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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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Shots fired in Jewish neighborhood of Montreal
(JTA) — Montreal police said an alleged shooter in a neighborhood known for its large Jewish population had been “neutralized” after killing one police officer and wounding another officer and a civilian Monday.
“A suspect has been neutralized,” the official police account posted on X after advising residents Côte-des-Neiges to stay indoors. “Two police officers and one citizen have been injured. The police operation is still underway. Continue to avoid the area. Further details to follow.”
The Montreal Gazette later reported that the suspect and the civilian also were dead.
It was not clear if the intended targets were Jewish, but a Chabad emissary in the neighborhood told Ynet, an Israeli news site, that a nearby building was targeted and that he was sheltering about 100 people.
The Yeshiva World News news site posted a video of a SWAT team swarming around a home belonging to a family affiliated with Chabad, the Orthodox Jewish movement.
Côte-des-Neiges was the scene of postwar Jewish settlement as Jewish families ascending from the working to the middle class moved west from the area of St. Laurent Boulevard. The area, with treelined streets studded with duplexes and low-rise apartment buildings, had a friendly neighborhood ambience and lacked the anti-Jewish restrictions some of the wealthier enclaves maintained at the time.
There are a number of Jewish schools and synagogues in the area, including the Spanish and Portuguese synagogue, the oldest congregation in the country, established in 1768 and which moved to the neighborhood in 1947. The neighborhood is now the site of a large Chabad community and a number of Jewish restaurants and delis.
This is a developing story.
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Everyone was a fan of Clive Davis — even if they didn’t know it
Last September I spent about 30 seconds with Clive Davis in a crowded elevator.
I was in the Sony Building, having just seen a press screening of Richard Linklatter’s Blue Moon. The elevator was full of mostly young people — probably Sony employees — and some press. The doors pinged open and in stepped a man with two handlers and an adorable spaniel. I turned to a fellow journalist and whispered “That’s Clive Davis.”
Someone who knew Clive — enough to call him “Clive” — told him we’d just seen a movie about the creative breakup between lyricist Lorenz Hart and musical composer Richard Rodgers.
“Didn’t you play Janis Joplin for Richard Rodgers,” he asked Davis.
Davis replied with perfect comic timing: “Yes. He hated it.”
That anecdote tells us just how much Davis, the legendary music executive and producer who died Monday June 22 at the age of 94, changed the musical landscape.
Davis had been in the music business long enough to serve as a bridge figure between the Great American Songbook and the popular music of the latter half of the 20th Century. The artists he signed at CBS, and later Arista (he was ousted from the CBS/Columbia for allegedly using company money to finance his son’s bar mitzvah), are enduring icons even, in the case of Ms. Joplin, decades after their deaths.
But what hit me in the elevator was the feeling that not everyone there knew who he was. They did, of course, know the music: Pink Floyd, P!nk, Whitney Houston, Sly and the Family Stone, Barry Manilow, Neil Diamond, Leonard Cohen, Bruce Springsteen and Aerosmith, the very authors of “Love in an Elevator.”
It’s not overstating it to say that Davis’ influence across genres and his golden ear provided the soundtrack to American life. His own life was productive until the end.
He was in the Sony building because he was Chief Creative Officer at the company. A week before his death, the streets were thumping with a New York anthem from one of his late career discoveries: Alicia Keys.
Davis’ rise could be taught in Jewish Studies courses. Born in working-class Crown Heights, he — like Barba Streisand — was a graduate of Erasmus Hall High. He made good at NYU and got his law degree at Harvard.
He rose from the legal department at Columbia to become the company’s top tastemaker. Somewhere along the way he discovered Joplin — of a polar opposite disposition and background — and went from strength to strength.
Davis’ true triumph might have been just how adept he was at navigating everything the U.S. had to offer. The musicians he promoted had little in common save for his imprimatur.
In that elevator, which delivered us without much fuss to the lobby, there may have been people whose musical tastes gravitated to rock, R&B, jam bands, easy listening, guitar instrumentals and jazz.
Whether they knew it or not, Davis shepherded something they liked into existence. His genius was in recognizing genius.
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U.S. and Iran announce direct Lebanon track without Israel
(JTA) — Following tense high-level negotiations over the weekend, mediators in Switzerland announced Monday morning that Washington and Tehran have agreed on a 60-day roadmap toward ending the war.
The joint statement released by mediating countries Qatar and Pakistan also unveiled the creation of a Lebanon deconfliction mechanism. According to the mediators, this entails a direct U.S.-Iranian track to terminate military operations in Lebanon and includes the Lebanese government but not Israel. The mediators did not explain how that would operate or resolve the current hostilities between Israel and Hezbollah.
Throughout the weekend Jerusalem, which watched the talks and the announcement from the sidelines with concern, doubled down on its hardline stance against Iran and its proxy group Hezbollah.
Speaking to reporters in Switzerland Monday before returning to Washington, U.S. Vice President JD Vance clarified that Israel had the right to self-defense, but that “every other nation in the region has the right of self-defense” as well. The mechanism was to resolve direct violations of the ceasefire between Israel and Hezbollah, Vance explained, indicating that it augmented the ongoing diplomatic work.
