Although the design of the American news interview has been dissected and analyzed in terms of the internal power politics it upholds between the interviewer and interviewee and along with the effect on its audiences, an analysis has yet to be made regarding similarly staged political interviews in Arabic. This paper engages with and challenges the assumption of generalizing interview style and method to be applicable in every culture. In the case of the news interview program, Bila Houdoud, the interviewer Ahmad Mansour, who represents the people, cedes power to his guest. The interviewee, whether male or female, asserts a form of condescension over Mansour’s passivity. Using gesticulations and verbal utterances, the interviewees display public emotion and become visibly and verbally more impassioned. Such a style destabilizes previous American and British analyses and constructed notions regarding “proper” interview methodology. This study connects the relevance of media powerhouses like Al Jazeera and the methods by which is contends with American news media to Bila Houdoud’s interviews’ challenge to these norms. Furthermore, the interview style employed in Bila Houdoud becomes a parallel to the cultural practice of mujamala in various Arabic-speaking cultures. This custom of niceties creates a posed reality in which the host and guest challenge one another’s power through offerings and subsequent refusals of favors or gifts. In addition to parallels with the cultural practice of mujamala, this paper analyzes three interviews from Bila Houdoud with Mohammad Morsi, Abdelilah Benkirane, and Bassima Hakkaoui from January 2011 to the present. It encapsulates the year after the revolutions and reforms that swept several Arab nations including Egypt and Morocco. It places the interview within the growing visibility and supposed democratization of politics and news media in the Arab world. It also situates the interview within the broader frame of the essentialized “[Pan]-Arab Street” as this show, as a case study, seeks to co-opt this concept in the embodiment of Ahmad Mansour. Bila Houdoud becomes the physical stage upon which politics and identities can be displayed for a large Arabic-speaking audience.