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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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Lively Yiddish Forward columnist Miriam Hoffman has died
The Yiddish writer, Forverts columnist, playwright and Yiddish lecturer Miriam Hoffman passed away July 29 in Coral Springs, Florida. She was 90 years old.
Hoffman was a talented storyteller, as seen in the 2017 Forverts video about her, one of ten episodes in its documentary series, Yiddish Writers Monologues. In the 55-minute clip, she describes in dramatic detail her family’s journey from Siberia to a forced labor camp to a displaced persons camp and finally, to New York. The video is in Yiddish with English subtitles.
In a book, also published in 2017, A Breed Apart: A Miraculous Escape from Russia, she tells her life story again, this time in English.
For many years, Hoffman penned a lively column for the Forverts, where she commented, often with biting humor, on certain character types in Jewish society she disapproved of — like American-born Jews snubbing their noses at fellow Jews who had recently arrived from Europe, something she experienced first-hand.
She also wrote about the blatant sexism she encountered in the 1960s and ’70s among the leadership of Yiddish organizations like the Workmen’s Circle and the Congress for Jewish Culture.
But other essays had a serious, softer voice, like the one she told about her decision as a young teen to suddenly cut off her curly locks in order to look more “American” — and how her mother reacted to her daughter’s “rebellion.”
She also hosted a popular Yiddish radio program on the Forward station WEVD.
Hoffman loved the Yiddish theater and began writing plays herself. She and fellow playwright Rena Borow wrote the book for the musical, Songs of Paradise, based on the biblical poetry of Yiddish troubadour Itzik Manger. The show ran at NYC’s Public Theater and the Shakespeare Festival in 1989, drawing a rave review from The New York Times. Her plays were also staged in Montreal and in several European countries.
For 23 years, Hoffman was a popular Yiddish lecturer at Columbia University. In 2011, she published a Yiddish textbook, Key to Yiddish, that included not only lessons in grammar, but also passages on Eastern European Jewish history, customs, songs and holiday content.
I was personally most impressed with her dogged determination to preserve Yiddish as a spoken language with younger generations. In the 1960s, while teaching at the Sholem Aleichem Shul 21, an afternoon Yiddish school in the Bronx, she and three fellow Yiddish cultural activists — educator Gella Schweid Fishman, pianist-composer Malka Gottlieb and artist Tsirl Waletzky — published a series of Yiddish children’s books through a publishing house they created themselves, called Oyfgang (Sunrise).
As Hoffman and Schweid Fishman told me years later, the mood in the Yiddish world then was so pessimistic, and the attitude towards women so dismissive, that none of the Yiddish cultural organizations — including the Workers Circle and the Congress for Jewish Culture — showed any interest in publishing the books.
But Hoffman and her colleagues didn’t give up. An example of this concerned a musical Purim play they wrote and published in 1968, “Purim iz a shpil aza” (“Purim is a time to play”). On the book cover it gives the male name Gavriel Tolyes as the author. But this was a pseudonym; the real author was Hoffman.
“We understood that no one would take our book seriously if they found out that four women published it,” Hoffman told me. “So we took my mother’s name Tolye, and came up with the name Gavriel Tolyes.”
Years later, Hoffman translated the Purim play into English where it was performed and made into a video. This time, the author’s name was her own.
Hoffman was born Miriam Shmulevitsh in Tobolsk, Siberia in 1936. In 1950, her family immigrated to the United States where she studied Yiddish pedagogy at the Jewish Teachers Seminary until 1957. Years later, she finished her bachelor’s at the University of Miami and received a master’s from Columbia University in 1983.
During the 1970s she and her husband Mendl and two young sons, Avrom (Avi) and Binyomin, lived in Israel for several years where she hosted the first Yiddish television program in the Jewish state, together with the popular comedian Shimon Dzigan.
Hoffman often said that one of her main goals in life was to help instill Jewish pride among Jews of all ages in order to stem the tide of assimilation. In 2015 she, along with her son — the renowned Yiddish actor, director and producer, Avi Hoffman — launched the Yiddishkayt Initiative, an organization dedicated to bringing Jews back to their roots through lectures and performances that portray Jewish values and cultural traditions. For Hoffman, this was exactly what she had been waiting for.
Miriam Hoffman is survived by her two sons, Avi and Benjamin, four grandchildren and one great-grandchild.
