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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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Israeli Security Cabinet to Discuss Possible Lebanon Ceasefire, Senior Official Says
Smoke rises after an Israeli strike on Beirut’s southern suburbs, following an escalation between Hezbollah and Israel amid the US-Israeli conflict with Iran, Lebanon. Photo: REUTERS/Mohamed Azakir
Israel’s security cabinet will convene on Wednesday to discuss a possible Lebanon ceasefire, a senior Israeli official said, more than five weeks into a war with Hezbollah that spiraled out of the US-Israeli conflict with Iran.
Israeli Prime Minister Benjamin Netanyahu’s security cabinet will meet at 8 pm (1700 GMT), the official said.
Senior Hezbollah official Ibrahim al-Moussawi told Reuters that diplomatic efforts by Iran and other regional states could produce a ceasefire soon, saying Tehran had used its blockade of the Strait of Hormuz as leverage.
Two other senior Lebanese officials said they had been briefed that efforts were underway for a ceasefire. One of them said the US had been pressuring Israel to work toward a ceasefire in Lebanon, including during rare talks between Israeli and Lebanese government envoys in Washington on Tuesday.
Israel’s offensive in Lebanon began on March 2 after the Iran-backed terrorist group Hezbollah opened fire at Israel in support of Tehran. It has killed more than 2,000 people and forced 1.2 million from their homes, according to Lebanese authorities. Most of those killed have been Hezbollah terrorists, according to Israeli tallies.
US President Donald Trump earlier said the war with Iran could end soon, telling the world to watch out for an “amazing two days,” while US forces imposing a blockade turned back vessels leaving Iranian ports.
On Tuesday, the United States hosted the first direct talks between Israel and Lebanon in decades. Israel had ruled out discussion of a ceasefire with Lebanon during those talks.
Trump has urged Israel to scale back attacks in Lebanon, apparently to avoid undermining the ceasefire with Iran.
Iran has said Israel’s campaign against Hezbollah in Lebanon must be included in any agreement to end the wider war in the Middle East. Washington has pushed back, saying there is no link between the two sets of talks.
The two Lebanese officials did not have details on when any ceasefire would begin or how long it would last. They said the duration would likely be linked to how long a truce between the United States and Iran holds.
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Trump Says Iran War ‘Close to Over’; Army Chief of Mediator Pakistan Arrives in Tehran
US President Donald Trump takes questions from reporters while Vice President JD Vance and Secretary of State Marco Rubio look on, as they attend a meeting with oil industry executives, at the White House in Washington, DC, US, Jan. 9, 2026. Photo: REUTERS/Kevin Lamarque
US President Donald Trump said the war with Iran was close to over, telling the world to brace for an “amazing two days,” as the army chief of mediator Pakistan arrived in Tehran in a bid to prevent a renewed conflict.
The diplomatic push came as US and Iranian officials weighed a return to Pakistan for further talks after negotiations there ended on Sunday without a breakthrough.
Pakistan‘s military confirmed Field Marshal Asim Munir had arrived in Tehran. A senior Iranian source told Reuters that Munir, who had mediated the last round of talks, was heading to Iran “to narrow gaps” between the two sides.
“I think you’re going to be watching an amazing two days ahead,” Trump told ABC News reporter Jonathan Karl, according to a post by the reporter on X, adding he did not think it would be necessary to extend a two-week ceasefire that expires next week.
“I think it’s close to over, yeah. I mean I view it as very close to over,” Trump said in an interview on Fox Business Network conducted Tuesday and broadcast Wednesday. “We’ll see what happens. I think they want to make a deal very badly.”
Officials from Pakistan, Iran, and Gulf states also said both sides could return to Islamabad in coming days.
The talks last weekend broke down without an agreement to end the war, which Trump launched alongside Israel on Feb. 28, triggering Iranian attacks on Iran‘s Gulf neighbors and reigniting a conflict between Israel and Iran-backed Hezbollah in Lebanon.
Trump‘s optimism lifted global stocks towards record highs. Oil prices – having fallen on Tuesday and in early Wednesday trade – were slightly up at around $95 per barrel, after the US said its blockade of Iranian ports had halted seaborne trade in and out of Iran.
