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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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Musician-ethnographer Michael Alpert to receive Dreaming in Yiddish Award
Michael Alpert, an influential klezmer musician and ethnographer who has played a key role in the global renaissance of Yiddish music and culture, has been selected as this year’s recipient of the prestigious Adrienne Cooper Dreaming in Yiddish Award.
The ceremony will take place at the Dreaming in Yiddish Award Concert during the Yiddish New York festival — the largest annual Yiddish culture festival in the world — in December.
Now in its eleventh year, the hybrid festival brings together a global community for in-person events at Hebrew Union College in downtown New York, as well as online programming via Zoom. The festival includes concerts, workshops, lectures, films, Yiddish classes, dance parties and intergenerational community events.
Adrienne Cooper was a popular Yiddish singer, musician and activist who was integral to the revival of klezmer music. The Dreaming in Yiddish Award supports artists who have contributed to the contemporary Yiddish cultural scene.
Michael Alpert, also known by his Yiddish name Meyshke, received an NEA National Heritage Fellowship — the nation’s highest honor in the traditional and heritage arts — in 2015. He has been a pioneering singer, multi-instrumentalist, ethnographer and educator for over five decades. His award-winning work with ensembles including Brave Old World, Kapelye, Khevrisa and Itzhak Perlman’s In the Fiddler’s House has shaped generations of performers and listeners alike.
A native Yiddish speaker and cultural bridge between East European-born tradition bearers and contemporary artists, Alpert is celebrated both for preserving the roots of Yiddish folk and klezmer music and for composing a new body of Yiddish songs that speak to today’s world.
The Dreaming in Yiddish Award Concert — an evening of music, memories, and celebration — is sponsored by Yiddish New York and GOH Productions. It will take place on Wednesday, Dec. 24, 2025 at 7 p.m. ET at Hebrew Union College and will be livestreamed as well.
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A new documentary humanizes Israeli soldiers. It also alleges war crimes.
“It feels like a betrayal to be interviewed by foreign media,” an IDF combat veteran says. He’s out of uniform, brow furrowed, plucking nervously at his goatee. His name is Yuval Ben-Ari, and he is here — on camera, using his real name — telling us what he saw in Gaza.
Ben-Ari, who served in an infantry unit, is one of nearly a dozen soldiers who appear in Breaking Ranks: Inside Israel’s War, a new documentary from indie production company Zandland which streamed in the U.K. and can be viewed on YouTube. Four of the speakers appear on camera, identified by their real names; the rest are disguised and use aliases. Taken together, their testimonies are a scathing indictment of what Israeli Prime Minister Benjamin Netanyahu has called the “world’s most moral army.”
If their stories are true — and nearly everything the soldiers say has already been corroborated by other media reports — they are describing war crimes as the rule in Gaza, not the exception. Unarmed civilians are shot or bombed as a matter of course. Homes are torched without cause. Humanitarian aid sites are shelled out of sheer resentment. The people telling us this — young men and women who served hundreds of days in the territory over the past two years — are still reckoning with their role in the destruction.
Breaking Ranks is not the first documentary to be made about the war in Gaza, and it will not be the last. But it may be the only one to focus on the targeting of innocent Palestinians while also humanizing Israeli soldiers. The soldiers outline their belief in the IDF and the importance of the mission in Gaza. The film contextualizes the war, showing footage of the atrocities of Oct. 7 and noting that Hamas leaders, too, have been charged with war crimes in international courts. Palestinian casualty figures are provided, the film notes, by the “Hamas-run Gaza health ministry”; the tunnel network, it explains, is used for smuggling and warfare. It does not avoid discussing the 251 Israeli hostages.
Those elements ultimately strengthen the film’s argument about how the war was conducted. They do not, however, soften the accounts that follow. The picture that emerges is one of lawlessness and cruelty, coupled with a tolerance for collateral damage and a lack of accountability that runs counter to the IDF’s “Purity of Arms” statute. Yet that portrait also shows the rank-and-file — not all, but some — resisting the practices of their superiors.
A tank commander (“Daniel,” an alias) recounts a time his commander informed troops he planned to destroy a humanitarian aid building. The unit warned him the building was off-limits, but the commander shelled it anyway. Then — according to the soldier — the commander made up an excuse to justify the attack: “I had an anti-tank weapon pointed at me.”
A member of a different unit tells a similar story: When a man hanging laundry on the roof of a building is deemed a “spotter,” a commander shells the structure, killing and injuring many people inside. “This kind of thing happened every week,” says the soldier telling us this story. “And that’s just my unit.”
A platoon sergeant, using the alias “Yaakov,” tells how a pair of Palestinian teenage boys came to be his unit’s human shields, sent down into Gaza’s tunnels as scouts. The unit’s objections eventually won out — they cited international law — but Yaakov insists the IDF has a policy sanctioning the practice called “Mosquito Protocol.” (The Associated Press published an investigative report on the practice earlier this year; the IDF denies that it uses human shields.)
“I carried out these things,” says Yaakov. “I hope I can find a way to live without feeling shame with every step I take.”
One soldier says his unit once reported killing 112 people over the course of a deployment. Only one of the 112, he said, was even suspected of holding a weapon.
