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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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Protesters picket Manhattan synagogue over Israel real estate sale, testing Mamdani and new law
Protesters thronged a Manhattan synagogue Tuesday night outside an event promoting real estate in Israel and the West Bank — returning to the scene of a clash last year that prompted a new law shielding houses of worship and put the heat on newly elected mayor Zohran Mamdani.
The demonstration at Park East Synagogue on the Upper East Side drew more than 100 protesters, kept nearly a block away from the house of worship by barricades and a heavy NYPD presence.
Chants of “There is only one solution, intifada revolution,” “From the river to the sea, Palestine will be free,” and “We don’t want a two-state, we want ’48” rose from the crowd — slogans Zionist organizations view as antisemitic and a call for violence and removal of Jews in the region.
At one point, two protesters near the event ripped down a plastered poster of the Lubavitcher Rebbe that read “Messiah is here” from a traffic light and threw it in the trash.
A smaller group of pro-Israel counterprotesters rallied across the street from the pro-Palestinian demonstrators.
A spokesperson for the synagogue said it rented out the space for the Great Israeli Real Estate Event, which advertised properties for sale in Israel and the West Bank.
The standoff comes just days after a new law governing protests outside houses of worship took effect — a measure that City Council Speaker Julie Menin introduced after a November 2025 demonstration at Park East Synagogue.
The protests, combined with what some Jewish leaders saw as slow or equivocal responses from Mamdani, led to calls for legislation that would limit demonstrations near houses of worship.
Menin initially aimed to establish protest-free buffer zones of up to 100 feet outside synagogues but revised the bill after pushback from Police Commissioner Jessica Tisch, some progressive Jewish groups and free speech advocates, under threat of legal challenges.
A watered-down version of that legislation that allows the NYPD to determine how large buffer zones need to be on a case-by-case basis passed with a veto-proof majority last month. Mamdani allowed the bill to become law without his signature.
Mamdani meanwhile vetoed a similar bill that would apply to schools. The Council could still vote to override that veto.
Police closed off the entire street where the synagogue sits to the public, while allowing the event’s attendees to enter. The demonstrators were well over 100 feet away from the building — a greater distance than even the largest buffer zone proposed by Menin.
Supporters of the law argued that its flexible standard — allowing the NYPD to determine buffer zone distances rather than specifying them precisely — would protect protesters’ rights. But the security at Park East showed how that discretion can, in practice, expand protest-free zones by granting the NYPD wide latitude to set the distance themselves.
A spokesperson for Mamdani, a vocal critic of Israel, said on Tuesday before the protest that the mayor is “deeply opposed” to the event, characterizing the sale of property in the West Bank as a violation of international law. The spokesperson, Sam Raskin, nevertheless emphasized that the city was ready to ensure the safety of participants entering the venue and those demonstrating.
“Our administration has been clear that we are committed to ensuring safe entry and exit from any house of worship, and that such access never be in question while all protesters are able to exercise their First Amendment rights,” said Raskin ahead of the event.
‘People are outraged’
Tuesday’s event was the first time under the new law, but the NYPD protest plan it calls for is still a work in progress: the police department still has another month to present a plan and 90 days to publicize it.
Local politicians noted the sensitive nature of the protest, saying that alone is reason to condemn it.
Assemblymember Alex Bores and Councilmember Virginia Maloney, who represent the district where the synagogue is located, said in a joint statement that the situation naturally evoked “painful memories of times when people have been harassed while entering houses of worship.”
Micah Lasher, a state legislator who is vying for the open congressional seat on Manhattan’s west side, described the protest as “intended to create fear in the hearts of Jewish New Yorkers and stigmatize the community.” Lasher said leaders should condemn the protest, no matter any disagreement on policy.
Rob Jereski, a local attorney who is Jewish and came to support the Palestinian side, had reservations about the security perimeters, arguing it kept protesters too far from the real estate event.
“I know the new law is supposed to maintain free speech and honor the Constitution, but this doesn’t seem to do it,” Jereski said. “The fact that Jews pray in a place doesn’t mean that crimes that are committed in that place should be without a response if people are outraged.”
Some counterprotesters also criticized the new Council measure — for not going far enough.
“That’s outrageous that it’s not clear that you cannot demonstrate and harass kids or people around religious institutions,” said Tomer Morad, a demonstrator on the Israeli side.