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Are you there Hashem? It’s me, Clara
“I can complain no more of what brutal tongue-abuse I suffered today. I have exhausted all manners of expression for my grievances.”
I wish I could tell you I don’t recognize those words. I wish I could say they were written by a beleaguered 19th-century governess, or a soldier in the Continental Army afflicted with gangrene. Unfortunately, they were written by me. The day was May 20, 2016. I was 12 years old and full of spite.
I am not sure what, exactly, provoked me that day (since I had exhausted all manners of expression for my grievances), but judging from other angry rants found in this deceptively cute, panda-covered journal, it probably had something to do with: A) My obsession with school, B) My enemies, let’s call them Kyle and Reese, C) My parents’ attempts to discipline me, and D) My conviction that the whole world was conspiring against me. These were heavy burdens for a sixth-grader to bear. Fortunately, the school year was almost over. Reform Jewish summer camp was just around the bend, and I was praying for change. Literally.
“God, if you can hear me, please let me have an amazing camp-experience,” I wrote a few weeks before the session started. “It’s my only escape.” Also, while I had His ear, could He make sure I got a really good part (preferably Belle) in the summer musical, Beauty and the Beast? The previous year, in Aladdin, I’d been relegated to some sadsack ensemble role that clearly did not make use of my incalculable dramatic potential. Please, Hashem!!
But God had His work cut out for Him.
During my first summer, I had established a reputation for myself as a puritanical hardass thanks to my clashes with the popular girls of Bunk 15. Let’s call them Samantha, Madison and Lindsey. Lindsey slept in the bunk bed next to mine, and every night she would amuse the other girls by pretending that she was singing Taylor Swift hits in her sleep. This enraged me. I hung up towels around my bed so I could silent-scream in private. Soon, the trio began to whisper that I was “gossiping” about them. I don’t think the counselors bought that story, though, since successful gossiping requires you to spread lies to many people, and I knew around three. I spent seven weeks in non-stop kvetch mode, writing pathos-ridden letters home, crying a lot, and making petty demands on God in a prior journal that I am scared to open. It got so bad that the camp director had to call up my parents on vacation.
Yet when the long-awaited last day came and my parents loaded up the car with all my musty-smelling camp stuff to take me home, something inexplicable happened: On my first night back in my own bed, I cried that I missed camp. Maybe I had been wrong all along! Send me back!
I don’t know how I got sucked back into another year. Maybe I’d been hoodwinked by ritual — the s’mores, the songs, the tie-dyed shirts, the crying around the lake as we promised to come back — or the fantasy that next year, I would finally be accepted. In any case, nostalgia had caused me to keep secrets from myself. “When does the memory keep secrets?” the Italian writer Alda Merini asks cryptically in her 1989 book Delirio amoroso, or Amorous Delirium, a collection of poems inspired by her experiences with love-induced madness. “When it forgets.”
I had forgotten, and now I was going to pay the price.
On my first day back, I arrived to find that all my complaining to the camp director had backfired: I’d earned an exile worthy of Napoleon, except instead of Elba, I was going to Bunk 20, where I knew nobody. I had no foes, and also no friends.
According to 12-year-old me, I spent the next seven weeks fighting back an unstoppable tide of hostilities. In reality, I probably spent just as much time swimming, kayaking, trying to play volleyball, hanging out with my new friends Lana, Hannah and Sabrina, painting clay pots, and pretending I wasn’t spending Shabbat services writing installments of a bleak tale called “Gertrude’s Life,” about a long-suffering Victorian girl with a mangled left leg. But 12-year-old me was fluent exclusively in “kvetch.” A couple of times a week, a cadre of rabbis with guitars tried to counteract my natural crankiness by teaching us key principles of Reform Jewish wisdom: Shalom (keeping calm), Tikkun Olam (repairing the world), and Hineini (present awareness). Unfortunately for the rabbis, I was too far gone. I had braces on my teeth and eczema on my skin, an intimidating combination of blood and steel.
You probably won’t be shocked to learn that I didn’t get Belle. Instead I got cast as something more fitting, the wicked crone who turns the Prince into the Beast to begin with. It seemed unfair to me that such an important catalyst didn’t have any lines, just menacing gestures. Later in the summer, our bunk went on a camping trip where I broke a glow-stick on myself and my sleeping mat, and I became convinced that I was going to die. I briefly developed “enamorous feelings” for a young fellow before concluding that “he was really into cursing and being a general idiot.” On the bus back from some field trip, a kid named J.T. said he wanted to kiss me, which was repugnant and secretly flattering.
