Mediaopera is a relatively new genre, which invites questions as to its distinguishing features and contemporary relevance. How does mediaopera differ from related forms such as classical opera, opera in video recording, film, and media art? On the occasion of the world premiere of Pink Mouse on March 21^st, 2024, which took place at the Leuphana University Lüneburg in Lower Saxony, an international panel of philosophers, cultural theorists and artists approached Pink Mouse – musical-graphical translation (2021) by Tatar-Russian composer Iraida Yusupova of Victor Erofeev’s prose poem (2017) of that name – as both singular live event and epistemic object, worthy of scholarly attention. The discussion revolved around the core contradiction of the ritualized gathering that had been convened: What could be learned from premiering a mediaopera, made to be accessible online, in a real-world setting, and with in-person attendance? The papers collected in this volume offer varying answers to this question. While reflecting on the performative contradiction in terms more or less oblique, they prove the exercise to have been intellectually stimulating. Pink Mouse has had subsequent public screenings at festivals in Florence, Hemnitz and Vienna. Could it be that mediaoperas are finally best consumed offline and in company?