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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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At Dartmouth, Jewish and Middle Eastern Studies refuse to stay apart
Immediately after the Oct. 7 attacks and the start of the Israel-Gaza War, Dartmouth College student Jackson Weinstein was “extremely outspoken” on campus about his support for Israel.
But by his sophomore year, he had largely withdrawn from discussing the conflict with other students.
“It felt like I was losing friends and just making things harder for myself,” said Weinstein, now a senior at the Ivy League university in New Hampshire.
This past school year, he enrolled in a new course, Difficult Conversations on the Middle East, developed by the college in response to debates over Israel and Gaza that have divided campuses across the country.
For the first several weeks, the class, jointly offered by Dartmouth’s Middle East and Jewish Studies departments, avoided delving into the conflict. Instead, students started by studying topics like groupthink, mindfulness, emotional regulation and academic freedom.
Only by the fifth week did they plunge into subjects like Palestinian armed resistance, women’s rights in the Middle East, the accusation of genocide in Gaza and the role of colonialism in the region.
“In the first class, students come in with this idea of, ‘How do I win the debate? How do I show that I’m right?’’” said Jonathan Smolin, a professor of Middle Eastern Studies. “That’s categorically not what we’re doing in the class.”
Smolin teaches the course alongside Ezzedine Fishere, a former Egyptian diplomat who spent five years posted in Israel.
The hope is that students learn to take an argument seriously enough to understand it before deciding whether they reject it.
The unusual course, offered again this school year, is the product of an experiment Dartmouth began long before Oct. 7. For roughly a decade, its Jewish and Middle Eastern Studies programs have deliberately intertwined themselves: professors co-teach and cross-list courses, serve on each other’s steering committees, co-sponsor visiting professors and even occupy neighboring offices in the same building. It’s just as much for the faculty as it is for the students.
“I want to understand why some people hold positions that I may find horrific,” said Susannah Heschel, chair of Jewish Studies at Dartmouth. “I’m not here to just condemn something; I want to understand the complexity of it.”
An unusual partnership
For Darcy Rochkind, a Middle Eastern Studies major modifying her degree to include Jewish Studies, the partnership is what drew her to Dartmouth.
Rochkind was applying to college in the fall of 2023, as campuses across the country were convulsed by protests and arguments over universities’ responses to Oct. 7. Her dream school was Columbia, but after watching congressional hearings on antisemitism in person and videos her mom sent her of Dartmouth’s Jewish Studies and Middle Eastern Studies professors discussing the conflict side by side, she changed her plans and enrolled at Dartmouth.
“You’d have a very hard time being a Middle Eastern Studies or Jewish Studies major without taking a class from the opposite department,” she said.
The experiment also extends beyond the classroom. In the immediate aftermath of the Oct. 7 attacks, Heschel and her colleagues in Middle Eastern Studies organized two public forums to discuss what had happened and opened it to students. The room was so packed that Dartmouth needed an overflow space, and Heschel said another 1,600 people watched via livestream.
After those initial forums, Dartmouth launched Middle East Dialogues, a series of events organized by faculty in Jewish and Middle Eastern Studies to explore challenging topics related to the region. Rather than foster safe spaces, Dartmouth leaders aspired to create what they call “brave spaces,” where students are encouraged to actively engage with disagreement.
To make it work, Smolin, who has organized many of the program’s events, deliberately avoids inviting speakers who are political activists on either side.
“We’re not interested in people declaring who’s right and who’s wrong,” he said. “That’s not what we do in higher education.”
Instead, they have hosted Israeli and Palestinian political commentators, think tank experts, and public-opinion researchers.
Professors have also facilitated meetings between students to expose them to different viewpoints. Weinstein and several other Jewish students went to dinner with a group of Muslim students, including two Palestinians and a student who had grown up in Gaza. His professor, Fishere, facilitated the gathering.
The students sat together at Pine, a Dartmouth restaurant, and talked for hours about the war, the accusation of genocide in Gaza and the experiences of Gazan civilians.