Karen Lichtbraun, an activist affiliated with the Zionist Herut movement in New York, said the new bill was a “joke” that doesn’t address the problem.
“Today, thank God, they’re away from the synagogue,” she said. “But what happens if next time the police commissioner decides that they can be 50 feet or 10 feet away?”
The post Protesters picket Manhattan synagogue over Israel real estate sale, testing Mamdani and new law appeared first on The Forward.
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Canadian Intel Reveals Gaza War Motivated At Least 7 Lone-Wolf Terror Plots in 2025
Dueling pro-Israel and anti-Israel demonstrations at McGill University in Montreal, Canada; May 2, 2024. Photo: ZUMA Press Wire via Reuters Connect
The Canadian Security Intelligence Service (CSIS)’s newly published annual report documents how aspiring domestic terrorists have felt justified to plan attacks in response to the Israel-Hamas war in Gaza.
“The threat of a domestic lone-actor attack in Canada increased significantly since the beginning of the Israel-Hamas conflict,” the CSIS report said in a section on religion-motivated crime. “In 2025, at least seven of CSIS’s priority investigations involving mobilization to violence have been assessed as motivated by this conflict in whole or in part.”
CSIS Director Dan Rogers offered examples in the report’s introduction, writing that “we achieved a number of counterterrorism successes that led to law enforcement action, including the arrests of Hide & Stalk members in Québec, and of a minor who intended to violently target Jewish people and police in Montréal.”
The report further described how the war in Gaza “has also fueled violent extremist organization narratives and has the potential to inspire a new generation of extremists. The conflict will likely continue to motivate some extremists in the near term, but understanding the true impact of the conflict will only be clear over time.”
Antisemitism appears in Canada in many forms today, with the report noting continued incidents of vandalism, graffiti, online propaganda, overt racist statements, and bomb threats. The document also said that, since 2014, there has been one attack against a Jewish institution and five plans stopped, including an incident in August 2025 involving a minor in Montreal.
Earlier this year, three shootings targeted Jewish institutions in less than a week in Toronto.
Other terrorist crimes from last year spotlighted in the report included a man in Winnipeg charged in March for offenses motivated by “nihilistic violent extremism,” and a woman in Montreal who pleaded guilty in July to providing material support to the Islamic State of Iraq and Syria (ISIS). That month, law enforcement arrested four members of Hide & Stalk, a far-right conspiracist militia driven by an “accelerationist” ideology which seeks to speed up societal collapse.
In September, the neo-Nazi propagandist Patrick Gordon MacDonald, known by the alias “Dark Foreigner,” received a 10-year prison sentence on three terrorism offenses. The report described how “his objective was to inspire others to engage in violence through his graphic designs and videos he produced in support of Atomwaffen Division (AWD).”
Founded in 2015 by neo-Nazi Brandon Russell — who now serves a 20-year prison sentence after a conviction last year for plotting attacks on electrical substations in Baltimore — AWD draws inspiration from James Mason, a former member of the American Nazi Party (ANP) and leader of the National Socialist Liberation Front (NSLF), who wrote an essay collection titled SIEGE which advocated for a white American ethno-state. The group has often blended with Salafi and Jihadist terrorists, “citing their culture of martyrdom and insurgency as inspiration for their tactics and propaganda.”
Another terrorism conviction in Canada came in October when Matthew Althorpe pleaded guilty for his involvement in the Terrorgram Collective, a neo-Nazi Telegram channel. CSIS explained that “the violent tenets of Terrorgram’s content and manifestos have inspired at least three violent attacks in Slovakia, Brazil, and Türkey, two plots to attack critical infrastructure in the United States, and the attempted assassination of a foreign government official in Australia.”
While a variety of ideologies can inspire terrorist attacks in Canada, the perpetrators fit a familiar pattern, with 93 percent being male and the average age being 34, findings consistent since 2022. However, the report noted increases in both youth and those over 48.
The Canadian government also designated numerous organizations as terrorist organizations. In February, newly proscribed groups included seven transnational criminal organizations reclassified as terrorist entities: Cártel del Golfo, Cártel de Sinaloa, La Familia Michoacana, Cárteles Unidos, La Mara Salvatrucha, Tren de Aragua, and Cártel de Jalisco Nueva Generación.
