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Dave Chappelle isn’t the first to suggest that Jews run Hollywood. Here are the origins of the trope.
(JTA) – On “Saturday Night Live” last weekend, Dave Chappelle really wanted his audience to know there are a lot of Jews in Hollywood.
“I’ve been to Hollywood, this is just what I saw,” he said during his widely dissected monologue. “It’s a lot of Jews. Like, a lot.”
While suggesting that it might not be fair to say Jews run the industry, the comedian said that coming to that conclusion is “not a crazy thing to think.” Chappelle’s “SNL” episode drew a season-high 4.8 million viewers when it aired on NBC (eclipsing Jewish comedian Amy Schumer’s own hosting stint the week before), and his monologue had more than 8.1 million views on YouTube as of Wednesday.
The Anti-Defamation League was quick to denounce Chappelle’s act, calling it antisemitic. Other prominent Jews have followed suit.
“I was very disturbed to see him speaking, to millions of people, a lot of antisemitic tropes,” Pamela Nadell, a professor at American University who researches antisemitism, told the Jewish Telegraphic Agency.
But Chappelle, who was himself riffing on recent antisemitism controversies involving Kanye West and Kyrie Irving, wasn’t exactly breaking new ground by insinuating that Jews run Hollywood. The trope has been a part of show business since its earliest days — when, in a literal sense, Jews did run Hollywood. Or the studios, anyway.
Nearly every major movie studio was founded in the early 20th century by a group of first-generation secular Jews who immigrated to the United States from Eastern Europe. Carl Laemmle (Universal), Adolph Zukor (Paramount), William Fox (Fox), Louis B. Mayer (MGM), and Benjamin Warner (Warner) were all Jewish silver-screen pioneers, laying the groundwork for the size and scale of the industry to follow.
But the industry has diversified greatly in the century since, with studios largely swallowed up by corporate behemoths. And while individual Jews may be overrepresented in an industry that has long welcomed and rewarded them, the rhetorical danger, Nadell said, comes in conflating a large Jewish presence in an industry with ownership and control of that industry.
“Jews remain active in Hollywood in a variety of roles, but it would be impossible to say that they run Hollywood, that they own Hollywood,” she said.
“Whenever the Jews enter into any kind of position where they might have influence over people who are not Jewish, then all of a sudden it’s seen as some kind of conspiracy.”
Conspiracy theories dogged Jews in Hollywood from the industry’s beginning. Because so many Jews were in control in Hollywood in its early years, Joseph Breen, who for decades ran the industry’s Production Code office and tried to make movies palatable to Catholic morality groups, blamed “the Jews” for sneaking sex, violence and moral depravity into the movies.
But their rise to the top of the still-young motion picture industry wasn’t because they were a part of some secretive cabal; it’s because, historians say, Hollywood provided a low barrier to entry for enterprising businessmen, and was lacking the antisemitic guardrails of more established industries.
“There were no social barriers in a business as new and faintly disreputable as the movies were in the early years of [the 20th] century,” historian Neal Gabler writes in his landmark 1988 book “An Empire Of Their Own: How The Jews Invented Hollywood.”
In the book, Gabler notes that the movie business, which evolved out of other professions like vaudeville and the garment industry where Jews had already found a toehold, lacked “the impediments imposed by loftier professions and more firmly entrenched businesses to keep Jews and other undesirables out.”
As such, Jews (particularly recent immigrants) were able to thrive in show business in a way they couldn’t in most other industries. Once they were in, family ties or the general phenomenon of affinity groups often led to them elevating other Jews in the industry: For example, prolific Jewish producer David O. Selznick, whose credits include “Gone With The Wind,” “Rebecca” and a huge string of other hits in the 1930s and ’40s, spent many years at MGM, run by his father-in-law, Louis B. Mayer.
Areas like the film, garment and publishing industries were attractive to Jews, Nadell said, “because there were so many other sectors of the economy where they were barred from.”
But in exchange, Hollywood’s prominent Jews had to effectively extinguish their Jewishness.