Weinstein had never before met someone who had spent his entire life in Gaza. He described the dinner as “one of the most human experiences I’ve had at Dartmouth.”
A national flashpoint
Dartmouth’s approach has become increasingly distinctive as Middle East studies programs have become flashpoints in campus battles over Israel, antisemitism and academic freedom.
Since Oct. 7, critics — including Jewish students, alumni, and watchdogs — have accused some Middle East studies programs across the country of teaching about Israel through a hostile ideological lens and creating an inhospitable environment for Jewish and pro-Israel students.
Some professors in the field, meanwhile, have argued that accusations of antisemitism in higher education are being used to police scholarship that could be critical of Israel.
By 2025, the federal government got involved. The Trump administration subjected multiple universities to sweeping demands aimed at addressing allegations of antisemitism by taking away federal funding. Columbia responded by promising to conduct a review of Middle East course offerings to ensure they are balanced.
Under similar pressure, Harvard’s Center for Middle Eastern Studies removed the center’s director and associate director from their leadership posts, though they kept their jobs. The Trump administration later demanded that the school’s Middle East Studies Department, among others, be audited by a third party to ensure a diversity of viewpoints.
The interventions prompted outrage from professors, students, and academic-freedom advocates arguing that the government was seeking to exert control over how universities teach about Israel and the Middle East.
According to Heschel, the climate has contributed to driving a wedge between Jewish Studies and Middle East Studies departments on some college campuses.
“I know that at some universities, faculty in Middle East and Jewish Studies don’t even talk to each other; they don’t respond to each other’s emails, for example,” she said. “That I find appalling. That’s unacceptable.”
Not everything is about conflict
For Heschel, the intellectual case for faculty in Jewish and Middle Eastern Studies to collaborate goes beyond teaching students how to talk about the current conflict.
“We want our students to know not just about the conflict that they read about in the newspapers today,” Heschel said. “We want them to know about a period where there was religious tolerance and respect for one another, to see that it’s possible we don’t have to live in a condition of anger and enmity.”
She co-teaches a course with a Middle East Studies professor examining how Jews in Europe and Arabs in the Middle East responded to modernity during the 19th century.
In one lesson, students learn about the Lebanese intellectual Butrus al-Bustani, who founded a school in Beirut in 1863 for Christian, Muslim and Jewish boys — and hired a cook to prepare kosher food for his Jewish students.
Engineering major Oguz Kurt, a rising junior who was born and raised in Turkey, took the course last semester.
“Building trust week over week” with classmates and professors, he said, brings people like him into the room who might otherwise be “intimidated” by the prospect of tense encounters in a class focused explicitly on the Israeli and Palestinian conflict.
Kurt wants to be there, which points to one obvious limitation to Dartmouth’s experiment: Students have to want to participate.
A 2025 survey of graduating seniors by the university’s campus newspaper, The Dartmouth, found that nearly 70% described themselves as liberal or very liberal, compared with roughly 12% who identified as conservative or very conservative. More than 70% said most of their closest friends shared their political beliefs.
Additionally, a 2025 Gallup poll conducted on the Dartmouth student body in 2025, found only 38% reported feeling comfortable sharing unorthodox ideas in class.
Weinstein wonders whether this degree of homogeneity is why courses like Difficult Conversations succeed – the people least willing to engage with opposing points of view don’t take the class.
“Everyone was there to learn. Everyone could be persuaded,” he said. “In some ways that’s a problem,” adding that the class might benefit from “a wider range of ideologues.”
“Not all of Dartmouth is like this,” Smolin acknowledged. “No doubt there are professors in other units that think it’s up to faculty to lead liberation and that this approach is stifling.”
On the other end of the spectrum, Heschel said some right-wing Jewish faculty members outside the Jewish Studies program have criticized the approach she and her colleagues take.
“I understand the anxiety that Jews feel today about university campuses, but I think they’re underestimating their own students,” she said. “Kids will encounter viewpoints that they will find disturbing and offensive, not just about Israel… they need to learn how to handle such a situation, how to respond.”
