EU court rejects TikTok challenge against new EU digital rules

The decision by the Luxembourg-based General Court is the first judgment on a DMA challenge by big tech. (AP/File)
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Updated 17 July 2024
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EU court rejects TikTok challenge against new EU digital rules

  • TikTok owner ByteDance is one of the six “gatekeepers” under Digital Markets Act facing the curbs
  • TikTok claimed to be acting as the “most capable challenger” to digital monopolies

LUXEMBOURG: TikTok lost an appeal Wednesday to escape new digital rules that seek to rein in the power of big tech after an EU court rejected its challenge.
A landmark European Union law known as the Digital Markets Act (DMA) entered into force in March, and regulators believe it will create a fairer market.
The European Commission designated six “gatekeepers” under the DMA facing the curbs: Google parent Alphabet, Amazon, Apple, Meta, Microsoft — and TikTok owner ByteDance, the only non-US company.
The EU said in May that Booking would also have to apply the law and gave the online travel agent six months to prepare for compliance.
The decision by the Luxembourg-based General Court is the first judgment on a DMA challenge by big tech, with cases lodged by Apple and Meta still pending.
“The Court dismisses ByteDance’s action,” it said. TikTok can appeal against the ruling within two months and 10 days of the decision.
TikTok had insisted it was the “most capable challenger” to entrenched players in the digital sphere, but the court dismissed that argument.
“TikTok had succeeded in increasing its number of users very rapidly and exponentially, reaching, in a short time, half the size of Facebook and of Instagram, and a particularly high engagement rate, with young users in particular, who spent more time on TikTok than on other social networks,” the court said in a statement.
The judges acknowledged that in 2018, video sharing app TikTok was indeed a challenger but it had since then “rapidly consolidated its position and even strengthened that position over the following years” despite the launch of similar rival services.

“We are disappointed with this decision. TikTok is a challenger platform that provides important competition to incumbent players,” a spokesperson said in a statement.
“While we will now evaluate next steps, we already took measures to comply with the relevant obligations of the DMA ahead of last March’s deadline.”
But the court determined “ByteDance met the quantitative thresholds laid down in the DMA.”
For Brussels to name a company as a gatekeeper, they must fulfil certain conditions.
The criteria include having more than 45 million monthly active users in the EU and more than 10,000 yearly active business users established in the bloc.
Digital companies with an annual turnover in the EU of at least 7.5 billion euros ($8.2 billion) or a market value of above 75 billion euros also face the new curbs.
If a company violates the law, the EU can impose fines of up to 10 percent of a company’s total global turnover. This can rise to 20 percent for repeat offenders and in the most severe circumstances, the EU can order the break-up of companies.
It is the second defeat in the courts for TikTok over the DMA. It lost a bid in February to suspend the strict new rules pending the judgment handed down Wednesday.
Big tech is not happy about the new law. Apple, contesting the DMA in the courts, has been vocal in its criticism, saying it puts users’ security at risk.


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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