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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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A chat in Yiddish with filmmaker Pearl Gluck
וואָס געשעט ווען אַ יונגע פֿרוי פֿאָרט זוכן אַ פֿאַרלוירענע געבענטשטע חסידישע סאָפֿע אין אונגערן, און געפֿינט דווקא אַ נײַעם קונסטוועג וואָס ברענגט ייִדיש אין קינאָ אַרײַן און דערבײַ הייבט זי אָן אַ הצלחהדיקע פֿילם־קאַריערע?
באַקענט זיך אויף אַ זומישן שמועס אויף ייִדיש מיט פּראָפֿ׳ פּערל גליק — אַ פֿילמאָגראַפֿקע וואָס איז דערצויגן געוואָרן בײַ אַ חסידישער משפּחה — זונטיק, דעם 23סטן נאָוועמבער, 1:30 נאָך מיטאָג ניו־יאָרקער צײַט.
הײַנט איז גליק אַ פּראָפֿעסאָרין פֿון פֿילם־פּראָדוקציע בײַ פּען־סטייט־אוניווערסיטעט, און די גרינדערין פֿון Palinka Pictures. זי שאַפֿט דאָקומענטאַלע און נאַראַטיווע פֿילמען, אין וועלכע זי וועבט צונויף ייִדיש־לשון מיט די טעמעס זכּרון, משפּחה און דאָס דערציילן פּערזענלעכע געשיכטעס.
דער אינטערוויו, וואָס וועט געפֿירט ווערן דורך אלי בענעדיקט, ווערט געשטיצט פֿון דער ייִדיש־ליגע.
גליקס פֿילמען האָט מען שוין געוויזן אינעם Film Forum און אויף PBS, ווי אויך אין פּראָגראַמען פֿאַרבונדן מיט דעם „קאַן־קינאָ־פֿעסטיוואַל“. צווישן אירע באַקאַנטסטע פֿילמען זענען: „דיוואַן“, Where is Joel Baum און „שלעסער אינעם הימל“.
בענעדיקט וועט שמועסן מיט איר וועגן איר שאַפֿערישן פּראָצעס, ווי ייִדיש שפּילט אַ ראָלע אין אירע פֿילמען, און די געשיכטע הינטער געוויסע סצענעס. מע וועט אויך ווײַזן קורצע אויסצוגן צו פֿאַרטיפֿן דעם שמועס.
כּדי זיך צו פֿאַרשרײַבן אויף דער פּראָגראַם, גיט אַ קוועטש דאָ.
The post A chat in Yiddish with filmmaker Pearl Gluck appeared first on The Forward.
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UN Says Israeli Wall Crosses Lebanon Border
The United Nations headquarters building is pictured though a window with the UN logo in the foreground in the Manhattan borough of New York, Aug. 15, 2014. Photo: REUTERS/Carlo Allegri
A survey conducted by the United Nations Interim Force in Lebanon last month found that a wall built by the Israeli military crosses the Blue Line, the de facto border, a U.N. spokesperson said on Friday
The Blue Line is a U.N.-mapped line separating Lebanon from Israel and the Israeli-occupied Golan Heights.
Stephane Dujarric, the spokesperson for the U.N. secretary-general, said the concrete T-wall erected by the IDF has made more than 4,000 square meters (nearly an acre) of Lebanese territory inaccessible to the local population.
A section of an additional wall, which has also crossed the Blue Line, is being erected southeast of Yaroun, he said, citing the peacekeepers.
Dujarric said UNIFIL informed the Israeli military of its findings and requested that the wall be removed.
“Israeli presence and construction in Lebanese territory are violations of Security Council resolution 1701 and of Lebanon’s sovereignty and territorial integrity,” UNIFIL said in a separate statement.
An Israeli military spokesperson denied the wall crossed the Blue Line.
“The wall is part of a broader IDF plan whose construction began in 2022. Since the start of the war, and as part of lessons learned from it, the IDF has been advancing a series of measures, including reinforcing the physical barrier along the northern border,” the spokesperson said.
UNIFIL, established in 1978, operates between the Litani River in the north and the Blue Line in the south. The mission has more than 10,000 troops from 50 countries and about 800 civilian staff, according to its website.
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Hamas Quietly Reasserts Control in Gaza as Post-War Talks Grind On
Palestinians buy vegetables at a market in Nuseirat, central Gaza Strip, November 13, 2025. Photo: REUTERS/Mahmoud Issa
From regulating the price of chicken to levying fees on cigarettes, Hamas is seeking to widen control over Gaza as US plans for its future slowly take shape, Gazans say, adding to rivals’ doubts over whether it will cede authority as promised.