Later in the year Canada added Lawrence Bishnoi Gang, 764, Maniac Murder Cult, Terrorgram Collective, and the ISIS-aligned Islamic State-Mozambique.
The report explained how foreign governments engage in espionage in Canada. Tactics range from agents cultivating friendships with targets to manipulate them to using blackmail and launching cyber-attacks to compromise digital devices. “In 2025, the main perpetrators of foreign interference and espionage against Canada remained the People’s Republic of China (PRC), India, the Russian Federation, the Islamic Republic of Iran, and Pakistan,” the report stated.
Canada joined 13 other countries in July 2025, issuing a statement condemning “the attempts of Iranian intelligence services to kill, kidnap, and harass people in Europe and North America in clear violation of our sovereignty.”
The report described the concept of transnational repression as “when foreign governments, or those acting on their behalf, reach beyond their borders to harass, threaten or harm individuals or groups to advance their interests or to silence criticism and dissent.” Methods employed include physical violence, threatening overseas relatives, lawfare, cyberbullying, online defamation, extortion, and community ostracism.
CSIS named Handala Hack Team as among Iran’s henchmen. The group “doxed several Iran International-linked journalists, including a Canadian resident,” the report said. “The Canadian’s photos, provincial driver’s license, permanent resident card, and Iranian passport details were released on the internet and social media platforms. The hacktivist group reproached the Canadian for, among other things, their promotion of 2SLGBTQIA+ issues in Iran.”
The doxxing resulted in death threats and the harassment of family members in Iran. CSIS warned that Iran may use proxies to go after dissidents, sometimes relying on transnational organized crime networks.
Hostile governments may also seek to plant disinformation, false narratives deliberately spread as “part of broader information operations aimed at manipulating audiences.”
One of the report’s most alarming findings was the degree to which extremist groups with differing ideologies draw inspiration from one another. CSIS described finding “an overlap in content, aesthetics, conspiracy theories and grievance narratives, including those that are anti-liberal, anti-2SLGBTQIA+, antisemitic, and Islamophobic … On occasion, similar violent content is consumed, including gore sites, jihadi beheading videos, and attack manuals.”
CSIS warned that “violent extremists with these different ideologies are increasingly finding common causes. They find inspiration and motivation in the events and trends that polarize society or cause them to lose hope for the future. They easily access and amplify content online that radicalizes them and reinforces their view that violence is justified to achieve their extremist goals.”
The report named Islamic State as the most significant threat to Western interests, with CSIS analysts warning the terrorist group “will continue to attempt to influence supporters — particularly from Syria, Afghanistan, and Pakistan — to plan attacks on targets related to world events, and enable them to do so, while Al Qaeda will continue efforts to reconstitute itself in permissive territories, including through the rise of the Islamic State in Somalia and increased Al-Shabaab terrorism activities in North Africa.”
A recent example of the trend of cross-ideological alliances appeared late last month in Mali, where Jama’at Nusrat al-Islam wal-Muslimin (JNIM,) an Al-Qaeda-linked jihadist group, joined with Azawad Liberation Front (FLA), a Tuareg rebel separatist militia, in a shared effort to overthrow the military junta which has ruled the African nation since Aug. 18, 2020. The coordinated attacks resulted in the killing of Defense Minister Sadio Camara and the seizure of Kidal, a key town in Mali’s eastern region.
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A best-selling novelist identified a minor character as Israeli. Some fans are canceling their orders.
(JTA) — A bestselling author is facing a flurry of anger from fans after advance copies of her upcoming novel identified a character as Israeli — a move that her critics say advances “normalization” of a country they oppose.
Rebecca “R. F.” Kuang, the Chinese-American author of the 2023 satirical novel “Yellowface” and “The Poppy War” trilogy, is set to publish her seventh novel, “Taipei Story,” in September. The advance version, an excerpt of which was leaked on social media on Sunday, includes a short scene involving an Israeli musician.
The musician, a successful pianist whose performance ignites a near-religious fervor for a character in the story, is not named, and the text identifies him as “a dour-faced man who did not so much as crack a smile as we applauded.”
That was enough to trigger some readers and potential readers who said Kuang was whitewashing Israel in the wake of the war in Gaza — even as she has previously expressed support for the movement to boycott Israel.
