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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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Anti-Hamas Militias Vow to Continue Fight in Gaza as Israel Stands Firm on Disarmament, Turkey’s Post-War Role
The head of an anti-Hamas faction, Hussam Alastal, fires a weapon in the air as he is surrounded by masked gunmen, in an Israeli-held area in Khan Younis, in the southern Gaza Strip, in this screenshot taken from a video released Nov. 21, 2025. Photo: Hussam Alastal/via REUTERS
Anti-Hamas groups in Gaza have vowed to continue fighting the ruling Palestinian terrorist group despite the recent killing of their most prominent commander, reporting new recruits as Hamas continues to resist mounting international pressure to disarm.
Ghassan al-Dahini, successor to Yasser Abu Shabaab in Gaza’s Popular Forces, pledged to continue Abu Shabaab’s project and resist Hamas by establishing an alternative to the group’s rule, after his predecessor and confidant died last week while mediating an internal dispute within the group.
Dahini described Abu Shabab’s death as a “grave loss,” saying his followers would “continue on this path and move with the same strength and even more strength.”
“I assure all who support the goals of the Popular Forces that our position is strong and that, God willing, we will become the most powerful force,” he told Israel’s Channel 14.
Abu Shabab, a Bedouin tribal leader based in Israeli-held Rafah in southern Gaza, had led one of the most prominent of several small anti-Hamas groups that emerged in the enclave during the war that began more than two years ago.
Following his death, Hamas said in a statement that the fate of anyone who “betrayed their people and homeland and agreed to be an instrument in the hands of the occupation [Israel]” was inevitable, accusing Abu Shabab of “criminal acts” that amounted to a “flagrant deviation from national and social consensus.”
In an attempt to exploit the situation, the terrorist group gave militants a 10-day ultimatum to surrender in exchange for promises of amnesty, according to Israel’s Channel 12 and reports on social media.
Abu Shabab’s death would appear to be a boost for Hamas, which had branded him a collaborator and ordered its fighters to kill or capture him.
Shortly after the US-backed ceasefire to halt fighting in Gaza took effect in October, Hamas moved to reassert control over the war-torn enclave and consolidate its weakened position by targeting Palestinians who it labeled as “lawbreakers and collaborators with Israel.”
Since then, Hamas’s brutal crackdown has escalated dramatically, sparking widespread clashes and violence as the group moves to seize weapons and eliminate any opposition.
Social media videos widely circulated online show Hamas members brutally beating Palestinians and carrying out public executions of alleged collaborators and rival militia members.
Following Abu Shabab’s death, Hossam al-Astal, commander of the Counter Terrorism Strike Force, another anti-Hamas faction in Khan Younis, said his group would join forces with the Popular Forces, adding that both leaders had “agreed the war on terror will continue.”
“Our project, new Gaza … will move ahead,” al-Astal told Reuters.
The militia commander had previously told The Algemeiner in late October that his group and three allied militias, including Abu Shaba’s group, had coordinated in recent weeks to secure areas vacated by Hamas. He explained that the four Israel-backed militias fighting Hamas were moving to fill the power vacuum, pledging to cooperate with most international forces involved in rebuilding the enclave but vowing to resist any presence from Qatar, Turkey, or Iran, all of which have supported Hamas for years.
For its part, Hamas vowed to keep pursuing collaborators “until this phenomenon is eradicated.”
They “are protected by the occupation army in the areas where these forces are present, which makes it difficult for the security apparatuses,” Hamas spokesperson Hazem Qassem told Reuters.
Meanwhile, as Hamas tries to avoid disarmament and rejects international calls to surrender its weapons, Israel continues to maintain a firm stance, vowing that the Islamist group “will be disarmed” under US President Donald Trump’s peace plan.
Senior Hamas leader Khaled Mashal said the group is open to a temporary weapons “freeze” but rejects the demand for full disarmament outlined in the US-backed ceasefire deal.
“The idea of total disarmament is unacceptable to the resistance,” the terrorist leader said in an interview with Qatari media outlet Al Jazeera on Wednesday.