TANKERS INTERCEPTED
The US military said it was turning back more vessels, including the US-sanctioned, Chinese-owned tanker Rich Starry which was seen heading back through the Strait of Hormuz on Wednesday.
A US destroyer stopped two oil tankers attempting to leave the Iranian port of Chabahar on the Gulf of Oman on Tuesday, a US official said.
An Iranian supertanker subject to US sanctions crossed the strait towards Iran‘s Imam Khomeini port despite the blockade, Iran‘s Fars News agency said on Wednesday. Fars did not identify the tanker or give further details of its voyage.
While Iran and the United States appear so far to have avoided a major confrontation at sea since the United States began its blockade on Monday, Tehran has said it would retaliate against military action.
Iran‘s joint military command warned it would halt trade flows in the Gulf, the Sea of Oman, and the Red Sea – which connects to the Suez Canal – if the US blockade continued.
Trump has also threatened to escalate if the war resumes. He told Fox Business Network: “We could take out every one of their bridges in one hour. We could take out every one of their power plants, electric power plants, in one hour. We don’t want to do that … so we’ll see what happens.”
RETURN TO ISLAMABAD
Trump told the New York Post on Tuesday that his negotiators were likely to return to Pakistan, thanks largely to the “great job” army chief Munir was doing to moderate the talks.
Speaking later at an event in Georgia, Vice President JD Vance, who led the US delegation at last weekend’s talks, said Trump wanted to make a “grand bargain” with Iran but there was a lot of mistrust between the two countries.
Iran‘s nuclear ambitions were a key sticking point at last weekend’s talks. The US had proposed a 20-year suspension of all nuclear activity by Iran – an apparent concession from longstanding demands for a permanent ban – while Tehran had suggested a halt of 3 to 5 years, according to people familiar with the proposals.
The head of the International Atomic Energy Agency, Rafael Grossi, said the length of any moratorium on Iranian uranium enrichment was a political decision and suggested Iran might accept a compromise as a confidence-building measure.
Washington has also pressed for any enriched nuclear material to be removed from Iran, while Tehran has demanded that international sanctions against it be lifted.
One source involved in the talks said back-channel talks had made progress in narrowing gaps, bringing the two sides closer to a deal that could be put forward at a new round of talks.
Complicating peace efforts, Israel has continued to attack Lebanon as it targets Iran-backed terrorist group Hezbollah. Israel and the US say that campaign is not covered by the ceasefire, while Iran insists it is.
Israel’s security cabinet will convene late on Wednesday to discuss a possible Lebanon ceasefire, a senior Israeli official told Reuters, after Israeli and Lebanese officials held rare talks in Washington a day earlier.
FALLOUT OF THE WAR
The war has prompted Iran to effectively shut the Strait of Hormuz – a vital artery for global crude and gas shipments – to ships other than its own, sharply reducing exports from the Gulf, particularly to Asia and Europe, and leaving energy importers scrambling for alternative supplies.
The oil market also faces further tightening, as the US does not plan to renew a 30-day waiver of sanctions on Iranian oil at sea that expires this week, according to US officials.
An estimated 5,000 people, civilians and combatants, have been killed in the fighting, including about 3,000 in Iran and 2,000 in Lebanon.
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A farewell to Hampshire College, site of my Yiddish awakening
Zay gezunt Hampshire College. That’s where as an undergrad student worker, I first studied Yiddish at the OG Yiddish Book Center of Amherst, Massachusetts, down the road from the genteel Lord Jeffrey Inn, across the street from uber-sensitive poet lady Emily Dickinson’s alte heym.
In nearby Holyoke, in an old mill turned Yiddish book storage loft, away from the genius of Dickinson’s dybbuk, I earned my way shelving the Book Center’s staggering amounts of the collected works of Sholem Aleichem — most likely purchased as a subscriber premium by turn of the century Forverts readers — and only surpassed by the unspeakable numbers of Yiddish volumes of Guy De Maupassant. I hoisted those onto shelves as well while getting educated about Nico and the Velvet Underground which blared from speakers. Back in the 1980’s that was multitasking.