Heschel said faculty and administrators at other universities have approached Dartmouth to ask how to replicate what they did.
“I was surprised that we received so many requests from deans and presidents of colleges and universities to come and talk about what we had done,” she said.
From Dartmouth to Damascus
One of the people thinking about what could be replicated outside Hanover comes from much farther away.
Before flying to New Hampshire this May, Ibrahim Imre El-Khalid Bethlen asked ChatGPT a question he had never needed answered before: What is proper Shabbat etiquette?
Bethlen, a Syrian political scientist who teaches at Damascus University, met Heschel when she traveled to Damascus with a delegation of Jewish Americans in December 2025. She invited him to come to Dartmouth for 10 days and packed his schedule with jointly taught courses like Difficult Conversations, and a seminar about Jews in Algeria. Bethlen also lectured about the current political situation in Syria and attended his first ever Shabbat at the campus’ Chabad.
Just as new to him was seeing Jewish Studies and Middle Eastern Studies professors teaching together.
“With every professor we had some brainstorming about how we could bring the people closer,” he said. “How could we demystify” Jews to Syrians. Most of them have never met a Jewish person since the millennia-old Syrian Jewish community left en masse in the mid-20th Century.
Now, Bethlen hopes to connect faculty at Damascus University to their counterparts at Dartmouth. He is realistic about political sensitivities. Bringing an Israeli or Jewish Studies professor into a Syrian classroom to discuss the contemporary conflict, he says, could be a nonstarter. But having an Arab professor in the classroom as well could help.
“We don’t want to jump too high,” he said.
He imagines beginning somewhere Dartmouth itself often begins: with classes focused on shared history and culture rather than contemporary politics. Perhaps a jointly taught course that introduces students to the literature and poetry of Jews and Arabs once shared across the Middle East. Classes like Difficult Conversations can come later.
As a part of that Dartmouth class’s final assignment, students are asked to have a conversation with someone on campus they disagree with about the region, applying what they have learned.
Weinstein chose a friend and fraternity brother whose views on Israel differed sharply from his own. They talked for several hours.
“I ended by congratulating Eli on being ‘the only close friend I’ve ever had that wasn’t pro-Israel,’” Weinstein wrote in his reflection afterward. “I sure hope he isn’t the last.”
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‘We’re saying ‘no’ to Mamdani’: Orthodox teens demonstrate outside Gracie Mansion
In a sea of kippot and black skirts, more than 200 Orthodox middle school and high school students gathered outside Gracie Mansion on Friday, conducting morning prayers and giving speeches.
“I like protesting against Mamdani,” Rami Fishman, a 16-year-old student, told the Forward. “He’s not a great guy. I’ll take an opportunity to speak out against him.”
Prominent Modern Orthodox preparatory schools Ramaz and SAR organized the gathering with Congregation Kehilath Jeshurun, the synagogue that sponsors the institutions. Organizers said that comments Mayor Zohran Mamdani made over the summer attacking AIPAC and Israel drove their efforts. Rabbi Bini Kraus, principal of SAR, said the experience was also intended to teach students about “their civic responsibilities.”
“It’s fun,” Fishman said. “We’re praying and we’re saying ‘no’ to Mamdani.”
Fishman, a junior at SAR, said he liked waking up late and he was enjoying meeting students from another school. Kraus told the Forward students were missing three periods by participating, but noted prayer is part of the school’s curriculum and the gathering wasn’t taking away from their studies.
Students and parents could opt out, with Kraus noting some declined to participate. Nearly 400 alumni and members of Congregation Kehilath Jeshurun signed a petition against the gathering.
In their speeches, students touched on fears of antisemitism, being proud Jews and supporting Israel openly. One 8th grader called on Mamdani to prioritize the safety of the Jewish community.
Neturei Karta, a Haredi group that opposes Zionism, protested against the student group by waving Palestinian flags, chanting and holding signs in support of Mamdani. The NK group chanted “Antizionism is not antisemitism,” and called for Israeli Prime Minister Benjamin Netanyahu to be arrested during his visit to New York next week. Mamdani, who campaigned on arresting Netanyahu, recently acknowledged he does not have the authority to do so.
