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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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Mamdani appoints Phylisa Wisdom, progressive Jewish leader, to run Office to Combat Antisemitism
New York City Mayor Zohran Mamdani has picked Phylisa Wisdom, the executive director of the progressive New York Jewish Agenda, to lead the Mayor’s Office to Combat Antisemitism. This announcement comes as the city grapples with a sharp rise in antisemitic attacks and as the Mamdani administration faces scrutiny from the Jewish community following a divisive election that turned, in part, on Mamdani’s positions on Israel.
Wisdom, 39, has aligned herself with some of the positions Mamdani has taken on countering antisemitism, including opposition to the International Holocaust Remembrance Alliance definition of antisemitism, which considers most forms of anti-Zionism as antisemitic. Mamdani has thus far declined to say how his administration will define antisemitism when determining which cases to investigate or pursue. Wisdom has also called for more sympathy towards Palestinians, and in November 2023, Wisdom’s organization, under her leadership, spearheaded a statement by liberal Jewish elected officials calling for a bilateral ceasefire in Gaza.
In her new role, Wisdom will serve as Mamdani’s point person to the Jewish community. Her appointment is another signal that Mamdani’s anti-Zionist posture will continue to factor importantly into his leadership of the city, which is home to the largest concentration of Jews outside Israel. Her challenge will be facilitating dialogue with people who hold widely diverging viewpoints, without overriding a mayor whose positions on Israel are deeply held and long-standing.
Wisdom told Jewish Insider last month that Mamdani’s pledge to tackle the scourge of antisemitism “will require a comprehensive strategy” with input from the diversity of New York’s Jewish community.
The office’s current executive director, Moshe Davis, is a holdover of the Adams administration.
Josh Binderman, a political strategist who handled Jewish outreach during the mayoral campaign and transition, will continue in a leadership role under the agency headed by Wisdom, a City Hall spokesperson said. Binderman was Mamdani’s informal Jewish liaison in the opening days of the new administration. He worked with both allies of the mayor and leaders of mainstream Jewish organizations who are unsettled by Mamdani.
Mamdani’s first month
The appointment comes as antisemitic incidents continue to account for a majority of reported hate crimes in New York City. According to the New York City Police Department, antisemitic incidents made up 57% of all hate crimes reported in 2025. The trend continued into the new year: NYPD data show that more than half of all hate crime incidents reported in January were targeted at Jews or Jewish spaces, including a rabbi who was verbally harassed and assaulted, and swastika graffiti that, two days in a row, appeared at a playground frequented by Orthodox families in the Borough Park neighborhood in Brooklyn.
More recently, Mamdani drew praise from Jewish leaders for his rapid and forceful response to the attempted car attack at Chabad-Lubavitch headquarters.
Mamdani said the office, established by former Mayor Eric Adams last year through an executive order, will pursue his commitment to addressing rising acts of hate against Jews. The office is tasked with monitoring antisemitic incidents, coordinating city agencies, engaging with Jewish communities across the city and advising the mayor on policy responses to antisemitism and related hate crimes. Mamdani opted to keep the office open while revoking, as one of his first acts in office, executive orders tied to antisemitism.
Mamdani faced a rocky first month in navigating Jewish communal concerns. His Day One move to repeal the adoption of the controversial IHRA definition, which the office to combat antisemitism pursued as a framework for investigating hate crimes, prompted swift backlash from mainstream Jewish organizations. A week later, he was criticized for his response to protests outside Park East Synagogue. City Hall quietly engaged Jewish leaders to defuse tensions, but Mamdani’s eventual statement that “chants in support of a terrorist organization have no place in our city” came later than many had hoped and was viewed by critics as restrained and overly cautious.
Last week, City Council Speaker Julie Menin, who is Jewish, announced a new task force dedicated to combating antisemitism; its co-chairs said the group would take a more assertive legislative role in addressing rising concerns among Jewish New Yorkers. One of its co-chairs is Inna Vernikov, a Republican and Mamdani critic, which could set up potential tension between the City Council and the mayor’s office over how to respond to the rise in antisemitism.
Mamdani also expressed reservations about legislation proposed by Menin to create a 100-foot buffer zone around synagogues and other houses of worship. “I wouldn’t sign any legislation that we find to be outside of the bounds of the law,” he said. However, he broadly supports the Council’s five-point plan to combat antisemitism, including $1.25 million in funding for the Museum of Jewish Heritage and the creation of a city hotline to report antisemitic incidents, he said.
Who is Phylisa Wisdom?
Born and raised in San Diego, California, she grew up in the Reform movement, actively engaged in NFTY, and learned advocacy through the Reform movement’s Religious Action Center under Rabbi David Saperstein. Wisdom is a member of Park Slope’s Congregation Beth Elohim, where Mamdani addressed the congregation while running for mayor.
Wisdom’s positions and past work drew scrutiny from some Orthodox leaders as rumors of her possible appointment began to circulate recently. She previously served as director of government affairs for Yaffed, a pro–secular education group that scrutinized private yeshivas in Brooklyn over inadequate secular education.