Yearning to assimilate into American society, the Jews who ran these studios were beset on all sides by antisemitic invective — first from Christian groups like the Legion of Decency, then by anti-Communist groups, both of whom accused Hollywood’s Jews of conspiring to undermine American society with their loose morals.
As such, the Jewish studio heads largely refrained from making any movies about Jewish themes, or snuffing out antisemitic content even within their own films, or otherwise exerting their influence in any obviously Jewish way, even as many of the Golden Era of Hollywood’s most acclaimed writers and directors (Herman Mankiewicz, Ernst Lubitsch, George Cukor, Billy Wilder) were also Jewish. “Gentleman’s Agreement,” the landmark 1947 film about antisemitism, didn’t have any Jewish producers, directors or major stars (though some of its credited writers were Jewish).
Famously, Hollywood’s Jews also went out of their way to avoid offending Hitler during the Nazi era, continuing to do business with Germany and largely avoiding featuring Nazis as villains in the prewar years.
Director Steven Spielberg speaks at the Academy Awards in Hollywood, Feb. 9, 2020. (Kevin Winter/Getty Images)
With the demise of the studio system in the 1960s, Jewish creatives ranging from Mel Brooks to Steven Spielberg to Natalie Portman no longer had to hide their identity from audiences, but instead made it an essential part of their public personas. Earlier this week, in a New York Times interview, Spielberg acknowledged that Hollywood was a welcoming place for Jews when he arrived as a young filmmaker.
“Being Jewish in America is not the same as being Jewish in Hollywood,” he said while promoting “The Fabelmans,” a loose retelling of his own Jewish upbringing. “Being Jewish in Hollywood is like wanting to be in the popular circle and immediately being accepted as I have been in that circle, by a lot of diversity but also by a lot of people who in fact are Jewish.”
Still, such ethnic affinity has often been deemed conspiratorial. “Hollywood is run by Jews” and “owned by Jews,” Marlon Brando declared in a 1996 interview with Larry King, further claiming that Jewish studio executives prevented antisemitic stereotypes from being depicted on screen while allowing stereotypes of every other minority group “because that’s where you circle the wagons around.”
(Despite this outburst, which prompted intense backlash from Jewish groups, Brando was known for having close relationships with Jews and demonstrating a strong understanding of Jewish theology and culture throughout his life, and apparently spoke Yiddish quite well.)
This general air of suspicion around Jews in show business has continued into the modern day, as evidenced by Chappelle and West’s comments. In the tweets that precipitated the collapse of his businesses, West singled out Jewish producers and managers in the entertainment industry he had affiliations with, echoing how believers in antisemitic conspiracy theories about Jewish control tend to fixate on Jews in leadership positions outside of the public eye.
Attorney Allen Grubman, left, and rocker John Mellencamp speak onstage during the 37th Annual Rock & Roll Hall of Fame Induction Ceremony in Los Angeles, Nov. 5, 2022. (Amy Sussman/WireImage)
Ignoring the many industry leaders who are not Jewish, such conspiracy theorists tend to focus on the successful managers and lawyers in Hollywood who are, including Jeremy Zimmer, Ari Emanuel, Allen Grubman — and Harvey Weinstein, whose decades of sexual abuse, scorched-earth targeting of his accusers and eventual downfall are the subject of the new movie “She Said.”
And in a similar fashion to Brando, Chappelle suggested that there is a double standard in talking about ethnic groups, with jokes about Jews being seen as taboo in a way that jokes about Black people and other groups are not: “If they’re Black, then it’s a gang. If they’re Italian, it’s a mob. If they’re Jewish, it’s a coincidence and you should never speak about it.”
At the same time as Jews in and out of the industry are fighting such perceptions, they are also pushing for greater visibility. The unveiling of the new Academy Museum of Motion Pictures in Los Angeles last year almost entirely omitted Jews from Hollywood’s founding narrative, leading to backlash from Jews in the industry and, ultimately, the guarantee of a new permanent exhibition space focusing on Jews.
And there was one other way in which the Chappelle episode hearkened back to the age-old dynamics of the relationship between Jews and Hollywood: “Saturday Night Live” executive producer Lorne Michaels, who presumably allowed the monologue on the air, is Jewish.
