The treatment of media coverage towards musical acts in Croatia has shifted significantly in recent years, particularly reflected in the contrasting experiences of last year's Eurovison representative Marko Bošnjak and the group Lelek. While Bošnjak received extensive media attention and discussions about his sexuality following his victory at Dora, the narrative surrounding Lelek has been less favorable, with most of their coverage coming from Turkish media sources.

The disparity in media representation raises questions about the biases and motivations of local Croatian media in their reporting, especially considering that Bošnjak's victory was achieved through jury votes despite garnering less popularity among the audience than other competing groups. This focus on Bošnjak, characterized by sensationalist coverage, contrasts sharply with the relative silence or negative framing of Lelek, suggesting a prejudicial stance towards them.

This situation has implications for how different artists are perceived in public discourse and could potentially affect their careers and the broader cultural landscape in Croatia. The focus on sexuality and personal life in media reporting, as seen in Bošnjak's case, may lead to an environment where certain narratives are celebrated, while others, like that of Lelek, face more criticism and scrutiny, reflecting the complexities of representation in contemporary Croatian media.