Michael Rapaport, an actor and staunch supporter of Israel, came to support the students saying it was “moving,” and “not a political statement.”
“These are kids,” Rapaport told the Forward, “they can’t even vote. This is a beautiful, beautiful, beautiful prideful thing.”
Vigil? Demonstration? Protest?
Organizers did not describe the gathering as a form of protest, instead referring to it as a vigil or communal prayer. However, the event involved classic hallmarks of a protest. A handful of participants waved or wore Israeli flags, and organizers acquired a permit for noise amplification.
“Our students have been going out for decades, really, when things matter,” Kraus said.
He noted he demonstrated for Soviet Jewry when he was a student at the school.
A reporter asked Mamdani about the demonstration at a press conference Wednesday.
“I welcome them,” he said. “They can have a vigil, or I’ve heard some describe it even as a ‘protest.’ Whatever it is intended to be, they have the room and space to do so outside of Gracie Mansion. I think that at the time that they are there, I will probably be somewhere else across the city.”
Rabbi Chaim Steinmetz, senior rabbi at Kehilath Jeshurun, said Thursday, “That’s the right response.”
Kraus, however, said he hoped the mayor would change his mind and attend. If he did, he would hear singing, praying and concerns “expressed respectfully.”
“Maybe that will move him,” Kraus said.
Some alumni and parents opposed the demonstration
The petition against the demonstration stated, “This gathering needlessly inflames tensions between the mayor and the Modern Orthodox Jewish community, as opposed to inviting him into conversation as a potential ally working for the shared safety of all New Yorkers.”
Much of the signatures are anonymous, with only school and class year listed.
The petition also said the schools risked portraying the Modern Orthodox community “as a political monolith opposed to the mayor.”
“They don’t want it to look like the Modern Orthodox community is a monolith, but the Modern Orthodox community really is a monolith on this,” Steinmetz said. “The Modern Orthodox community is, by and large, quite Zionist and really takes the security and safety of the state of Israel very seriously.”
A 2024 poll conducted by Nishma Research found 94% of the Modern Orthodox community identifies as Zionist, compared to 51% of Haredi Jews.
Halachic Left, an observant organization that says its members have “deep connections” to institutions in the Modern Orthodox community, helped circulate the petition. In a statement to the Forward, the organization insisted there is a “full range of views in the Modern Orthodox community on Israel, Zionism, and Mayor Mamdani.”
“The mayor has shown a willingness to respect and speak with our community,” read the statement. “We should be partnering with and engaging the mayor rather than castigating or insulting him.”
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I love ‘Seinfeld’ — why doesn’t the rest of my generation?
Seinfeld had a mythic presence in my childhood. The show went off the air three years before I was born, but that didn’t stop it from permeating my psyche.
When I was little, growing up in Bethesda, Md., my parents would regale me with summaries of their favorite family-friendly episodes. There’s the one where George quits his job in a huff, then shows up the next day and simply pretends he never quit. Or when Elaine runs out of toilet paper, only to have the woman in the next stall refuse to “spare a square” — a scene that prompted my mom to start carrying tissue paper in her purse.
Around middle school, I finally became old enough to watch Seinfeld myself. I recorded the reruns that aired on TBS on our DVR and set out to watch every episode, eager to see the stories that had become a part of my family lore.
Suddenly, all the times my dad warned me against the perils of “double dipping” made more sense. (See: Season 4, Episode 19, “The Implant,” when George gets into a fight at a funeral reception for putting a half-eaten chip back into the communal dip).
I had never felt quite so represented by a piece of media: the dry humor, the cynical outlook, the blunt banter, the overbearing parents. It all felt like home.
The Jewishness of Seinfeld was undoubtedly part of the appeal. It wasn’t just that Jerry was Jewish; it was the sensibility — the neuroses, the kvetching, finding the comedy in life’s everyday absurdities. The characters felt like caricatured versions of my craziest relatives.