And of course, I somehow still managed to scrap with my tormenters from the year before. On a visit to Bunk 18, the lair of my enemies and also a few friends, Madison told the counselors that she felt “uncomfortable” changing out of her swimsuit in front of me. For my part, I felt uncomfortable that she was framing me as a pervert.
Looking back on this journal, I may have had myself to blame for the isolation I spent so much time complaining about. How would anyone make friends with a 12-year-old nudnik who wrote things like “I had to go to the compost bin thrice during breakfast” and “I started off the morning by crying the equivalent of Taghaza, the city made of salt”? Even Job would not have had the patience.
One way or another, by summer’s end, I was ready to leave camp forever. Or so I claimed. “At the moment, our bunk is creating a plaque to commemorate the summer. Everyone’s laughing, sharing inside jokes I’ll never be a part of,” I wrote. “To be honest, I’m rather sick of this camp thing and going home in two days is perfectly fine with me. Camp days are too frivolous. I need something with which to occupy the mind.”
But if I wanted “something with which to occupy the mind,” I was about to get it. Two days later, I was back home. Camp was no longer tormenting me with its frivolity, and I missed it. Memory had worked its hazy rearview magic on my mind once again. I thought about my friends, about singing the evening prayer and swaying back and forth, about the wooden float we’d burned in the middle of the pond like a Viking ship to commemorate the summer. I thought about ice cream sandwiches. “It’s been so fun, and now it seems like it had all been a dream,” I wrote.
A day or so later, missing camp had become a dream, too. I never went back.
It’s been ten years since I was twelve. That time of life is increasingly dream-like. When I reread the cursed document that is my camp journal, I feel the misery. I feel it churn in my stomach sure as suspicious falafel. Yet in photos taken at camp, I see myself smiling, entwined with other girls, my braces glinting in the sun. I cannot tell which person is real. Both girls — the one in the journal and the one in the pictures — seem unknowable.
I don’t know if I’ll ever figure out what I really thought. Memory is made of such blobby, malleable stuff that you can’t touch it without changing it, reshaping it in some way. And since memories make up our “sense of self,” whatever that is, this must mean that we are constantly morphing, too.
The last thing I wrote about camp at the summer’s end was that it seemed like another life, “as if it had all happened to someone else.”
Maybe it did.
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Cornell condemns student’s viral antisemitic remarks, but won’t bar him from campus
(JTA) — Cornell University is condemning viral antisemitic remarks made by an undergraduate student who appeared on “Piers Morgan Uncensored” earlier this week, but the school’s president says no further action is planned against the student.
During his appearance, the student, Austin Franco, defended his statement in June that he did not want to work with Jews, saying that he did not like most of the Jews he had met. The remark was made in a private message that the company that received it publicized.
“As a university built on the solid foundations of our nation’s democratic freedoms, Cornell has an obligation to fiercely defend freedom of speech — even when we find that speech abhorrent,” Cornell’s president, Michael Kotlikoff, said in a statement issued late Wednesday, shortly after the Jewish Telegraphic Agency reached out to the school for comment on Franco.
“The student’s public comments invoked hateful generalizations and uninformed tropes with a long, ugly history of harm,” Kotlikoff said, adding that “antisemitism generally” is “detestable, ignorant, and fully at odds with the values of the Cornell community.”
Kotlikoff, who is Jewish, did not mention Franco by name in his statement, citing federal privacy law, nor did he specify which of Franco’s comments about Jews the school found objectionable.
His comments once again place Cornell on the front line in tensions over antisemitism at colleges and universities. The school reached a $60 million settlement with the Trump administration last year to resolve antisemitism claims and regain $250 million in funding that had been frozen over campus unrest in the wake of Hamas’ Oct. 7, 2023, attack on Israel.
Cornell was one of the earliest schools to face antisemitism allegations after Oct. 7, 2023, when a professor spoke at a pro-Palestinian rally and said he had been “exhilarated” by the Hamas-led attack against southern Israel, in which more than 1,200 people were killed and 250 taken hostage.
