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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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Musée d’Orsay Opens Permanent Exhibition Space Dedicated to Nazi-Looted Artwork
Inside the Musée d’Orsay. Photo: ZUMA Press Wire via Reuters Connect
The Musée d’Orsay in France opened a new permanent exhibition room on Tuesday dedicated to works of art that were owned by Jews and looted by the Nazis across Europe during World War II before being returned to France after the war.
The new gallery room is titled “To whom do these works belong?” and will feature rotating installations of works of art recovered after World War II also known as Musées Nationaux Récupération (National Museums Recovery) pieces. Provenance investigators and researchers are still working to identify the original owners of these MNR artworks.
“Over time, the room is intended to evolve to present to the public the discoveries resulting from this research, some of which could allow new restitutions,” said the museum. “It thus constitutes a space of memory, transparency and active research, at the heart of contemporary issues related to the history of the collections.”
Now on display in the exhibition is 13 works, including the 1879 painting “Dinner at the Ball” by Edgar Degas, according to The Times. The painting was previously owned by Fernand Ochsé, a Jewish merchant and art collector living in France who was murdered in the Auschwitz concentration camp during the Holocaust along with his wife. The painting was among thousands of artworks stolen by the Nazis or forcibly sold to Nazi occupiers in France. Also on display in the exhibit is Pierre-Auguste Renoir’s portrait “Madame Alphonse Daudet” from 1876.
The new gallery room and research done by provenance investigators is being funded with support from the nonprofit organization American Friends of Musées d’Orsay et de l’Orangerie (AFMO). According to the organization, 60,000 artworks looted by the Nazis during World War II around Europe were returned to France by 1950 and 224 of those recovered artworks are housed at the museum and in need of further provenance research to find their original owners. Fifteen MNRs kept at the Musée d’Orsay have already been returned to its rightful owners.
Over the next few years, AFMO will fund a team of art historians and researchers, led by provenance expert Dr. Ines Rotermund-Reynard, and they will focus on finding the owners of the 224 recovered artworks in the Musée d’Orsay’s collections, but also approximately 200 additional pieces acquired by the museum after 1933.
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California Man Pleads Guilty to Killing Jewish Pro-Israel Protester; Judge Weighs Light Sentence
Chalk drawer Elena Colombo of the Hamakom Synagogue draws a blue star around blood at the exact location on the sidewalk where Paul Kessler was attacked in Thousand Oaks, California, US, Nov. 7, 2023. Photo: Mike Blake via Reuters Connect
Prosecutors in Ventura County, California have obtained a felony conviction against a community college professor who caused the death of an elderly Jewish man he struck in the face with a megaphone during a heated argument which started at the interstice of dueling demonstrations over the Israel-Hamas war.
Loay Alnaji, 54, on Tuesday pleaded guilty to involuntary manslaughter and battery causing serious injury, along with a special allegation and aggravating factor that he personally used a weapon to strike pro-Israel protester, 69, according to the Ventura County District Attorney’s Office.
The killing occurred in November 2023, when pro- and anti-Israel protesters confronted each other in the city of Thousand Oaks, in the early days of the Gaza war. Prosecutors said Alnaji hit Kessler in the head with a megaphone. Kessler fell to the ground, hit his head on the pavement, and died the next day.
However, even though the charges carry a maximum of four years in prison, Alnaji faces a much lighter sentence when he appears in court on June 25 for his sentencing. Ventura County Superior Court Judge Derek Malan, who is presiding over the case, has promised to honor an agreement to limit his sentence to three years of “formal probation” and “up to” one year in jail for a guilty plea.
Following the proceedings, the Ventura County District Attorney’s office said that so light a punishment, reportedly negotiated directly between Alnaji and Malan ahead of Tuesday’s hearing, is contrary to the preferences of the prosecutorial team which fought to hold him fully accountable for the weight of the crime.
“Alnaji should be sentenced to prison for his violent behavior, and our office strongly objects to any lesser sentence,” district attorney Erik Nasarenko said. “While no amount of punishment will ever fully account for the Kessler family loss, a prison commitment underscores the severity of this crime and will deter others from committing similar acts of violence.”
As previously reported by The Algemeiner, Kessler sustained two impacts — the blow to his head and a second from the concrete to which he fell after being knocked down. Given the charged political climate in which the killing occurred, law enforcement officials hesitated for days to pronounce that the matter would lead to criminal charges, citing conflicting witness accounts of the altercation. At one point, Alnaji’s only interaction with the Ventura County Police Department was a traffic stop initiated while officers conducted a search of his home.
Ultimately, 10 days passed before police officers arrested him on the charges to which he pled guilty on Tuesday — and he almost evaded those when Judge Ryan Wright, the first judge presiding over the case, ruled that there was insufficient evidence to hold a trial.
Since being assigned to the Kessler case in March following the death of its former presiding judge, Malan has avoided relating Alnaji’s actions to rising antisemitic hatred in the US, downgrading the deadly encounter to a disagreement between “two old guys.”
Doing so miscarries justice, the leader of a Jewish civil rights organization told The Algemeiner on Wednesday, stressing the importance of the justice system’s responding to antisemitic violence and hate crimes with a meaningful deterrent.