In 2023, Wisdom was tapped as head of the New York Jewish Agenda, a progressive advocacy group formed in 2020 to be a voice for liberal Jews in New York. On a recent webinar, Wisdom described her group’s mission as advocating, organizing and convening “liberal Jewish New Yorkers to impact policy, politics and communal discourse.”
The group criticized Adams’ Jewish advisory council in 2023 because it overrepresented the Orthodox community and men.
On the Israeli-Palestinian conflict, NYJA — whose founders include Rep. Jerry Nadler and former City Comptroller Brad Lander, both of whom describe themselves as liberal Zionists — has backed a two-state solution and called for a rights-based and humane approach toward Palestinians living under occupation. It is listed as a member of the Progressive Israel Network. In public statements and on social media, Wisdom has criticized Israeli settlement expansion while also stressing the security and safety of Israelis. Under her predecessor, Matt Nosanchuk, the group advocated for missions to Israel to learn firsthand about the conflict from Israelis and Palestinians. (Mamdani has said he would not continue the tradition of mayoral visits to the Jewish state.)
“We believe that legitimate criticism of policies of the government of Israel is not inherently antisemitic, and those who weaponize it only undermine our efforts and put us in harm’s way,” Wisdom wrote in an op-ed during the mayoral election. “While it is not necessarily antisemitic to criticize Israel, there are those who are antisemitic who use criticism of Israel as a mask for their antisemitism.”
Wisdom was a member of Mamdani’s inaugural committee and hosted him at a Hanukkah celebration for the leadership of the liberal Jewish group. In his remarks at the Hanukkah event, Mamdani said he associates himself with NYJA in “the bringing together of people” on critical issues.
The post Mamdani appoints Phylisa Wisdom, progressive Jewish leader, to run Office to Combat Antisemitism appeared first on The Forward.
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Yiddish theater is revived in Tbilisi, Georgia after 100 years
When Lasha Shakulashvili was a grad student at Tbilisi State University in 2022, he stumbled onto something unbelievable. In the National Archives of Georgia, he found Yiddish posters from 1910 announcing theater performances put on by a grassroots, community-run troupe in Tbilisi in what was then still part of the Russian Empire. The troupe was called the Jewish Division of Musical-Melodrama Art.
The posters were fragile and there were only a few of them. Along with them was a single photo he found in a 1917 copy of The Jewish Daily Forward, found in the archives of the National Library of Israel. The paper had a short dispatch mentioning the Ashkenazi school in Tbilisi and the photo showed a teacher writing the Yiddish word friling — spring — on a chalkboard.
Shakulashvili was surprised. Almost nothing had been written about Ashkenazi Jewish heritage in Georgia because most Jews in Georgia were kartveli ebraelebi or Georgian Jews; ‘Mountain Jews’ (Jewish inhabitants of the eastern and northern Caucasus) and Sephardic Jews. Shakulashvili was eager to find out more.
Born in Tbilisi to Orthodox Christian parents, he was raised in part by a Jewish nanny who taught him Russian and Yiddish. That early exposure set him on his scholarly path – and instilled in him a love for Yiddish and Ashkenazi culture.
Before turning to academia, Shakulashvili, who’s now a Yiddish scholar, Jewish history educator and digital storyteller, worked as a diplomat for Georgia’s Permanent Mission to the United Nations and the Georgian Foreign Ministry. Thanks to this career, he told me: “I look at things as an academic and a diplomat. As a diplomat, you have to be cautious but also persistent. A scholar does that, too.”
That persistence led him to write a dissertation on his findings, and publish some of his early discoveries in the Forward in 2022. His thesis is on the role of Yiddish theater in Georgia in the Jewish enlightenment. “Yiddish theater was groundbreaking at a time when Georgia was a very conservative place,”Shakulashvili said. “There were more actresses than actors, women were leading it, and there were plays that explored arranged marriages and women getting revenge. It was a ‘Belle Epoque’: Ashkenazis had been in Georgia less than a century and they changed the life of the whole community.”
Shakulashvili traced how Ashkenazi Jews began arriving in Georgia in the late 19th and early 20th centuries, fleeing poverty and pogroms in densely populated communities in the Russian Empire’s Pale of Settlement. Before the 1917 Revolution, about 5,000 Ashkenazim lived in Georgia, joining an already diverse Jewish population.
Shakulashvili visited Jewish cemeteries, eventually finding graves of every actor whose name was mentioned on the 1910 theater posters. He conducted oral history interviews with Jewish residents of Georgia from different Jewish communities and learned how interconnected different Jewish populations were: Sephardic and Georgian-Jewish sources told him about their grandmothers being educated at the Yiddish school in a time when many schools didn’t accept girls. In turn, the Sephardic community has taken on the task of preserving the two historic Ashkenazi synagogues.
His journey took him to archives in Tbilisi, Jerusalem and Oxford, England. “I had to bring these stories back to life somehow,” he said. “It’s one thing to find a poster and prove the theater existed, but who played there and where did they come from and how did they learn? My curiosity for the theater led me to find out more about the Yiddish schools. One thing led to another — there was a school, there was a society, a whole culture. I wanted to find a complete picture.”