But the latest incident involving Franco had little to do with the subsequent war in Gaza until Tuesday, when the student told Morgan on his YouTube show that he objected to Jews in part because of Israel, which he deemed “a genocidal country.”
The controversy over Franco, a rising junior at the Ivy League university in Ithaca, New York, began in June when he wrote in an internship application that he was “not interested in working for a jew.”
His name and remarks were publicized by the Jewish co-owners of Handshake, the tech company to which Franco had applied for an internship, though Franco has claimed he’d already turned down an offer. His comments prompted online backlash — including from Leo Terrell, the Trump administration’s antisemitism czar, who posted dozens of times about the 19-year-old.
Franco has garnered significant support from the far right, including through a crowdfunding campaign initiated by a YouTuber who had previously drawn criticism for saying he hoped to see “another Hitler.” Franco’s comments to Morgan included positive references to “America First,” the Trump-led nativist movement embraced by the far right.
Cornell had announced it was opening an investigation into Franco when his comments were first publicized. He remained in the headlines after he was secretly filmed by an apparent sting operation led by Accuracy in Media, a right-wing activist group that has targeted pro-Palestinian students and university heads the group deems antisemitic on other campuses. Franco told a hidden camera interviewer connected to the group last week that the university’s investigation had amounted to little and that he would be returning to Cornell.
Asked by Morgan Tuesday to explain his beliefs, Franco said that a Jewish friend of his at Virginia Tech University, where he was enrolled before transferring to Cornell, “said we should genocide all Palestinians.” He named other “bad experiences with Jews” he claimed to have experienced in college, focusing on Jewish campus figures he said had “made things up about me,” and said Jews had “made my life a living hell.”
As Morgan pushed Franco to admit he was antisemitic, the student insisted he was not.
“Not wanting to be around Jewish people does not mean you don’t like them,” he said, adding that one of his exes “was half-Jewish.” He returned to Israel later in the conversation, chargingthat it is a Jewish-led “genocidal country” that insists upon “killing Palestinians and reporters and dragging America into wars abroad.” He concluded, “No, I am not going to want to associate with those people.”
“This is a common sentiment that is held,” Franco said. “If you think this is just me, you are completely wrong.”
Morgan, for his part, concluded, “You kind of made yourself unemployable.”
Franco is facing more immediate consequences, he announced on X on Wednesday. “My parents are kicking me out,” he tweeted, drawing offers of support from a handful of prominent far-right personalities.
Like many other schools that faced unrest after Oct. 7, Cornell has taken steps aimed at countering campus antisemitism while attempting to balance academic freedom concerns, in part as a result of its settlement with the Trump administration. The university commissioned an antisemitism task force and has undertaken several initiatives, including new campus climate surveys and stricter Title VI enforcement. It has also enforced a range of disciplinary actions against pro-Palestinian students.
But when it comes to Franco, one Jewish faculty member at Cornell theorized, the administration’s hands were tied.
“You sort of have to live with it,” Menachem Rosensaft, a visiting professor at Cornell Law School and former general counsel for the World Jewish Congress, told JTA. “He is engaging in obnoxious thought that is not harming anyone else.”
Rosensaft has been at the center of other antisemitism-related controversies at Cornell, including in 2024, when he prompted Kotlikoff to criticize another Jewish professor’s planned class on Gaza — an action that the school’s faculty union said was a violation of academic freedom.
In the case of Franco, Rosensaft argued that Cornell shouldn’t “turn him into a First Amendment martyr.”
But Rosensaft added that there could be grounds for discipline if Franco returned to campus and made harmful comments about Jews in the classroom or in other public spaces.
In 2025, Jonathan Greenblatt, the CEO of the Anti-Defamation League, praised Kotlikoff for what he called “a comprehensive approach to countering antisemitism.” An ADL spokesperson did not return a JTA request for comment on Cornell’s latest statement about Franco.
Franco himself has launched a second crowdfunding campaign to support his housing costs.
“I have reiterated that my parents do not share my views, and it seems they no longer wish to provide me with a home to live in,” he wrote in the description. “I know the road ahead will be difficult, but this is the path I chose. I could have lived a more conventional life, as my parents did, and perhaps in a different time I would have. However, that is not the world we live in today, and because of that, I chose a different path than most.”
This story has been corrected to reflect that the original comments Austin Franco made about not wanting to work with Jews were made in a private message rather than publicly.
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