Canadian school boards sue Snapchat, TikTok and Meta for disrupting students’ education

Combo image showing Meta, Tiktok and Snapchat. (Shuttetstock photos)
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Updated 29 March 2024
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Canadian school boards sue Snapchat, TikTok and Meta for disrupting students’ education

  • Lawsuits claim platforms like Facebook and Instagram are “designed for compulsive use, have rewired the way children think, behave, and learn” and teachers have been left to manage the fallout

TORONTO: Four of the largest school boards in the Canadian province of Ontario said Thursday they launched lawsuits against TikTok, Meta and SnapChat alleging the social media platforms are disrupting student learning.

The lawsuits claim platforms like Facebook and Instagram are “designed for compulsive use, have rewired the way children think, behave, and learn” and teachers have been left to manage the fallout.
Meta Platforms Inc. owns Facebook and Instagram, while Snap Inc. owns SnapChat and ByteDance Ltd. owns TikTok.
Rachel Chernos, a trustee for the Toronto District School Board, said teachers and parents are noticing social withdrawal, anxiety, attention problems, cyberbullying and mental health issues.
“These companies have knowingly created programs that are addictive that are aimed and marketed at young people and it is causing significant harm and we just can’t stand by any longer and not speak up about it,” Chernos said.
Dozens of US states, including California and New York, are also suing Meta Platforms Inc. for harming young people and contributing to a youth mental health crisis by knowingly and deliberately designing features on Instagram and Facebook that addict children to its platforms.
The school boards in Canada suing are the Toronto District School Board, the Peel District School Board, the Toronto Catholic District School Board and the Ottawa-Carleton District School Board.
They are seeking damages in excess of $4 billion Canadian ($2.9 billion) for disruption to student learning and the education system.
A spokeswoman for Snap Inc., Tonya Johnson, said Snapchat helps its users stay connected with their friends.
“Snapchat opens directly to a camera — rather than a feed of content — and has no traditional public likes or comments,” she said. “While we will always have more work to do, we feel good about the role Snapchat plays in helping close friends feel connected, happy and prepared as they face the many challenges of adolescence.”
Representatives of Meta and ByteDance didn’t immediately respond to messages seeking comment.
Duncan Embury, a lawyer for the firm representing the boards, said there is a real addiction issue with the designed algorithms.
Embury said proper warnings are needed, age parameters need to change and there needs to be an increase in the level of resources school boards get to adapt to the new reality. He said the companies have knowingly and negligently designed their products to maximize the amount of time young people spend on their platforms at the expense of their well-being and education.
“There is an inability for students to focus,” he said.
The use of social media among teens is nearly universal in the US and many other parts of the world. Almost all teens ages 13 to 17 in the US report using a social media platform, with about a third saying they use social media “almost constantly,” according to the Pew Research Center.
In May, US Surgeon General Dr. Vivek Murthy called on tech companies, parents and caregivers to take “immediate action to protect kids now” from the harms of social media.
This week, Republican Florida Gov. Ron DeSantis signed a bill that will ban social media accounts for children under 14 and require parental permission for 14- and 15-year-olds. It takes effect Jan. 1 and is expected to face legal challenges.
No money will be paid to the attorneys handling the Canadian lawsuits unless they win.

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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
The anime that conquered Arab hearts and minds
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