“RF kuang had 190+ countries to choose from to write about a character’s nationality and she still chose to write about the one who’s actively committing gen0cide against Palestinians for years,” user alltoowellreads wrote on X, in one representative comment that has been shared nearly 1,000 times that used an online version of the word “genocide” meant to evade censors.
Others railed against the excerpt on Threads, where there is a thriving community of people discussing books. Some readers said they even canceled their preorders of the book.
Kuang and her publicists did not respond to requests for comment, and she has disabled comments on her recent Instagram posts, where she has not addressed the criticism.
The backlash to Kuang’s inclusion of the Israeli character reflects a trend in the literary world, in which even minor mentions of Israel or Israelis are enough to land authors on boycott lists.
The trend predates the most recent war in Gaza: Casey McQuiston, the author of the 2019 romance novel “Red, White, and Royal Blue,” initially included a scene where the U.S. president jokes that an ambassador “said something idiotic about Israel, and now I have to call Netanyahu and personally apologize.” In 2021, McQuiston said they would remove the reference to Israeli Prime Minister Benjamin Netanyahu in future printings of the book.
But the trend has intensified after Oct. 7 thrust Israel into the center stage of cultural conversations. An online list titled “Is your fav author a Zionist???” that went viral in 2024 urged boycotts against authors for whom the crowd-sourced answer was yes.
Some authors landed on the list without ever commenting publicly about Israel or Gaza. Gabrielle Zevin, for example, was included in part because her 2024 hit novel about Jewish video game designers, “Tomorrow and Tomorrow and Tomorrow,” received backlash for its inclusion of an Israeli character even though he was presented unfavorably. (Zevin also drew criticism for having spoken at a Hadassah event in February 2023.)
Kuang’s silence on the dustup has left some readers to speculate about why she chose to identify the pianist as Israeli in “Taipei Story,” a work of literary fiction about a young Chinese-American woman on an intensive summer language program in Taiwan.
Kuang, whose work largely deals with the Asian diaspora from an anti-colonial perspective, has historically supported the Boycott, Divestment and Sanctions movement against Israel. In December, she withdrew from an appearance at a literature festival in Dubai, citing a call from the BDS movement.
That record had led some of her fans to argue that the Israeli character may have been included to subtly critique Israel. Others speculated without evidence that Kuang could have been paid to mention Israel in the book, while others simply expressed bafflement or anger at her choice to mention a state they believe is a colonial enterprise.
“Making your books sm about colonization but normalizing israel is insane to me idk im very disappointed,” wrote one X user who garnered 1 million views with the sentiment. (“Sm” is internet shorthand for “so much.”)
For Jews who have been keeping a close eye on trends in publishing since Oct. 7, the response to the Kuang excerpt has been worrying, even if its ultimate impact remains unclear. Meg Keene, a writer who argues that data shows a sidelining of Jewish content in new book deals, summarized the brouhaha with a deflated tweet: “This is where we are now.”
Even some Jews who do not identify as Zionists say they see something worrying in the backlash to the Kuang excerpt.
“The people canceling a preorder over [a] single mention of an Israeli pianist being booked at a concert hall in R.F. Kuang’s new book lack so much f–king nuance. There’s literally no mention of Zionism yet y’all can’t seem to differentiate,” wrote a Jewish threads user who goes by Axis of Anarchy.
After experiencing some blowback, she followed up: “Also stop with this ‘y’all’ business about normalizing Israel. This is exactly the problem and I have been very vocal on calling Zionists out on their s–t so goodness forbid, I point out when y’all are taking your s–t too far.”
Though Kuang has closed most of her recent Instagram posts to comments, her readers continue to comment on older ones that are still open, asking the author about her choice to include an Israeli character.
Some books bloggers argue that the immediate call to boycott Kuang’s latest book is akin to censorship — and distracting from literary analysis.
“Reactionary outrage like this only acts as a form of censorship, because it discourages analysis,” wrote a user who goes by emily.isliterate, accompanying a widely viewed video on the episode. “From what I can read, I think Kuang (in very few words) manages to criticize the way people treat musicians from certain places over others (namely colonizer states). Maybe people stopped reading after the word Israel or they simply can’t garner subtext and theme, but either way, I think the entire situation is troublesome.”
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