While the importance of new media in sparking Egypt’s January 25th Revolution is unquestionable, the Revolution itself now exerts tremendous influence on how people view themselves and society. What ruptures will the Revolution cause in the mediascape? My paper contrasts state media broadcast during the Revolution with media practices generated in the zone of free expression established for two weeks in Midan al-Tahrir. I will also analyze the reconstitution of Egyptian broadcast media after the fall of the regime. Ethnographic analysis of the interplay between texts and social performance provides the conceptual underpinning of the paper. New media may transfer the January 25th movement to virtual space, but will the diminution of physical space in which diverse subjects worked together dissipate the Revolution’s energy? Can Egyptian broadcast media (as opposed to foreign media reporting on Egyptian events) re-establish credibility after being castrated by the fall of the regime? What role will media play in the emergence of democratic subjects from the January 25th Revolution? My main focus on state media during the Revolution will be on recordings from the Mehwar channel. Mehwar, owned by regime crony Hassan Rateb and loyal to Mubarak to the end, is a talk-show channel. Its programs during the Revolution amply reveal the regime’s logic of rule. Dead-air time between Mehwar shows were filled with patriotic music videos, some made as anti-Revolution propaganda, others old songs re-montaged with contemporary imagery. The textual conventions of this material provides rich links to historical practices extending to the colonial era. Post-Revolution broadcast media has not yet emerged. I will be in Egypt throughout the next year, and therefore in a good position to monitor new developments and assess their impact. The Tahrir commune was a carnivalesque zone of free expression generating discourse that Mehwar sought to combat. Revolutionary Tahrir was socially porous to all classes, genders, generations, and cultural sensibilities. No such space existed in Cairo in the years leading up to the Revolution (or perhaps ever). Speeches, signs, poetry and music performed the downfall of the regime. But the commune was also a site of documentation, as onlookers photographed and recorded pro-democracy performances. Photography and videography themselves became a kind of performance. Some of these recordings fed back into the new media that helped create the Revolution. Others became personal archives attesting to the presence of their owners, enabling the Revolution to live on in family histories.