Pro-Israel group targets Washington Post foreign correspondent

The 10/7 Project is an initiative established last year to advocate for continued US support for Israel and counter misinformation about the Israel-Hamas war. (AFP/File)
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Updated 19 February 2024
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Pro-Israel group targets Washington Post foreign correspondent

  • Semafor said public relation group SKDK was reported working both publicly and behind the scenes to discredit journalists they perceive as biased against Israel
  • Louisa Loveluck has become a primary target for scrutiny, with SKDK compiling a detailed list of her coverage and tweets that they allege demonstrate bias

LONDON: US-based pro-Israeli group SKDK has been targeting Washington Post’s foreign correspondent Louisa Loveluck over her coverage of the Gaza conflict, news outlet Semafor reported on Sunday.

SKDK, a Washington DC public relations firm with close ties to the White House, is managing the communications of the 10/7 Project, an initiative established last year to advocate for continued US support for Israel and counter misinformation about the Israel-Hamas war.

In their critique of American news outlets’ reporting on the Gaza conflict, particularly the Washington Post, Semafor said SKDK had been working both publicly and behind the scenes to discredit specific journalists whom they perceive as biased against Israel, particularly those they believe are tweeting and reporting unfairly about the situation.

Loveluck, who has been covering the war in Gaza, emphasizing the plight of Palestinian civilians, has emerged as a primary target of the 10/7 Project.

The group sent Semafor a one-five page document detailing a list of Loveluck’s tweets and coverage on Gaza, accusing her of biased and mischaracterized reporting.

They also delved into her past as a college student in 2009, characterizing her online presence as that of a far-left activist, citing her negative opinions about pro-Israel American leaders, support for Al-Jazeera TV, and participation in the 2010 Cambridge University occupation protesting tuition fee hikes.

“For many years, Loveluck’s online presence was that of a far-left activist: she has voiced negative opinions about pro-Israel American leaders and Israeli leadership,” the group wrote in a memo.

The 10/7 Project presented tweets from 2011 where Loveluck expressed anger at former President George W. Bush’s memoir and criticized former President Barack Obama’s silence in Egypt’s post-Arab Spring elections.

SKDK also presented numerous tweets of her criticizing Israel and noted that only a few expressed sympathy toward the hostages or mentioned Hamas.

The group claimed that “Loveluck’s poorly reported articles did not meet Washington Post’s standards” and asserted their responsibility to spotlight unfair coverage, demanding unbiased, honest reporting from leading American media outlets.

In response, the Washington Post defended its reporting but did not specifically address Loveluck’s tweets.

The publication highlighted its consistent explanatory reporting on data sources for the Israel/Gaza conflict, citing examinations of the Gaza Health Ministry and explanations that it is an agency of Gaza’s elected government, run by Hamas.

“The Washington Post produces rigorous, in-depth journalism, and we expect and welcome scrutiny of our reporting,” a spokesperson said.

“When we make errors, we take every step to correct them and to provide full transparency to our readers. The Post expects our journalists to refrain from social media postings that could raise questions about our fairness or independence. We also prioritize the security of our employees, and we cannot condone any efforts that could endanger or jeopardize their safety.”


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
The anime that conquered Arab hearts and minds
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