And dayge nisht, no worries — I got my klezmer awakening there too, via a Walkman and audio cassettes while laboring as a photo history slide librarian for my advisor and favorite professor, filmmaker Abraham Ravett, who is set to retire next month (can you retire if your workplace closes?).
Splayed out across acres of stunning apple orchards that once belonged to the Stiles family, Hampshire College had neither a Hillel chapter nor a Chabad nor any organized sports nor fraternities — but there was a coed sauna, plenty of rolfing on the snow outside said sauna, a successful student run food coop, an acclaimed ultimate frisbee team and a beloved outdoor program that led to my first heron sightings just like in the movie On Golden Pond.
It also had Len Glick, Elvis’ former induction physician who co-taught modern Jewish history, along with his younger historian colleague Aaron Berman, whose office door was anointed with a poster that offered a Marxist view of baseball. It was 1984 and I was hot off seeing Streisand’s film version of Yentl. I’d polished off most of Bashevis’ tomes back home, memorized my Bubby’s photo album of Eastern European Jewry as envisioned in Visniac’s A Vanished World, and collided into Marlene Booth’s documentary about the Yiddishists of Raananah who took up space in an audacious dream of a utopian summer community in Orange County, New York. Tayere Leyener, dear reader, that’s all it took.
I knew my final paper was going to be about women and Yiddish. Well, I recall Len saying, if you want to investigate Bashevis’ inspiration for his Yentl and research women writers and women’s lives in Yiddish, you’re going to have to learn Yiddish; there isn’t much about that available in translation. Why don’t you go over to the Yiddish Book Center, he continued, and talk to them. And just like that, I found myself on the top floor of an old elementary school in Amherst, spending evenings learning Yiddish and my days trying to grasp enough of it to complete my assignment.
I’d love to tell you that just like Yentl, I too spent hours bent over tomes, deep in study, but as previously disclosed, Hampshire had much to distract and much to offer. And besides, I had books to shelve, boxes to unpack and roads to travel, joining the center’s trips to pick up YET MORE Yiddish books. My mazel was that Hampshire hosted the Book Center’s first summer seminars. Once longtime staffer Frieda Howards and I finished inspecting attendees’ dorm rooms, making sure the beds had hospital corners, I was warmly invited to attend lectures.
Hampshire hosted artists and activists like Yippie founder Abbie Hoffman. When Hampshire alum and Yiddish Book Center founder Aron Lansky talked about him, he highlighted all the Yiddish influences in Hoffman’s Steal This Book, as well as the Yiddish-inflected tensions of the Chicago 7 trials. All this came to a head when I met Yiddish lesbian poet, child survivor and hero to Jewish feminists Irena Klepfisz. A Bundist descendant, keeper of the flame, she — vu den — called a hastily gathered group into action. If we wanted Yiddish women’s writing to be translated, we were the translating liberators we were waiting for, so to speak. It was on us.
Tayere leyner/dear reader, I could, like so many Yiddish authors, go on in depth without so much as a break for a comma or a paragraph, such was the depth of my mazel at Hampshire. Ok, a bisl more. There was the weekend trip with Lansky and local poet and Book Center staffer Gene Zeiger to the Newport Folk Festival to hear Joan Baez sing. There was the summer Yiddish genius Naomi Seidman was a fellow at the Book Center — thanks to Seidman, that was my summer of Nico, the Velvet Underground, of reading Ginsberg’s “Howl,” and much much more. That was the summer I interned for the filmmaker Marlene Booth who was making a film about that Yiddish newspaper everyone talked about, the one I recalled picking up for my bubby. I spent time in my cooperative household on campus, bent over an audio transcription machine, typing out interview after interview with Forverts readers, spellbound by their love for it and activism on its behalf as it fell on hard times.
And reader, though Hampshire will likely close for good, you and I now know that if not for Hampshire College, where now upon a nice parcel of that former apple orchard sits the Yiddish Book Center in all its well earned koved, I and many like me, would not spend our days bending over our morgue of Forverts photos, back issues and more, reaching back over time to keep remembering our past and making it available for future generations.
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