After a ceasefire began last month, Hamas swiftly reestablished its hold over areas from which Israel withdrew, killing dozens of Palestinians it accused of collaborating with Israel, theft or other crimes. Foreign powers demand the group disarm and leave government but have yet to agree who will replace them.
Now, a dozen Gazans say they are increasingly feeling Hamas control in other ways. Authorities monitor everything coming into areas of Gaza held by Hamas, levying fees on some privately imported goods including fuel as well as cigarettes and fining merchants seen to be overcharging for goods, according to 10 of the Gazans, three of them merchants with direct knowledge.
Ismail Al-Thawabta, head of the media office of the Hamas government, said accounts of Hamas taxing cigarettes and fuel were inaccurate, denying the government was raising any taxes.
ANALYST SEES HAMAS ENTRENCHING
The authorities were only carrying out urgent humanitarian and administrative tasks whilst making “strenuous efforts” to control prices, Thawabta said. He reiterated Hamas’ readiness to hand over to a new technocratic administration, saying it aimed to avoid chaos in Gaza: “Our goal is for the transition to proceed smoothly.”
Hatem Abu Dalal, owner of a Gaza mall, said prices were high because not enough goods were coming into Gaza. Government representatives were trying to bring order to the economy – touring around, checking goods and setting prices, he said.
Mohammed Khalifa, shopping in central Gaza’s Nuseirat area, said prices were constantly changing despite attempts to regulate them. “It’s like a stock exchange,” he said.
“The prices are high. There’s no income, circumstances are difficult, life is hard, and winter is coming,” he said.
US President Donald Trump’s Gaza plan secured a ceasefire on October 10 and the release of the last living hostages seized during the Hamas-led October 7, 2023 attacks on Israel.
The plan calls for the establishment of a transitional authority, the deployment of a multinational security force, Hamas’ disarmament, and the start of reconstruction.
But Reuters, citing multiple sources, reported this week that Gaza’s de facto partition appeared increasingly likely, with Israeli forces still deployed in more than half the territory and efforts to advance the plan faltering.
Nearly all of Gaza’s 2 million people live in areas controlled by Hamas, which seized control of the territory from President Mahmoud Abbas’ Palestinian Authority (PA) and his Fatah Movement in 2007.
Ghaith al-Omari, a senior fellow at the Washington Institute think-tank, said Hamas’ actions aimed to show Gazans and foreign powers alike that it cannot be bypassed.
“The longer that the international community waits, the more entrenched Hamas becomes,” Omari said.
US STATE DEPARTMENT: HAMAS ‘WILL NOT GOVERN’
Asked for comment on Gazans’ accounts of Hamas levying fees on some goods, among other reported activities, a US State Department spokesperson said: “This is why Hamas cannot and will not govern in Gaza.”
A new Gaza government can be formed once the United Nations approves Trump’s plan, the spokesperson said, adding that progress has been made towards forming the multinational force.
The PA is pressing for a say in Gaza’s new government, though Israel rejects the idea of it running Gaza again. Fatah and Hamas are at odds over how the new governing body should be formed.
Munther al-Hayek, a Fatah spokesperson in Gaza, said Hamas actions “give a clear indication that Hamas wants to continue to govern.”
In the areas held by Israel, small Palestinian groups that oppose Hamas have a foothold, a lingering challenge to it.
Gazans continue to endure dire conditions, though more aid has entered since the ceasefire.
THEY ‘RECORD EVERYTHING’
A senior Gazan food importer said Hamas hadn’t returned to a full taxation policy, but they “see and record everything.”
They monitor everything that enters, with checkpoints along routes, and stop trucks and question drivers, he said, declining to be identified. Price manipulators are fined, which helps reduce some prices, but they are still much higher than before the war began and people complain they have no money.
Hamas’ Gaza government employed up to 50,000 people, including policemen, before the war. Thawabta said that thousands of them were killed, and those remaining were ready to continue working under a new administration.
Hamas authorities continued paying them salaries during the war, though it cut the highest, standardizing wages to 1,500 shekels ($470) a month, Hamas sources and economists familiar with the matter said. It is believed that Hamas drew on stockpiled cash to pay the wages, a diplomat said.
The Hamas government replaced four regional governors who were killed, sources close to Hamas said. A Hamas official said the group also replaced 11 members of its Gaza politburo who died.
Gaza City activist and commentator Mustafa Ibrahim said Hamas was exploiting delays in the Trump plan “to bolster its rule.” “Will it be allowed to continue doing so? I think it will continue until an alternative government is in place,” he said.