“What is being proposed is a freeze, or storage [of weapons] … to provide guarantees against any military escalation from Gaza with the Israeli occupation,” he continued.
Instead of immediately surrendering its weapons, as stipulated in the ceasefire deal, Hamas is proposing a long-term ceasefire of up to ten years and a freeze on its arsenal, provided that Israel fully withdraws from Gaza “and ends its campaign of extermination.”
According to a Hamas official cited by Palestinian media, the group will prevent any attacks on Israel during the proposed extended truce, which also calls for significant reconstruction efforts and expanded humanitarian aid in the war-torn enclave.
However, Israel has upheld its hardline position, rejecting Hamas’s proposals and declaring that “there will be no future for Hamas” under Trump’s 20-point peace plan.
“The terror group will be disarmed, and Gaza will be demilitarized,” an Israeli government official told AFP on Thursday.
Under phase one of Trump’s peace plan, Hamas was required to release all remaining hostages, both living and deceased, who were kidnapped by Hamas-led Palestinian terrorists during the group’s invasion of and massacre across southern Israel on Oct. 7, 2023.
In exchange, Israel freed thousands of Palestinian prisoners, including many serving life sentences, and partially withdrew its military forces in Gaza to a newly drawn “Yellow Line,” roughly dividing the enclave between east and west. The Israeli military controls 53 percent of Gazan territory, while Hamas is cracking down on the remaining 47 percent, where the vast majority of the population is located.
The second stage of the peace plan is supposed to establish an interim administrative authority, a so-called “technocratic government,” deploy an International Stabilization Force (ISF) to oversee security in Gaza, and begin the demilitarization of Hamas.
As the international community moves to implement phase two of the ceasefire deal, Turkey has continued to push to join the multinational task force and play a role in postwar Gaza, as Ankara seeks to expand its influence in the region — a move experts warn could potentially bolster Hamas’s terrorist infrastructure.
However, Israel has consistently opposed any role for Turkish security forces in postwar Gaza, reportedly creating a point of tension with Washington, which appears receptive to Ankara’s request.
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Prized Sketchbook at Palace of Versailles Was Stolen by Nazis During WWII, Investigation Reveals
The Palace of Versailles. Photo: Sandrine Marty / Hans Lucas via Reuters Connect
The Palace of Versailles said it will conduct further research into the origins of a sketchbook owned by French painter Jacques-Louis David after a recent investigation revealed that it was stolen by the Nazis during World War II before joining France’s national collection.
Radio France said on Monday that it launched an investigation into the provenance of the prized sketchbook after being contacted by a descendant of its original owner. The broadcaster said just “a few weeks” later, it had compiled enough evidence to support the descendant’s claim about the sketchbook being looted by the Nazis during the war.
The evidence relies on public data accessible online, such as diplomatic archives and the French Holocaust Memorial’s database of Nazi-stolen property. France’s Ministry of Culture admitted that both the ministry and the Palace of Versailles did not know the sketchbook was stolen by Nazis during World War II, but they vowed to “continue research on this notebook and have discussions with the descendants of the owners.”
The Ministry of Culture told Radio France that in the Palace of Versailles, a team of three people are “actively working and reviewing works in the collections to verify their provenance” but the team “had not yet examined this notebook.”
A relative of the sketchbook’s original owner took Radio France he was shocked when he discovered by chance that the Nazi-looted sketchbook was a part of the collection at Versailles. “It’s a key work by David, and the Palace of Versailles does a lot of publicity around these notebooks … So, I’m very surprised that there isn’t more research into their provenance,” he said. “At the moment, there are 100 police officers looking for jewels stolen from the Louvre while to return the works stolen – and there are many at the Louvre and other museums – I find that the means are very, very low.”
The sketchbook dates back to 1790 and includes drawings, sketches, and notes related to one of David’s most famous works, “The Tennis Court Oath” (1790), a painting about the French Revolution that was never finished. The painting belongs to the Palace of Versailles but is currently on display in the Louvre as part of its limited time exhibition that celebrates the 200th anniversary of David’s death. The sketchbook is not part of the exhibit.