“We also want to make sure that, you know, when things happen, they don’t spiral into a broader escalation,” he said, adding that “there really hasn’t been a mechanism to have those discussions until basically around 4 p.m. yesterday.” He said that the U.S. had been in constant contact with Israel on Sunday.
Prior to Vance’s statement, the Israeli government delivered its first overt criticism of the diplomatic efforts taking place at the Bürgenstock resort in Switzerland.
Addressing the Jerusalem News Syndicate Conference in Jerusalem Monday, Israeli President Issac Herzog said any negotiations to end the Israel-Lebanon conflict should be done by the two countries themselves and not “by Iranian extortion.”
He added, “Tying Iran to Lebanon not only leaves Israel exposed to constant threat; it leaves the Lebanese weak and powerless, and will prevent their president and government from moving forward.”
Herzog also noted that direct talks were already taking place between Lebanon and Israel in Washington under the auspices of the State Department. The next round of negotiations is scheduled for Tuesday, which Herzog said is designed to empower the Lebanese army to be the sole military force in its country. Hezbollah and Iran are not a party to those talks.
“The disarmament of Hezbollah must be inherent to any solution in Lebanon, and Iran cannot dictate the future of Lebanon – on these fundamental points there is full agreement between Israel and Lebanon,” Herzog stated.
He also thanked President Donald Trump for his efforts on Israel’s behalf, calling him “our closest friend and ally and leader of the free world.”
The Lebanese Presidency said Monday that President Joseph Aoun had received a phone call from US Vance, senior adviser Jared Kushner and Qatari Prime Minister Sheikh Mohammed bin Abdulrahman bin Jassim Al Thani, but did not clarify when that call occurred.
According to the Lebanese statement, the discussion focused on “consolidating the ceasefire in Lebanon, halting the Israeli military escalation, and the steps that must be taken in this regard, including the possibility of forming a cell for this purpose.”
The ongoing fighting between Israel and Hezbollah and the IDF’s presence in southern Lebanon has been a point of tension throughout the ceasefire deal between the U.S. and Iran. The shaky ceasefire has been in place since April 8 after Israel and the U.S. started the war on Iran at the end of February.
In early March, Iranian proxy Hezbollah joined in by attacking northern Israel. Jerusalem has maintained that the Lebanese front needs to stay separate and has continued to take aggressive retaliatory action against Hezbollah despite the U.S. imposing a separate ceasefire in Lebanon as well.
Meanwhile, Qatar and Pakistan said the U.S.-Iran memorandum included the establishment of a “High Level Committee” to oversee negotiations aimed at a roadmap “towards reaching a final deal within 60 days, laying the foundation for the immediate commencement of further technical talks” on Iran’s nuclear program, sanctions and dispute resolution. These were the first formal discussions as part of the new U.S.-Iran Memorandum of Understanding, with Vance representing Washington.
The vice president told reporters Monday that Sunday “was a very, very good day. We made a lot of good progress; we did exactly what we wanted to do,” including securing an agreement from Iran that inspectors from the International Atomic Inspection Agency be allowed back into Iran.
Negotiators also created a mechanism to ensure that the Straits of Hormuz remain open, Vance said, downplaying reports of disputes between the American and Iranian teams.
However, Iranian media reported that members of Tehran’s delegation briefly left the room during Vance’s remarks after learning that Trump was issuing threats against Iran following Iran’s announcement on Saturday that it planned to once again close the Strait of Hormuz.
Vance said it was true the Iranians had threatened to walk out, but in the end they stayed and negotiated until the early hours of the morning.
Trump told Fox News in a phone call on Sunday morning that he had spoken with Iran overnight and said that if the country closed the Strait, he would “blow the s— out of them.” Fox News also reported that Trump had said, “You won’t even make it back to your f—— country.”
Trump also posted on his Truth Social account on Sunday that unless Iran stops supporting Hezbollah, “We’ll hit Iran very hard again, just like we did last week, only harder!!!”
Iranian officials reportedly responded to what they termed U.S. “verbal threats,” saying that “any form of threat is considered a serious violation of the agreement.”
Iranian Foreign Minister Abbas Araghchi said Sunday the talks had delivered “major progress to end [the] Lebanon War,” and added that discussions included oil exports, sanctions relief, frozen Iranian assets and reconstruction plans.
On Sunday, however, Prime Minister Benjamin Netanyahu declared, “We will remain in the security zone in southern Lebanon for as long as it takes in order to protect the residents of the North.”
Vance on Monday said that Israel would have to withdraw, but only when it can do so safely. The Trump administration, he explained, hoped to reach a situation where both Lebanon’s territorial integrity and Israel’s security were protected, noting that Israel itself has said it doesn’t have permanent “territorial intentions” with regard to southern Lebanon.
In separate remarks at Sunday’s JNS International Policy Summit, Netanyahu said, “We have prevented Iran from carrying out a plan to annihilate us. We removed an existential danger.” He added, “We changed Israel’s security doctrine. We initiate. We attack. We surprise.”
Directly addressing the U.S.-Iran negotiations, he added, “No matter what happens in the talks, with an agreement, without an agreement, I pledge to you that Iran, as long as I am prime minister, will never have a nuclear weapon. Never.”
This article originally appeared on JTA.org.
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