LONDON: Facebook and Instagram owner Meta said Tuesday it’s scrapping its third-party fact-checking program and replacing it with a Community Notes program written by users similar to the model used by Elon Musk’s social media platform X.
Starting in the US, Meta will end its fact-checking program with independent third parties. The company said it decided to end the program because expert fact checkers had their own biases and too much content ended up being fact checked.
Instead, it will pivot to a Community Notes model that uses crowdsourced fact-checking contributions from users.
“We’ve seen this approach work on X – where they empower their community to decide when posts are potentially misleading and need more context,” Meta’s Chief Global Affairs Officer Joel Kaplan said in a blog post.
The social media company also said it plans to allow “more speech” by lifting some restrictions on some topics that are part of mainstream discussion in order to focus on illegal and “high severity violations” like terrorism, child sexual exploitation and drugs.
Meta said that its approach of building complex systems to manage content on its platforms has “gone too far” and has made “too many mistakes” by censoring too much content.
CEO Mark Zuckerberg acknowledged that the changes are in part sparked by political events including Donald Trump’s presidential election victory.
“The recent elections also feel like a cultural tipping point toward once again prioritizing speech,” Zuckerberg said in an online video.
Meta’s quasi-independent Oversight Board, which was set up to act as a referee on controversial content decisions, said it welcomed the changes and looked forward to working with the company “to understand the changes in greater detail, ensuring its new approach can be as effective and speech-friendly as possible.”
Meta replaces fact-checking with X-style community notes
https://arab.news/c9arp
Meta replaces fact-checking with X-style community notes
- Meta cited bias and excessive content reviews as key factor in ending fact-checking program
- The social media company also announced plans to allow “more speech” by easing restrictions on discussions of mainstream topics like immigration and gender
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.
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.
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.
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.
