“When I do feel that I’m right, I’m not much bothered by criticism,” she added. “Who has ever stood up against injustice without being criticized? If that’s all I have to endure, then it’s very little.”
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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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Sally Rooney to Publish Hebrew Translation of Latest Book With Pro-BDS Israeli Publisher
Author Sally Rooney in an interview with “PBS NewsHour.” Photo: Screenshot.
Award-winning Irish author Sally Rooney will publish a Hebrew translation of her latest novel, Intermezzo, through an independent Israeli publishing house that supports the boycott, divestment, and sanctions (BDS) movement against Israel, it was announced on Tuesday.
According to its website, November Books aims to “promote the full realization of human rights … and in particular for Palestinians living under all forms of Israeli oppression including the military occupation.” The Israeli publishing house said it is also “committed to the idea, in line with Palestinian and democratic voices in Israel, that Israel should not be a Jewish state but rather a state of all its citizens and recognize the right of return as it was accepted by the UN. We strongly oppose any form of inequality and apartheid.”
November Books will publish the Hebrew translation of Intermezzo in collaboration with +972 Magazine and Local Call, two independent Israeli news outlets. Translated by Debbie Eylon and edited by Asaf Schurr, it will be published in June “in a way that honors the principles of the boycott and stands in solidarity with the Palestinian demand for freedom, equality, and justice,” +972 Magazine executive director Haggai Matar wrote on Tuesday in an op-ed announcing the news. The novel, published in 2024, focuses on two brothers following the death of their father, and it explores themes of grief, love, and family.
In 2021, Rooney announced she would only allow her third book, Beautiful World, Where Are You, to be translated to Hebrew through a publishing house that complies with the BDS movement’s “institutional boycott guidelines” against Israel. The 35-year-old author said she does not want to partner with an Israeli company “that does not publicly distance itself from apartheid and support the UN-stipulated rights of the Palestinian people.”
At the time, Rooney had already published Hebrew translations of two of her novels — 2017’s Conversations With Friends and 2018’s Normal People – with the Israeli publishing house Modan, but refused to let them translate Beautiful World, Where Are You.
BDS seeks to isolate Israel from the international community as a step toward its eventual elimination. Leaders of the movement have repeatedly stated their goal is to destroy the world’s only Jewish state.
Rooney spoke this week to The Guardian and attempted to explain her position.
“For me, the act of translation is in itself a beautiful ideal,” she said. “Though my refusal to work with complicit Israeli publishing houses made the contractual side of things more complex, I was, of course, never boycotting the Hebrew language or any language.”
Last year, Rooney said she would give proceeds from her books and BBC adaptations of them to support Palestine Action, an anti-Israel group designated as a terrorist organization in the United Kingdom.
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For Israel, the Accusation Itself Becomes Proof
People attend the annual al-Quds Day (Jerusalem Day) rally in London, Britain, March 23, 2025. Photo: REUTERS/Jaimi Joy
A dangerous shift happens when people stop feeling responsible for verifying what they believe. The accusation itself becomes enough. Once institutions repeat something with enough confidence, many decent people hand over their judgment completely. They assume somebody else has already checked the facts.
That is where real danger begins.
A case is being built against Israel in international courts, and much of the public discussion around it already feels emotionally settled long before most people have examined a single document, testimony, or legal standard for themselves.
The International Court of Justice has no meaningful conflict-of-interest mechanism comparable to what people would expect in many domestic legal systems. UN reports and secondary claims enter public discourse carrying the weight of institutional authority, even when the underlying sources were never cross-examined or independently verified in a courtroom setting.
At a certain point, the accusation itself becomes proof.
That pattern extends far beyond a courtroom. Perception gets taken over before a person realizes his or her thinking has been outsourced. Repetition creates familiarity. Familiarity creates emotional certainty. Eventually people stop asking where the information came from in the first place.
Jewish history carries enough experience with this pattern to recognize it early. A claim repeated often enough starts feeling like an established truth even before evidence exists to support it.
Once institutions absorb the accusation, the public no longer experiences skepticism as responsibility. Skepticism starts feeling like disobedience.