“The outrageously lenient plea deal offered to Loay Alnaji is a devastating failure of justice that minimizes the death of 69-year-old Jewish man Paul Kessler and sends a chilling message about how seriously antisemitic violence,” said Liora Rez, executive director and founder of StopAntisemitism. “By intervening against the district attorney’s recommendation and dismissing this killing as merely ‘two old guys’ having a dispute, Judge Derek Malan ignored both the deadly consequences of Alnaji’s actions and the disturbing reality that someone promoting pro-Hamas propaganda helped fuel the environment that led to Kessler’s death.”
Follow Dion J. Pierre @DionJPierre.
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Israel Prepares for Possible Return to War in Gaza as Ceasefire Talks Stall, Hamas Rejects Disarmament
Israeli soldier on guard in Gaza, February 2026. Photo: Jonathan Sacerdoti / The Algemeiner
As the Palestinian terrorist group Hamas continues to reject disarmament and further stalls progress on the US-backed Gaza ceasefire deal, Israeli officials are weighing contingency plans for a renewed military campaign should negotiations collapse entirely.
According to multiple media reports, the Israel Defense Forces believes the current negotiations are unlikely to result in either Hamas’s disarmament or the full demilitarization of the Gaza Strip, warning that the terrorist group is exploiting the diplomatic pause to rebuild its capabilities, consolidate control, and further entrench its governance in Gaza.
“Hamas is deliberately dragging its feet. It is exploiting attention on Iran and Lebanon and, in the meantime, is entrenching itself in the Gaza Strip — reasserting control over the territory, establishing governance structures, and rebuilding its military capabilities,” a military source told the Israeli news outlet Walla.
“As things stand, there are two possibilities: a US declaration that the negotiations have reached a deadlock and a return to fighting, or Washington pushing a partial, ‘perforated’ agreement on Israel that would significantly undermine our security interests and erode the operational gains achieved so far,” he continued.
As regional tensions continue to mount, Maj. Gen. Yaniv, commander of the IDF Southern Command, on Wednesday presented Israel’s political leadership with a new operational plan pushing the military to brace for a potential return to combat and initiate a wide-ranging reassessment of its ground maneuver strategy and operational approach.
For months now, the US-led Board of Peace has been conducting parallel negotiations with Israel and Hamas, attempting to tie the large-scale reconstruction of the war-torn enclave to the complete dismantling of the terror group’s weapons arsenal.
However, after continued failed attempts to reach an agreement, the Board of Peace will not hold Israel to the terms of last year’s ceasefire any longer if Hamas again rejects the proposed disarmament framework, according to a document obtained by The Times of Israel.
The board’s High Representative for Gaza Nickolay Mladenov has previously warned that Hamas’s refusal to disarm could trigger a resumption of the war. But now, the official is reportedly signaling that Israel would not be expected to halt military operations or guarantee humanitarian access to Gaza if the ceasefire framework collapses.
Hamas has consistently refused to relinquish its weapons, insisting that Israel must first fully comply with phase one of the ceasefire — including expanded humanitarian aid deliveries, full reopening of the Rafah crossing, and withdrawal of Israeli forces to the agreed Yellow Line — before any disarmament process can proceed.
For its part, Israel has warned that the Islamist group must fully disarm for the second phase of the ceasefire to move forward, pointing to tens of thousands of rifles and an active network of underground tunnels still under the terrorist group’s control.
If Hamas does not give up its weapons, Israeli officials have vowed not to withdraw troops from Gaza any further or approve any rebuilding efforts, effectively stalling the ceasefire agreement.
Under the ceasefire, the Israeli military currently controls over 50 percent of Gaza, while Hamas remains entrenched in the nearly half of Gazan territory it still controls, where the vast majority of the population lives.
In its latest counterproposal, the terrorist group said that any transfer of its weapons would only be possible as part of a wider process leading to the establishment of a Palestinian state.
As the second phase of the Gaza ceasefire agreement remains stalled, Israeli officials have warned that Hamas is quietly exploiting the pause in fighting to tighten its control over civilian life while simultaneously rebuilding its military capabilities behind the scenes.
Last month, local elections saw the Palestinian Authority (PA) record notable gains, with results appearing strong on the surface. However, experts warn the outcome actually reinforced Hamas’s political theater, projecting an image of shifting authority while the group effectively maintains its control on the ground.
According to a report by Israel’s Channel 14, although newly elected municipal figures are formally affiliated with Fatah, the party of PA President Mahmoud Abbas, the presence of Hamas-linked representatives still signals the group’s continued political penetration at the local level.
Beyond official political appointments, Hamas-linked personnel are widely believed to remain embedded within municipal administrative structures, enabling the group to maintain effective control over day-to-day governance away from public view.
At the same time, through checkpoints, strict regulation of goods, and control over key public institutions, including hospitals, the Palestinian terrorist group has been quietly reestablishing its civilian governance structures across the war-torn enclave, with its authority still visibly enforced on the ground.
Hamas has also been reactivating internal security mechanisms to enforce day-to-day order, while conducting extensive intelligence operations aimed at identifying alleged collaborators with Israel and suppressing any opposition.
In an effort to reassert control and shore up its weakened position, the group has launched a violent internal campaign against armed militias and local gangs, targeting those it labels “lawbreakers and collaborators,” with the crackdown escalating into widespread clashes and violence as Hamas members move to seize weapons and eliminate remaining pockets of resistance.
Even after more than two years of war, the group is also rebuilding its military capabilities, including recruiting new operatives, conducting field and command-level training, restoring intelligence and surveillance networks, and reconstructing underground tunnel systems and weapons stockpiles.