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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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Jewish Democratic support weakened slightly in midterms, survey finds
(JTA) — Democrats lost a small amount of Jewish support overall in the midterm elections, even as an overwhelming majority of Jews voted for the party, according to the results of a new survey published Tuesday.
The poll also found that significant shares of both Jewish Democratic and Jewish Republican voters believe their respective parties have become too accepting of antisemitism.
The survey from the Jewish Electorate Institute, a nonpartisan think tank that often works with Democrats, was the latest data pointing to simmering Jewish discomfort with the majority of the community’s longtime electoral home — even as actual voting patterns have remained largely consistent. Conducted by research firm The Mellman Group, the survey polled 800 national Jewish registered voters online from Oct. 29-Nov. 6, including both early and day-of voters.
The data “reveal warning signs for both political parties” in their relationship to Jews, institute chair Barbara Goldberg told reporters in a briefing.
Researchers found that 69% of Jewish respondents voted for Democrats, a six-point drop from the 2024 election. There was a 3.5% margin of error.
That drop occurred even as several other groups that have consistently voted for Democrats increased their shares in 2026, including voters under 45, voters of color, women and white, college-educated voters.
In the run-up to what would become a historic “blue wave” election, the Jewish vote – a reliably Democratic bloc — received particular attention as several high-profile candidates, including Michigan Senator-elect Abdul El-Sayed, broke with longtime party consensus on Israel or otherwise unnerved the Jewish community throughout the campaign. Studies of Jewish voting attitudes published since Election Night, which have also included polls from the liberal Zionist lobby J Street and the pro-Israel group The Jewish Majority, have found that the Jewish party-line vote was largely unchanged despite those reservations.
While the Jewish Electorate Institute did not isolate any polling on Jews in Michigan specifically, it did poll all Jews about their views on El-Sayed and found that his favorability in the group had climbed since September. He is now viewed favorably by 44% of all Jews and 59% of Jewish Democrats, the survey found, with 40% of the former group and 25% of the latter viewing him unfavorably — giving the senator-elect a net favorability rating in both camps. The same polling also found that 41% of Jewish voters view pro-Israel lobbyists AIPAC favorably, and 35% unfavorably.
The survey also found that 36% of Jewish Democratic voters expressed concern about the direction of the party, agreeing with the statement that it has become “too accepting of antisemitic rhetoric within the Party.” One in four Jewish Republicans believed their party was becoming too friendly to white nationalists and the far right.
“The one place both parties are having problems is on rising antisemitism,” Michael Bloomfield, managing director of the Mellman Group who oversaw the survey, told reporters. The questions about antisemitism within the party had not been asked in previous election surveys conducted by the Mellman Group.
In addition, 28% of Jewish Democratic voters said they voted for candidates whose views on Israel caused them concern, saying that other issues outweighed those reservations. One in six Jewish Republicans said they did the same.
In results that echoed an earlier survey put out by the liberal Zionist lobby J Street, 14% of Jewish Democrats said supporting Israel was one of the most important factors in their vote. A higher share of the Jewish Electorate Institute respondents, 27%, said fighting antisemitism was one of their most important issues, while preserving democracy was the top concern.
The Jewish Republican voters surveyed ranked fighting antisemitism as their top concern, and support for Israel as among their top concerns.
This article originally appeared on JTA.org.
The post Jewish Democratic support weakened slightly in midterms, survey finds appeared first on The Forward.
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Museum cancels Dutch synagogue’s tricentennial celebration over Israel tensions
(JTA) — An exhibition honoring the nearly 300-year-old Amersfoort Synagogue was supposed to be a celebration of Jewish life in Amersfoot, a small city in the central Netherlands.
Instead, Dutch Jews say, it could become the latest casualty of anti-Israel cancel culture that has targeted Jews in the Diaspora.
The city’s mayor in the last week has scrambled to save a planned exhibit on the synagogue after it was canceled, but so far has not been able to guarantee that it will open as planned early next year.
On Nov. 4, Paul Baltus, the director of Amersfoort in C, an organization that oversees the Museum Amersfoort and several of the city’s other cultural institutions, said he was canceling the upcoming synagogue exhibition due to “pressure,” an apparent reference to possible confrontations by pro-Palestinian activists.
Pro-Palestinian protesters have held dozens of demonstrations in the Netherlands since the Oct. 7 Hamas attack. On Nov. 8, tens of thousands of people gathered in Amsterdam to demand that the Dutch government impose stricter sanctions on Israel.
Although the museum started planning the exhibition five years ago, Baltus said in a statement, “Since then, the social climate has changed significantly. The situation in the Middle East is also having an impact on Dutch society. The public debate on this subject can be heated and, at times, lacking in nuance.”