The majority of Georgian-born Jews have since emigrated to Israel or the United States. According to his interviews, most of them did so not because of fear or persecution, but simply for better economic opportunities after the collapse of the Soviet Union.
Shakulashvili shared discoveries with his students at the Paideia Institute in Stockholm and Tbilisi State University, where he was lecturing. He then began sharing his discoveries on Instagram. One early video he posted showed him offering his mostly non-Jewish students cookies shaped like letters of the alef-beyz (the Hebrew alphabet) — a traditional way of welcoming children into Jewish learning.
When Shakulashvili started speaking publicly about the long-lost Yiddish theater, non-Jewish Georgian actors and directors reached out. Many were stunned to learn that Tbilisi once had a Yiddish stage, shut down in 1926 by Soviet authorities. A question emerged: Could the theater be revived?
Shakulashvili’s discovery and networks forged online brought together Georgian historians, Jewish community leaders and actors of all backgrounds. Ana Sanaia, a prominent Georgian actress, director and playwright emerged as the producer who’d make this dream a reality.
A century after its last performance, the Tbilisi Yiddish Theater reopened in 2023. The first production – performed in Yiddish and old Russian, with Georgian supertitles – was Osip Dymov’s 1907 drama Shema Yisroel (named for a centerpiece prayer in Judaism). Jewish protagonists convert to Christianity to survive, only to be rejected by their families and left stranded between identities.
The reopening in Tbilisi came at a tense time. Since the Oct. 7 attacks on Israel and the war in Gaza, Jewish cultural institutions elsewhere have faced protests and boycotts. Georgia has largely avoided that backlash, something Shakulashvili attributes to the country’s strong identification with its Jewish history.
Still, Georgia is politically polarized, especially as Russia’s war in Ukraine continues to shape regional affairs. The theater is self-funded exclusively through independent fundraising, Ana Sanaia, the theater’s producer, told me.
While Shakulashvili has since stepped back from the theater, his research paved the way for recovering the forgotten Yiddish culture of Georgia. He is now based in Israel, where he produces digital content, leads heritage tours and travels for lectures. He still spends the spring semester teaching in Tbilisi.
Meanwhile, Sanaia continues to produce plays, raise funds and recruit actors. She is currently producing her own play in Georgian about the Yiddish-speaking community and their relationship with Abkhaz Muslims in a Black Sea town in 1907.
Shakulashvili’s latest project focuses on online public education about the diverse arts, culture and languages of the Jewish people, through a platform he calls “Jewish Storytelling.” He is also working on a memoir about his discovery and the journey it sent him on.
“I’m proud to be a Georgian Orthodox Christian, and I am proud to work in Jewish studies,” Shakulashvili said. “Everyday I say ‘thank you’ to God that I have been able to do what I love.”
The post Yiddish theater is revived in Tbilisi, Georgia after 100 years appeared first on The Forward.
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US Condemns South Africa’s Expulsion of Israeli Diplomat
South Africa’s President Cyril Ramaphosa attends the 20th East Asia Summit (EAS), as part of the 47th ASEAN Summit in Kuala Lumpur, Malaysia, Oct. 27, 2025. Photo: REUTERS/Hasnoor Hussain
The United States on Tuesday condemned South Africa’s decision to expel Israel’s top diplomat last week, a State Department spokesperson said, calling the African nation’s step a part of prioritizing “grievance politics.”
“Expelling a diplomat for calling out the African National Congress party’s ties to Hamas and other antisemitic radicals prioritizes grievance politics over the good of South Africa and its citizens,” Tommy Pigott, the State Department’s deputy spokesperson, said on X.
South Africa’s embassy in Washington had no immediate comment.
On Friday, South Africa declared the top diplomat at Israel’s embassy persona non grata and ordered him out within 72 hours.
It accused him of “unacceptable violations of diplomatic norms and practice,” including insulting South Africa’s president.
Israel responded by expelling South Africa’s senior diplomatic representative to its country.
Relations between the countries have been strained since South Africa brought a genocide case over Israel’s defensive military campaign against Hamas in Gaza at the International Court of Justice. Israel has rejected the case as baseless, calling it an “obscene exploitation” of the Genocide Convention and noting that the Jewish state is targeting terrorists who use civilians as human shields in its military campaign.
The genocide case has also contributed to US President Donald Trump’s attacks on Pretoria, including verbal scolding, trade sanctions, and an executive order last year cutting all US funding.
Since the start of the war in Gaza, the South African government has been one of Israel’s fiercest critics, actively confronting the Jewish state on the international stage.
Beyond its open hostility toward Israel, South Africa has actively supported Hamas, hosting officials from the Palestinian terrorist group and expressing solidarity with their “cause.”
In one instance, South African President Cyril Ramaphosa led a crowd at an election rally in a chant of “From the river to the sea, Palestine shall be free” — a popular slogan among anti-Israel activists that has been widely interpreted as a genocidal call for the destruction of the Jewish state, which is located between the Jordan River and the Mediterranean Sea.