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The post Dave Chappelle isn’t the first to suggest that Jews run Hollywood. Here are the origins of the trope. appeared first on Jewish Telegraphic Agency.
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Joel F. Brown named next Chairman of the Board of Directors of the Forward Association
Joel F. Brown has been named the next Chairman of the Board of Directors of the Forward Association, the nonprofit entity that publishes the Forward, America’s most influential and widely read nationwide Jewish publication. He has served as a member of the Forward board and of the Forward Association for 10 years.
Brown most recently served with the Chicago-based law firm Goldberg Kohn as a principal in its Commercial Finance Group. He has written and lectured on a wide variety of finance-related legal topics and was named one of the 2021 Best Lawyers in America honorees in Banking and Finance law. He is a graduate of Wesleyan University and of New York University School of Law.
Since retiring from the practice of law in 2024, Brown has been pursuing a Masters Degree in Jewish Studies from the Spertus Institute. Brown also serves as a member of the Board of Directors of Camp Ramah in Wisconsin, has served as President of Am Yisrael Conservative Congregation (Northfield, Illinois) and is affiliated with the Shalom Hartman Institute.
Brown said, “I am honored to assume this important role in supporting the Forward’s ongoing storied history of reporting on the Jewish American experience in all its diversity. Over the next few years, I expect the Board will help guide the Forward in its mission to cover the full spectrum of Jewish American politics, culture and religion, with an emphasis on reaching new audiences, and in particular younger audiences.”
About the Forward
The Forward is America’s leading voice in Jewish journalism, delivering incisive coverage of the issues, ideas and institutions that matter to American Jews.
The Forward‘s independent, non-ideological perspective on world and national news, and its unparalleled coverage of Jewish arts, culture and opinion, have made it the most influential and widely read nationwide Jewish publication today, and it has been honored with the most journalism awards of any Jewish media organization.
The Forward reaches more than 100 million viewers annually across its website, social media, email newsletters, events and podcasts. The Forward‘s free e-newsletters include the Forwarding the News morning briefing and others highlighting areas of special interest like Yiddish and antisemitism.
Leading outlets turn to the Forward‘s journalists for analysis and interviews, including The New York Times, CNN, Fox, NPR, Politico, Haaretz and The Washington Post. The Forward has been archived by the U.S. Library of Congress and named one of the top nonprofit news sites by Harvard’s Nieman Journalism Lab.
The post Joel F. Brown named next Chairman of the Board of Directors of the Forward Association appeared first on The Forward.
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Eurovision Faces Major Test as Countries Weigh Israel’s Participation
Construction work is ongoing in the main hall of Wiener Stadthalle the venue of next year’s Eurovision Song Contest, in Vienna, Austria, Nov. 18, 2025. Photo: REUTERS/Leonhard Foeger
The Eurovision Song Contest faces a “watershed moment” on Thursday when members of the body that organizes the contest may vote on whether Israel can compete in 2026, as some nations threaten to withdraw if it is not excluded due to the Gaza war.
European Broadcasting Union members will convene to discuss new rules designed to prevent governments and third parties from disproportionately promoting songs to influence voters after controversy this year over Israel’s second-place win.
If members are not convinced the rules are adequate, there will be a vote on participation, the EBU said, without naming Israel specifically.
Public broadcasters from Slovenia, Ireland, Spain, and the Netherlands have all threatened to boycott the event, scheduled for May in Austria, if Israel is allowed to take part, citing concern over the Palestinian death toll in Gaza, where Israeli forces had been waging a military campaign against the ruling terrorist group Hamas until a recently implemented ceasefire.
EUROVISION AIMS TO BE NON-POLITICAL
The televised annual celebration of pop music, watched by around 150 million viewers worldwide, aims to be non-political, but the Gaza war has embroiled it in controversy. A boycott by some of the competition’s biggest European backers, including Spain, risks a major drop in audience numbers and potential sponsorship.
This year, critics accused Israel of unfairly boosting the second-place finish of its entrant Yuval Raphael, a survivor of the Oct. 7, 2023, attack on Israel by Hamas terrorists that triggered the conflict. Israel has not responded to these accusations but frequently argues it has faced a global smear campaign.