Baltus said he is finding the “tension” surrounding the exhibition, which was slated to begin in early 2027, difficult to manage. “As a small and vulnerable organization, I do not want to expose my staff to that kind of pressure,” he said. While he acknowledged that he could hire security guards and install cameras, “the reality is that our volunteers would still have to deal with a range of reactions.”
Jewish community leaders in the Netherlands said they were shocked by the museum’s actions and called on city officials to ensure the exhibition would go on as planned.
The exhibition is one of several cultural events scheduled to mark the 300th anniversary of the Amersfoort synagogue, which opened in 1727. It is the oldest Ashkenazi synagogue in Western Europe still in use today.
On Nov. 4, Mayor Lucas Bolsius told the City Council that the municipality would begin discussions with the museum and other stakeholders “to ensure that the exhibition can proceed.” The museum’s decision to cancel “has caused considerable pain within the Jewish community, particularly by reinforcing the feeling that its members are not welcome or even allowed to exist,” he told council members.
Following a meeting the next day, Bolsius and Baltsus jointly announced on Nov. 6 that they would work together to try to find a solution.
Over the past week, the mayor said, “helping hands have been offered from the city, central government and across the country to address organizational matters. People and organizations want to help make this exhibition possible.”
Baltus said the help being offered has alleviated some of his concerns. “With this support, we will explore the possibilities with an open mind and a positive intention, in consultation with the Jewish community.”
While Jewish leaders told Jewish Telegraphic Agency that they welcomed these efforts, they said the museum controversy is just the latest example of hostility toward Jewish historical and cultural events in the Netherlands, where anything Jewish – even a 300-year-old diaspora synagogue – is often seen as inseparable from the Israeli-Palestinian conflict.
“We are very glad the mayor intervened. Let this be an example for other authorities,” said Hans Weijel, vice chairman of the Centraal Joods Overleg (CJO), the umbrella advocacy organization that represents the interests of the Netherlands’ 40,000 Jews.
Emile Schrijver, director-general of Amsterdam’s Jewish Cultural Quarter, which encompasses the Jewish Museum, the National Holocaust Museum, the Portuguese Synagogue and other Jewish cultural institutions, said the Museum Amersfoort had made its decision without first consulting the Jewish community or the organizations involved in the planned exhibition.
“Largely since Oct. 7, Jewish artists have had a difficult time finding a stage, and Jewish events, including cultural, can’t find a venue. Jewish events are being cancelled for no reason,” he said.
Schrijver rejected Baltus’s contention that security concerns made the museum exhibition unmanageable, given that the Jewish institutions Schrijver runs in Amsterdam frequently host events, despite pro-Palestinian demonstrations and related security concerns.
“We train our staff all the time. We deal with this every day. Yes, it’s difficult, but no, it’s not impossible,” he said.
Schrijver warned that treating Jewish cultural events as potential security problems risks pushing Jewish communities out of public life.
“The effect of this is that the normality of Jewish presence in a town is being pushed away,” he said. “Suddenly anything Jewish is considered a security hazard or prone to cause problems.”
Cultural institutions have a responsibility to distinguish between their views on Israeli government policy and the history of Jewish communities in the Netherlands, Schrijver said.
“You have to separate your private opinion from the long history of a small town in the Netherlands. What they’re effectively doing is pushing the Jewish community to the fringes of society.”
CJO’s Weijel said the Jewish community has played an important role in Amersfoort’s civic life since the mid-1600s.
“We think it is ridiculous that a museum in a city doesn’t want to have an exhibition about a 300-year-old synagogue and its history in that city. The conflict is in the Middle East, not here,” he emphasized. “If you want proof that this is antisemitism, this is the proof.”
Weijel accused Baltus of being “a coward.”
“He’s afraid something bad will happen, but if you’re that afraid, you should stay in bed.”
In his Nov. 4 statement, Baltus acknowledged the Jewish community’s disappointment and offered to contribute his museum’s “expertise and collection” of Jewish historical artifacts to an exhibition in the synagogue instead. He also offered to incorporate the synagogue’s history into the museum’s permanent exhibition on the history of Amersfoort.
For Schrijver, the Amersfoort controversy is yet another attempt to marginalize Jews in a country they have lived in for generations.
“The moment you make Jewish history dependent on what is happening in the Middle East, you are making Jewish existence conditional,” he said.
This article originally appeared on JTA.org.
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Donald Trump actually faced a few tough questions on ’60 Minutes.’ So, why does Marine Le Pen get a pass?
Last Sunday, the news show “60 Minutes” hosted an outgoing president of one country and, quite possibly, the incoming president of another. While falsehoods and fatuities flowed from President Donald Trump, his interviewer, Ross Douthat frequently, if futilely, tried to push back. Yet when Marine Le Pen, running for the presidency of France, also fibbed or fudged the truth, her interviewer, Trevor Phillips, did little more than arch an eyebrow.
