I consistently struggle with the concept of hybridity when we hit the section on global television formats in my senior seminar. It often becomes the "happy place" where tensions are resolved between local cultural representations and the structural interests of transnational media conglomerates. I always feel like the spoilsport when I suggest that there is little to distinguish Canadian Idol from American Idol, except for the lack of a Simon Cowell presence (and, therefore, any dramatic tension) in the former. This clip of Iraq's, Labour and Materials, reminded me that local producers cannot only defy the homogenizing potential of the genre’s narrative constraints but also that popular formats retain the potential to advocate social change. The program epitomizes the ways in which the local is inextricably tied to global forces of militarism, sectarian conflict, and the quest for capital. It's definitely not Extreme Makeover brought to us by Home Depot. The clip is from the documentary TV Iraqi Style by Britain's Channel 4. Here we also learn that Iraqi Star (based on Pop Idol) is not only about launching the next national singing sensation but also a means of recreating the archive of traditional music that was lost to bombings in the war. This may be a liminal moment in Iraqi broadcasting, where we see producers stepping into the political vacuum created by an occupying force and unstable government. It also raises issues beyond the Iraqi context. What does this tell us about television formats in Canada and the United States? Is the current system so entrenched that television, in general, may be limited to ironic critique? Perhaps, as a pedagogical exercise, I should ask my class if they could even imagine Extreme Makeover: Inner City Edition?