My affection for the show was strong enough that I skipped a classmate’s bar mitzvah party to see Jerry Seinfeld perform stand-up live at the Kennedy Center in Washington, D.C. I don’t remember any specific jokes he told that night, just how wowed I was that Seinfeld was just as funny in person as on TV.
But explaining my newfound obsession to my peers, I was often met with blank stares. Few of my friends had watched Seinfeld at all. Those who tried an episode on my advice reported back that they found the show dated. Yet the lack of interest could not be explained by a lack of nostalgia for ’90s TV; those same friends came to love Friends and Sex and the City.
This Gen Z disinterest in Seinfeld seems to extend beyond my inner circle: A 2022 YouGov survey of 1,000 adults found a generational divide in the Seinfeld fandom: 14% of 18- to 29-year-olds said they loved the show, versus 22% of those 30 to 44, 27% of those 45 to 64 and 32% of those 65 and older.
To be sure, Seinfeld still has its young fans, as evidenced by the show’s continued life in memes and modern riffs on the plots. But that enthusiasm seems to stop short of the broad, mainstream appeal the show once commanded. Today, shows like The Office or Parks and Recreation seem like the cultural touchstones that Seinfeld once was.
So why hasn’t Seinfeld caught on more with my generation? I have a few theories.
For one, much of the humor in Seinfeld revolves around awkward situations: a date gone wrong, an annoying friend you can’t get rid of, a social obligation you can’t escape. Whether trapped in conversation with a “close talker” or endlessly waiting for a table at a Chinese restaurant, the characters are constantly stuck in situations they’d rather avoid.
But modern technology has made it increasingly possible to live a frictionless existence. Awkwardness has become less relatable and more readily labeled “cringe.” Instead of asking someone on a date in person, just use the apps. Instead of breaking up, ghost. Want to avoid the Soup Nazi’s wrath? Just order Uber Eats.
Indeed, Kramer’s entire character is more difficult to imagine today. He’s constantly barging into Jerry’s apartment unannounced, eating out of his fridge and answering his landline phone. But Americans have grown less connected to their neighbors over time; only a quarter of young adults regularly interact with those who live around them — a sharp drop from 51% of young adults in 2012.
Another reason may have to do with how my generation watches television. Today, the entire series is on Netflix, alongside thousands of other shows competing for our attention. Contrast that with my parents, who watched Seinfeld one episode at a time as it aired, every Thursday night over Chinese takeout.
Famously dubbed the “show about nothing,” Seinfeld isn’t especially suited to binge-watching. There’s no need to watch the episodes in order. There are no major cliffhangers, and any romance is fodder for jokes rather than character development.
Some of the disconnect may also be cultural. When Seinfeld first aired, NBC Entertainment President Brandon Tartikoff — a New York Jew himself — famously worried that the show was “too New York, too Jewish” to connect with a wider American audience.
“Who will want to see Jews wandering around New York acting neurotic?” he asked.
Evidently, many people did. But amid rising antisemitism, I wonder whether Jewishness has lost some of its cultural cachet.
These days, it seems increasingly difficult to enjoy a Jewish artist’s work without being asked to account for that artist’s views on Israel. Seinfeld’s outspoken support for Israel after Oct. 7, along with his inflammatory comments comparing the pro-Palestinian movement to the Ku Klux Klan, have prompted calls to boycott his acts. Ironically, the exception to this rule seems to be the invincible Larry David, who has managed to escape cancellation perhaps because his comedic persona is built around being the butt of every joke.
Of course, it’s also possible that Seinfeld is just old. The laugh track is annoying. The production quality looks unmistakably ’90s. Its references are dated.
But I’d hate for a new generation to write off Seinfeld. So if you’re under 30 and not already a fan, watch a few episodes. You can start with my favorite: “The Marine Biologist.” Once you get to the punchline, maybe you’ll see some of what I see in the show.
Or, maybe, I’m just an old soul. Not that there’s anything wrong with that!
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