation and boycotts by five countries.

The European Broadcasting Union and Austrian host broadcaster ORF said one spectator near a microphone “loudly expressed their views” as Israeli singer Noam Bettan began his song Michelle. Chants of “stop the genocide” were heard during quiet parts of the performance.

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Santa Claus also had time to visit Tuomaan Markkinat. Photo: Dorit Salutskij

Over 650,000 people visited the Helsinki Christmas Market this year, setting a new attendance record. The market, held at Senate Square from 28 November to 23 December, attracted both residents and international tourists despite consistently rainy weather.

The 2025 turnout surpassed last year’s figure, confirming the Helsinki Christmas Market as one of Finland’s most visited public events. Heated seating areas in the café and restaurant courtyards were in high demand throughout the season.

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Director of & Espoon theatre Matilda von Weissenberg and artistic director Jussi Sorjanen. Photo: Darina Rodionova

A nationwide theatre campaign in Finland highlighting the experiences of children in Gaza has received this year’s Art and Culture Act recognition from the professional union TAKU ry.

The Kertomuksia Gazasta (Stories from Gaza) initiative was coordinated by Matilda von Weissenberg, director of & Espoon theatre. The campaign brought together over 70 Finnish theatres and cultural institutions.

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American actor Stephen Lang (left), director Jalmari Helander, and producer Petri Jokiranta at the Sisu 2 press event in Helsinki on 21 October 2025. Photo: Heikki Saukkomaa / Lehtikuva

Finnish action film Sisu 2 entered the US weekend box office as the sixth most-watched film, reaching audiences across more than 2,200 screens and earning €2.3 million in ticket sales. The result marked the broadest US release ever for a Nordic film.

Jalmari Helander directed and wrote the sequel, which follows 2023’s Sisu. Petri Jokiranta, the film’s producer, said the outcome was in line with studio expectations. “Sony predicted this result quite closely,” Jokiranta said. “It’s a feat in itself to get a Finnish film into the US top ten.”

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