LEBANON – At a time when talk shows are increasingly driven by speed, interruptions, and the pursuit of “trends,” the program Table 3 chose to take a completely different path. The project did not begin as a conventional television idea, but rather from an existential and human question: how can we create a space where people can slow down amid this fast and chaotic world, and truly feel heard?
In an exclusive interview with enmaeya, the production team of Table 3 shared the human vision and philosophy behind the show, noting that this question formed the core of the program’s identity and guided all artistic and visual decisions.
The goal was not to create a “television spectacle” but rather to build a genuine, honest space that allows people to connect beyond performance and spectacle.
For this reason, the filming style, lighting, music, rhythm, and even silence at times were carefully designed elements aimed at bringing the viewer closer to the real human being, rather than the image presented on camera.
The production company believes that emotional depth is created not through noise, but through small details: a shot that lingers a few seconds longer, a calmly asked question, or a space that allows the guest to simply be themselves.
Even Elissa’s slow, measured way of speaking also became part of the program’s visual and human identity.
At a time when everything moves fast and people speak quickly, her presence introduced a different rhythm: one that invites viewers to slow down, listen, and feel more deeply.
Ultimately, the goal was for every viewer at home to feel that Table 3 reflects them.
“The Third Voice”… The Spirit of the Program
The program’s logo, inspired by the “trillium” flower, symbolizes balance and the meeting of three voices at a single point, resembling “the third voice.
For the production company, its role is not limited to facilitating dialogue; it also serves as its protector. It sees itself as creating a safe, honest space where conversation can unfold away from media spectacle, ensuring that the human being remains more important than the image.
The second meaning of “the third voice” refers to the viewer themselves. In Table 3, the audience is not treated as a passive observer, but as an active presence at the table and within the conversation. Each viewer, carrying fear, exhaustion, hope, or unanswered questions, can find a reflection of themselves within this shared human space.
The third and most profound meaning is silence. In an era dominated by raised voices and constant interruptions, the program chose to create space for reflection, listening, and allowing people the time they need to express themselves.
The production company believes that the presence of Elias and Elissa played a central role in embodying this philosophy, as differences in expression and slow speech were not seen as limitations, but rather as qualities that encourage deeper listening.
Even the concept of the “table” was not accidental, as the table in Lebanese homes represents a space where people gather despite differences, where discussions, reconciliations, and human stories unfold.
Returning Dialogue to Its Natural Place
From the outset, a clear decision was made not to host “cases,” “trends,” or pre-packaged media images, but real individuals with authentic experiences, messages, and human stories.
Even the selection of Elias and Elissa was a fundamental part of this approach. In traditional media, featuring a person with cerebral palsy or Dandy-Walker syndrome on screen is often treated as a “challenge.” However, the team saw it differently. Their question was: who decided that one person’s voice should be valued more than another’s?
From there, Table 3 became more than just a talk show; it became a space that redefines whose voices are heard and how media can become more just, honest, and human.
SESOBEL… The Foundation Shaping the Program’s Identity
The lived experiences of Elias and Elissa, particularly their work with SESOBEL, became a key part of the program’s identity. The production company emphasizes that it did not attempt to “create” television personas, but instead focused on presenting them as they truly are.
Their daily interactions with people and lived human stories have given them a strong capacity to listen and empathize, a quality that naturally resonates with both guests and viewers. The production’s role was to create a visual and narrative environment that allows this authenticity to emerge naturally and without artificiality.
The company also believes that every human being has a story worth hearing. The constant goal is to bring the viewer closer to the guest’s reality: fears, dreams, and human details often absent from traditional media.
Elias and Elissa… A Partnership Built on Truth, Not Performance
Over more than 12 years of collaboration with SESOBEL, the team came to recognize Elias’s remarkable ability to connect with people. His presence, charisma, attentive listening, and way of asking questions put those around him at ease and encouraged honest conversation.
It also became clear that he carries a simple, meaningful aspiration: to have his voice heard and to express his views like anyone else, not to prove anything, but because he has ideas, questions, and perspectives that deserve to be heard.
Elissa’s experience, on the other hand, was different and deeper. Her slow speech imposed a completely different rhythm on both the production team and the audience: one that aligned perfectly with the philosophy of Table 3.
In a media landscape dominated by interruptions and rapid responses, Elissa created a calmer space that encourages viewers to pause, listen, and focus on the human being rather than performance.
For the production company, having two individuals living with cerebral palsy or Dandy-Walker syndrome on screen was not a “challenge,” but a genuine value.
Elias and Elissa possess significant intellectual and human depth. From the very beginning, the decision was clear: the program would not be based on pity or showcasing “cases,” but on full respect and full equality.
The program is not made “for them,” but “with them,” because their natural place is at the heart of the dialogue and the media landscape.
