As Adrian Monck leaves WEF, his legacy of turning it into a ‘global storytelling platform’ lives on

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Adrian Monck with Faisal Abbas, then-Editor-in-Chief of Al Arabiya English following the signing of a media cooperation between WEF blog and Al Arabiya News Channel in 2014. (Supplied)
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Updated 05 February 2023
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As Adrian Monck leaves WEF, his legacy of turning it into a ‘global storytelling platform’ lives on

  • ‘He was very understanding of the Arab world and successfully advanced the forum’s relations with the regional media,’ says Al Arabiya’s Jamil El-Hage
  • ‘Monck was able to put the important — and often overlooked — stories before world leaders, reminding them of their ultimate mission,’ says The National’s Hassan M. Fattah

LONDON: After over 13 years of leading public and social engagement at the World Economic Forum, Adrian Monck announced on Friday that he is leaving his role as managing director of the international organization for public-private cooperation.

“From creating a global storytelling platform, to putting refugees center stage in Davos, and in helping guide the institution through a global pandemic, I am leaving the forum both fortunate and grateful — especially to all of you,” Monck wrote in a LinkedIn post addressing his colleagues.

The seeds Monck has planted through his work with the WEF will continue to grow and be remembered, namely by former colleagues and media figures acquainted with his endeavors.

“Adrian Monck created a global storytelling platform that was able to put the important — and often overlooked — stories before world leaders, reminding them of their ultimate mission,” Hassan M. Fattah, ex-New York Times correspondent in Iraq and former editor-in-chief of UAE’s The National newspaper, told Arab News.

“He brought passion to his role but also imparted empathy and authenticity amid the noise.

“But many of us know him as a fearless journalist who innovated the storytelling format in broadcast and print and brought out compelling stories.”




Former Editor-in-Chief of The National Hassan Fattah.

Monck has redefined the forum and its annual Davos meeting for the digital age, building the organization’s global media presence, establishing a social media following that exceeds 30 million and spans LinkedIn to TikTok, and reaching about a million email subscribers.

“Arguably, Adrian is the man who gave the word ‘forum’ in World Economic Forum its true meaning during his tenure over the past decade,” said Faisal J. Abbas, editor-in-chief of Arab News.

“Adrian opened up the deliberately reclusive WEF to more journalists than ever before, including those who were skeptical of it. He also fought for and created its own media operation and digital presence, an investment which paid off handsomely during the pandemic when Davos lived on only because the set up was there to conduct it virtually.”

Monck’s career started as a journalist in 1988, working for CBS News, ITN, where he was the managing editor of Five News, and Sky.




Formative Content head Gay Flashman

“Adrian showed incredible foresight all those years ago, when he created his vision for the publishing platform and quality content juggernaut that the World Economic Forum has become,” said Gay Flashman, who runs Formative Content and has worked with Monck’s team at the forum since 2014.

“As a former news journalist he recognized the power of a strategy that enabled the forum to communicate directly with its audiences in a truly unique way,” she told Arab News.

“From long form thought leadership to short snackable content, this approach to content is ubiquitous today, but was groundbreaking when he started his team.”

Al Arabiya news channel’s head of business section Jamil El-Hage, who manages the channel’s annual coverage and sessions at the WEF, told Arab News that Monck, with whom he had a personal as well as professional relationship, played a key role in advancing the forum’s relations with Middle Eastern media.

He described Monck as “very understanding and caring of the region,” hoping that the next person would maintain these strong relations.




Al Arabiya's Head of Business Jamil El-Hage.

In addition to leading the forum’s media and communications activities, Monck oversees the Foundation of Young Global Leaders and the Global Shapers Community.

Prior to joining the forum in 2009 as head of communications and media, Monck worked in academia, heading City University of London’s Department of Journalism during the period from 2005 to 2009.

He co-authored “Crunch Time: How Everyday Life is Killing the Future” with award-winning journalist Mike Hanley in 2007, and wrote “Can You Trust the Media?” in 2008.

Monck is a supporter of applying British television regulations to the press and online media, advocating “regulation that insists on accuracy, fairness and, crucially, impartiality,” in a Press Gazette piece in July 2004.

Nevertheless, he has been a strong advocate of press freedom, while at the same time encouraging media firms to “avoid misleading ‘both-sides-ism.’”

In a 2022 World Association of News Publishers article, he urged editors and reporters to “push back against politicians and political commentators who bring fringe falsehoods into the mainstream public discourse. After all, neutrality does not mean abandoning fact-based journalism.”

Monck added: “Fact-based journalism is vital to protecting free speech as disinformation often tarnishes forward-thinking debate.”

Monck was also president of Britain’s Media Society during the years 2005 and 2006, and a member of multiple influential bodies, including the British Academy Film Awards and the Royal Television Society.

In his WEF departure message, Monck wrote: “As a child in a remote English coastal town I could never have imagined the people, the places and the projects this remarkable organization would open up for me.

“That opportunity is thanks to Klaus. For everyone at the forum, working here means a chance to continually reimagine and reinvent the organization, helping it to stay relevant and true to its mission. And that’s a wonderful gift.”

Although Monck has not revealed his next endeavor, former colleagues and friends trust that he still has a lot to offer.

“We can all be grateful for the impact he has made on the lives he has touched with his energy, his caring and his tenacity,” Fattah said.

“I look forward to his next undertaking which I’m sure will be no less important.”

Flashman said: “We will miss his wit, dry humor and razor-sharp intellect; his team will miss him for all of those traits, plus his kindness and unswerving support.”

 

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To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

Updated 27 December 2025
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To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

  • ⁠ ⁠50 years after its creation, the Grendizer anime series continues to capture Arab imagination
  • ⁠ ⁠⁠Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet

LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.

Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.

But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.

Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.

Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.

While the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East. (Supplied)

The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.

Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.

Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.

 

Grendizer at 50
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