Artificial intelligence is about to accelerate this problem even further. AI systems absorb dominant narratives faster than human beings can examine them critically. Once a version of events becomes widely indexed, cited, repeated, and emotionally reinforced, it enters the system as background truth. The next generation encounters conclusions first and context later.
That matters because most people do not independently investigate history, legal claims, or war. They inherit understanding socially. Search engines shape it. Institutions shape it. Algorithms shape it. Repetition shapes it.
The responsibility for your own safety begins before the threat fully arrives. Physical self-defense taught me that years ago. Cognitive self-defense follows the same principle. A society that loses the ability to question emotionally satisfying accusations becomes vulnerable to manipulation at a scale far larger than any courtroom.
People once understood that serious accusations required serious proof. Today, institutional confidence often replaces evidence in the public mind. That shift should concern anyone who still believes good intentions alone are enough to protect people from participating in injustice.
Tsahi Shemesh is an Israeli-American IDF veteran and the founder of Krav Maga Experts in NYC. A father and educator, he writes about Jewish identity, resilience, moral courage, and the ethics of strength in a time of rising antisemitism.
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Fatah Turned 388 Terrorists Into Its Leaders at Its 8th General Conference
A meeting of the Fatah Revolutionary Council at the Bedouin village of Khan al-Ahmar in the West Bank, July 12, 2018. Photo: Reuters / Mohamad Torokman.
The Eighth Fatah Conference continued to glorify past Palestinian terrorist murderers while building the next generation of terrorist leadership.
PA and Fatah leader Mahmoud Abbas decided that all prisoners who were incarcerated for more than 20 years — meaning those who were guilty of murder or attempted murder — automatically would become part of the Palestinian leadership and thus were able to participate and vote at the conference, which took place this past weekend.
The consequence of this is that a total of 388 Palestinians, who as prisoners were presented as role models, just transitioned into becoming PA leaders.
A senior Fatah youth leader described the importance: “We have a great opportunity as Fatah youth … to learn from them.”
Palestinian Media Watch (PMW) has shown repeatedly exactly how the PA and Fatah, as policy, portray murderers of Jews as role models for all Palestinians, and especially youth:
Official PA TV newsreader: “The prisoners [i.e., terrorists] will also have prominent representation in the [Eighth Fatah] Conference, there will be participation of more than 388 prisoners who have served more than 20 years in the occupation’s [i.e., Israeli] prisons…”
Fatah Shabiba Youth Movement Secretariat member Tasami Ramadan: “The participation of the [released] prisoners this time in this conference… is a very qualitative addition... seeing this qualitative and special addition that our released prisoners will contribute, as they are not just released prisoners and we cannot summarize them only as such.
They are also [figures] of national stature and national pillars who have outlined the characteristics of Fatah’s path, and they are also spiritual and organizational pillars. We have a great opportunity as Fatah youth … to learn from them and to be their partners in building Fatah’s political decision.” [emphasis added]
[Official PA TV News, May 8, 2026]
A Fatah spokesman further legitimized the participation of released terrorists in Fatah’s leadership conference as they “precede everything” and are held “in highest regard:”
Fatah Spokesman and Eighth Fatah Conference preparatory committee member Iyad Abu Zneit: “The composition of the [Eighth Fatah] Conference is diverse and rich … Of course, the released prisoners [are also represented], as they precede everything.
I will emphasize that the leadership insisted on there being broad representation for the [released] prisoners at this conference… The group of prisoners that these ones represent from among those in the Fatah Movement also constitutes a significant number [of members], a large number, who have their own role, and we hold them in the highest regard. They have the right to be partners in Fatah, in the [Fatah] Revolutionary Council, in the leadership of the [Fatah] Central Committee, and in any place they can reach.” [emphasis added]
[Official PA TV, Topic of the Day, May 6, 2026]
PMW exposed last week that among the Fatah members at the Eighth General Conference and those running for Fatah leadership positions are released prisoners responsible for the murder of 75 people while some of the most venerated figures at the conference included arch-terrorist murderers Abu Iyad, who planned the Munich Olympics massacre, and Abu Jihad, who was responsible for the murder of 125 people.
The author is the Founder and Director of Palestinian Media Watch, where a version of this article first appeared.