“We very much hope the package of measures will assure members that we have taken strong action to protect the neutrality and impartiality of the Song Contest,” the EBU said.
Eurovision expert Paul Jordan, who did a PhD on the contest, said it was a “watershed moment” for the competition.
“This is a real crisis point for Eurovision and the EBU … I think it probably has to go to a vote,” Jordan said.
Ben Robertson from fan site ESC Insight noted the potential impact of a loss in audience, but added without Israeli inclusion, Eurovision risks becoming more isolated.
NORWAY CALLS PROPOSED CHANGES ‘PROMISING’
The Israeli foreign ministry did not respond to a Reuters request for comment.
Luxembourg’s RTL broadcaster backed the proposed changes, while Norway’s NRK broadcaster described the EBU’s signal of major change as “promising.”
If a vote against Israel were successful, Germany would probably withdraw and not broadcast the contest, a broadcasting industry source told Reuters. German broadcaster ARD did not comment. Austrian host broadcaster ORF wants Israel to compete.
Sources within Israeli broadcaster KAN told Reuters it believed discussions about excluding Israel were unjustified, asserting that KAN was in full compliance with EBU rules. It also noted KAN’s support for Israeli acts that have delivered what they described as memorable Eurovision performances.
Russia has been excluded from Eurovision since its 2022 invasion of Ukraine.
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Belgian Police Detain Former EU Foreign Policy Chief Mogherini in Fraud Probe
European Union VIce Presiden and High Representative for Foreign Affairs and Security Policy Federica Mogherini (L) is seen during a talk with Vietnam’s Deputy Prime Minister and Foreign Minister Pham Binh Minh in Hanoi, Vietnam, Aug. 5, 2019. Photo: REUTERS/Kham
Belgian police on Tuesday detained former European Union foreign policy chief Federica Mogherini and a current senior EU diplomat as part of a fraud investigation that included raids at several sites, three sources familiar with the probe said.
The European Public Prosecutor’s Office (EPPO) said the investigation focused on “suspected fraud related to EU-funded training for junior diplomats.” It involved searches at the EU‘s diplomatic service in Brussels, at the College of Europe – an elite university in Bruges that educates many EU officials – and at the houses of suspects.
Mogherini and senior diplomat Stefano Sannino, both Italian nationals, are well known in Brussels diplomatic circles and news of their detentions sent shockwaves through the EU community in Brussels.
Mogherini was the EU‘s high representative for foreign and security policy and head of its diplomatic service from 2014 to 2019. She became rector of the College of Europe in 2020.
TENDER OF TRAINING PROGRAMME PROBED
Sannino previously served as the most senior civil servant in the diplomatic service between 2021 and 2024 and is now director general of the European Commission’s department for the Middle East, North Africa, and the Gulf.
The EPPO said in a statement that three people had been detained but withheld identities, citing the ongoing investigation. Neither Mogherini nor Sannino could be reached for comment.
The prosecutor’s office said its investigation centered on the establishment of the European Union Diplomatic Academy – a nine-month training program for junior diplomats, which was awarded to the College of Europe in 2021-2022 by the EU diplomatic service following a tender procedure.
It said there were “strong suspicions” that confidential information was shared during the process with one of the candidates participating in the tender.
“Prior to the searches, the EPPO requested the lifting of the immunity of several suspects, which was granted,” the statement said. “All persons are presumed innocent until proven guilty by the competent Belgian courts of law.”
A spokesperson for the EU diplomatic service confirmed police visited its offices on Tuesday as part of an investigation into activities that took place before the current foreign policy chief Kaja Kallas took office.
The diplomatic service is “fully cooperating with the authorities,” added the spokesperson, Anitta Hipper. “Since it’s an ongoing investigation, we will not be able to say more.”
The College of Europe said in a statement it would “fully cooperate with the authorities in the interest of transparency and respect for the investigative process.”
“The college remains committed to the highest standards of integrity, fairness, and compliance — both in academic and administrative matters,” it said.