This paper turns to aftermath of the concert by Lebanese band, Mashrou Leila, in Egypt in September of 2018, where several audience members raised the rainbow flag in solidarity with the band’s openly-queer lead singer. After images of the flag-raising circulated across social media, Egyptian authorities arrested dozens of citizens on charges of “debauchery.” While dominant discourse in US and Egyptian press diagnosed the incident as either a showing of power by the Egyptian security state or the hegemonic infiltration of an imperial West, this paper opts for an understanding of panics about the body as ones that are also always about pleasure. With this in mind, it turns to the production of the Egyptian musalsal, or Arabic-language television drama, Awalem Khafeya (“Hidden Worlds”) which retold the events around the performance and its aftermath. The story, told as a murder-mystery which uncovers state corruption in Egypt, explores the leakage of information, substances, and bodies into and outside of Egypt in the contemporary media landscape. By focusing on the program’s storyline around the Mashrou Leila concert and its rearticulation of nationality, musical genre, and lyrical content, this paper places at the foreground the affectivity of restaging the moral panic. In particular, this paper explores the desire to locate the channels of exposure and corruption which gave way to the flag-raising incident and render them visible, locatable, and legible. It is particularly interested in the tropes of fear, corruption, and exposure of this restaging, but also the elements of fun, humor, and darkness which are always part of an ambivalent constellation of feelings undergirding panic. By exploring the affectivity of the moral panic, this paper then reconceptualizes it as part of a pleasurable mode of knowledge production. In this way, it shows how its materialization works not as a method of recontaining or rerouting power, but of reamplifying it. In doing so, it departs from a conspiratorial or directed analytic of power which is located in the battlefield between state and citizen, or East and West, but one which is located in the very act of restaging.