This split-screen experience was unsettling for a few reasons. First, it reminded us that our president’s famous “weave” reflects a mind that is declining as surely as his poll numbers. A glance at the interview transcript reflects the deepening incoherence of the man who occupies the world’s most powerful office. This made all the most startling the cogency of his reply to a question Douthat posed at the end of the interview: whether he could stop hating his enemies if that was the price to enter heaven. To a flabbergasted Douthat, Trump replied, “I probably cannot do that, no, because I do hate some of my enemies and I always will.”
While no one can say whether Trump is destined for heaven or hell, Le Pen’s remarks in her interview suggest that she will make life hell for those men and women who fail to qualify, in her eyes, as French.
Yet, in his interview, Trevor Phillips, formerly of The (London) Times and a recent Bari Weiss recruit, failed to make this as clear as a Mike Wallace, a Dan Rather, or a Scott Pelley would have. Nattily dressed and well-spoken, Phillips presented a segment on the violence that has “erupted in Paris’ romantic boulevards” where “the scent of warm croissants and fresh baguettes has been overwhelmed by the whiff of tear gas.”
Overwhelmed by the weight of silly clichés, Phillips could not help but add “They used to call Paris la ville de l’amour — the City of Love. But there hasn’t been much amour on show lately.” While Phillips does not state who “they” are — given the hoariness of the clichés, perhaps they asked to remain anonymous — he should think twice about his assertion that there is not much love. Of course, the protestors are expressing their anger towards the government of President Emmanuel Macron, but they are also expressing their deep attachment, even love, to the republican tradition that has made Paris la ville de la révolution.
More important than his potted account of the social upheavals in Paris, however, was Phillips’ problematic interview with Le Pen. “In 2011,” he explained, “Le Pen took over leadership of what was then a fringe movement from her father, a tough army veteran convicted and fined for Holocaust denial and hate speech.” Yet nine years earlier, in 2002, Jean-Marie Le Pen, the candidate of this “fringe party” then called the National Front, made it into the second round of the presidential election. Though Le Pen failed to make it into the second round in 2007, that more than 4 million French voted for him suggests that his party and person were hardly fringe. It is also odd that while Phillips noted Le Pen’s Holocaust denialism, he omitted Le Pen’s confession that he had tortured Algerian captives while serving in French Algeria.
No less stunning was Phillips’ description of Marine Le Pen’s decision to banish her father from the party in order “to rid it of its stain of bigotry.” If only it were mere bigotry. The National Front was founded, in part, by former members of the French division of the Waffen SS and sympathizers of the wartime collaborationist regime of Vichy. While the daughter has largely succeeded in removing these elements from the party, which she rebranded as the National Rally, she has not removed the “stain” of antisemitism. Little more than a month ago, the French newspaper Mediapart revealed that Le Pen’s second-in-command, Jordan Bardella, was trafficking in antisemitic bilge even after he joined the party as a teenager.
Time and again, Phillips posed questions but had not adequately prepared for Le Pen’s predictable replies. When he asked, in his opening question, “What is happening in Europe? Has politics here just become more radical?” Le Pen answered that “the extreme left creates chaos. They generate violence against people.” If Phillips had done his due diligence, he would have confronted Le Pen with the recent study by the historian Nicolas Lebourg revealing that while six murders in France since 1986 were “generated” by the extreme left, nearly sixty were “generated” by the extreme right. Phillips might also have mentioned last month’s mass killing and wounding of French Muslims in the town of Trappes by an individual who marinated in the literature of the extreme right.
Finally, when Le Pen made the jaw-dropping claim that “discrimination does not exist in France” and, moreover, is “the least racist country in the world,” Phillips did, in fact, raise an eyebrow while repeating her words. But it would have been more effective, perhaps, to raise the findings of various organizations, like the Defenseur des droits, which concluded in 2024 that the “perceived origin” of a job applicant weighs more than any other factor in hiring decisions in France.
As for his lack of follow-up questions to Le Pen’s assertion that France is the world’s least racist country, Phillips’ professional malfeasance was made fully manifest. In every presidential campaign, Le Pen has committed to establishing the law of national priority, which in effect would constitutionalize a racist agenda. Based on the extreme rightwing hobbyhorse of the “great replacement” — namely, that France’s white population is deliberately being replaced by third world immigrants — the law will limit employment opportunities, social and housing benefits to French citizens. Such a law not only runs counter to the laws of the European Union, but also to the humanist and universalist grounding of France’s constitution.
Phillips failed to contest this claim. Ironically, he closed the interview with Le Pen’s assurance that “French people have got to know me.” If only Phillips had done so, as well.
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