German Nazi soldiers stole an entire library, including David’s sketchbook, from Professor Lereboullet in July 1940 when they occupied his home. Lereboullet’s daughter Odile reported the theft in November 1945 to the Commission for Art Recovery (CRA), a French public body responsible for recovering and returning looted pieces of art to their rightful owners or their heirs. She never received a response from the CRA. The sketchbook reappeared in January 1943, when it was sold at auction by the Karl & Faber art gallery in Munich, Germany. It came into the possession of German Jewish art dealer and art historian Otto Wertheimer. A former German professor of art history and curator at the National Museum in Berlin, Wertheimer himself fled Nazi persecution and settled in Paris in 1944. He became a well-known art dealer who provided museums with masterpieces and missing pieces of European art. He sold the David sketchbook to the Palace of Versailles in 1951.
The Palace of Versailles has previously returned only one Nazi-looted item to its original owners: a small Louis XVI era writing table that was returned in 1999.
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Israeli Singer Noa Kirel Blasts Anti-Israel Boycotts of Eurovision Contest: ‘Letting Politics Ruin the Celebration’
Noa Kirel performing “Unicorn” for Israel at the first semifinal at the 2023 Eurovision Song Contest. Photo: ESC/Sarah Louise Bennett
Israeli pop star Noa Kirel lambasted the countries that have decided to boycott the 2026 Eurovision Song Contest because of Israel’s participation, defended her country’s involvement in the competition.
On Wednesday, Iceland joined Ireland, Spain, Slovenia, and The Netherlands in announcing that it will pull out from next year’s Eurovision in protest of Israel’s participation due to its military actions in the Gaza Strip during its war against Hamas terrorists. The war started after Hamas-led terrorists carried out a deadly massacre in southern Israel on Oct. 7, 2023.
Ireland, Spain, Slovenia, and The Netherlands made their announcement last week after the European Broadcasting Union, which organizes the competition, decided to allow Israel to participate in the song contest.
Kirel, who represented Israel in the 2023 Eurovision and finished in third place, told the BBC podcast “The World Tonight” on Wednesday she was “deeply disappointed” that countries have decided to withdraw from the 2026 Eurovision, set to take place in Vienna, Austria, in May. She spoke to the podcast before news broke about Iceland’s withdrawal.
“Eurovision is a bridge, not a wall, and the heart of this competition is to connect hearts through music,” she said. “Unfortunately, some countries are letting politics ruin the celebration. Israel has not violated any rules of the Eurovision. Israel is a peace-seeking nation.”
Kirel also clarified key details about the deadly Hamas-led terrorist attack in southern Israel on Oct. 7, 2023, which launched the Israel-Hamas war in Gaza. “On Oct. 7, Israel did not attack anyone,” the singer noted. “Israel was brutally attacked in a way unseen before. Entire families were murdered, including children. Civilians were kidnapped. Israel defended itself like any other nation would do and those countries are choosing to see the opposite, to ignore the reality. And to boycott Israel – that is antisemitism. I think boycotting Israel on political fronts – it’s not just an injury to us; it’s an injury to everything that Eurovision represents.”
Kirel further noted that claims about Israel manipulating votes during the 2025 Eurovision are total “nonsense” and added, “Instead of searching for excuses for [Israel’s] success, let’s focus on music.”
Wednesday was the deadline for countries to confirm whether they will join the 2026 Eurovision or withdraw without being penalized. Eurovision Director Martin Green said, “We respect the decision of all broadcasters who have chosen not to participate in next year’s Eurovision Song Contest and hope to welcome them back soon.”
Iceland’s national broadcaster RÚV said it believes Israel’s participation in the Eurovision has “created disunity among both members of the European Broadcasting Union and the general public.”
“There is no peace or joy connected to this contest as things stand now. On that basis, first and foremost, we are stepping back while the situation is as it is,” added RÚV Director-General Stefan Eiriksson.
Israel has won the Eurovision Song Contest four times, most recently in 2018, and came second in last year’s contest.