Not all of the soldiers recalling their enlistment in Breaking Ranks regret their participation. We meet Rabbi Avraham Zarbiv, who claims to have invented the tactic of razing entire Gaza neighborhoods, block by block, with a bulldozer. Another, given the alias “Lt. Col. F.,” says he would have happily pushed every Palestinian in Gaza into the ocean, given them snorkels and “let them swim to Egypt.”
Their hawkishness puts the defiance and disillusionment of soldiers like Yaakov in stark relief. And it raises questions as to why the IDF — which says it has launched dozens of Military Police investigations into alleged misconduct by soldiers — has not found more wrongdoing.
Ben-Ari, who admits that after Oct. 7 he was “consumed by rage and a desire to fight and avenge,” has since become a peace activist; he was injured last week in the West Bank, attacked by Israeli settlers, while accompanying Palestinians during the annual olive harvest.
He vows to never return to Gaza. But Ben-Ari will not quit the IDF entirely, either. Toward the end of the film, he says he would answer a call to protect Israel’s other borders because that is what he is trained to do, and because he still believes it’s necessary.
“This separation works for me,” he says. “I totally understand if people would say I’m a hypocrite, but this is my decision.”
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AI has a reputation for amplifying hate. A new study finds it can weaken antisemitism, too.
(JTA) — Every day, it can seem, brings a fresh headline about how AI chatbots are spreading hateful ideas. But researchers tasked with understanding antisemitism and how it can be stopped say they have found evidence that AI chatbots can actually fight hate.
Researchers affiliated with the Anti-Defamation League’s Center for Antisemitism Research trained a large-language model, or LLM, on countering antisemitic conspiracy theories, then invited people who subscribed to at least one of those theories to interact with it.
The result, according to a study released on Wednesday: The users soon believed in the antisemitic theories less, while at the same time feeling more favorable about Jews as a group. And the effects were still strong a month later, even without further engagement with the LLM.
The researchers are hailing the finding as a breakthrough in the quest for identifying actionable strategies in the fight against Jew-hatred.
“What’s remarkable about these findings is that factual debunking works even for conspiracy theories with deep historical roots and strong connections to identity and prejudice,” David Rand, a Cornell University professor who was the study’s senior author, said in a statement.
“Our artificial intelligence debunker bot typically doesn’t rely on emotional appeals, empathy-building exercises, or anti-bias tactics to correct false beliefs,” Rand continued, referring to practices frequently employed by advocates seeking to fight antisemitism, including at the ADL. “It mostly provides accurate information and evidence-based counterarguments, demonstrating that facts still matter in changing minds.”
Matt Williams, who has headed the Center for Antisemitism Research since its founding three years ago, says the study builds on a growing body of research that views contemporary antisemitism as primarily a misinformation problem, rather than a civil rights problem.
“We need to think about antisemitism less like feelings about Jews, and more like feelings about Bigfoot,” he said in an interview. “And what I mean by that is, it’s not ‘Jews’ that are the problem. It is ‘the Jew’ as a function of conspiracy theory that is the problem. And the relationship between ‘Jews’ and ‘the Jew’ in that context is far more tenuous than we might want to think.”
Calling conspiracy theories “malfunctions in the ways that we make truth out of the world,” Williams said the study showed something remarkable. “People can correct those malfunctions,” he said. “They really can, which is super exciting and really impactful.”
The study emerges from the ADL’s relatively new effort to come-up with evidence-based ways to reduce antisemitism, working with dozens of researchers across a slew of institutions to design and carry out experiments aimed at turning a robust advocacy space into less of a guessing game.
The new experiment, conducted earlier this year, involved more than 1,200 people who said on a previous ADL survey that they believed at least one of six prominent antisemitic conspiracy theories, such as that Jews control the media or the “Great Replacement” theory about Jewish involvement in immigration.
The people then were randomly assigned three different scenarios: A third chatted with an LLM programmed by the researchers to debunk such theories, built within Microsoft’s Claude AI model; another third chatted with Claude about an unrelated topic; and the final third were simply told that their belief represented a “dangerous” conspiracy theory. Then they were all tested again about their beliefs.
Members of the group that chatted with what the researchers are calling DebunkBot were far more likely than members of the other groups to have their beliefs weakened, the researchers found.
DebunkBot was hardly a panacea for antisemitism: The study found that those who believed in more antisemitic conspiracy theories experienced less change. And Williams notes that the study found only that belief in antisemitic conspiracies was reduced, not rooted out entirely.
But he said any strategy that can cut against what researchers believe has been a widespread explosion of belief in conspiracy theories is a good thing.
The proportion of Americans subscribing to conspiracy theories over the last decade has reached as much as 45%, more than twice the rate that had held steady for 70 to 80 years, Williams said.
“To me, the increase in that level of saturation is far more concerning than any particular conspiracy theory moving through different generations,” he said. “I don’t think that we’re going to ever create a world in which we go under 15% — but going from 45 back to 30 or 25 seems more doable.”
The new study comes as AI models vault into widespread use among Americans, raising concerns about their implications for Jews. When Elon Musk launched a model of his own earlier this year called Grok, it immediately drew criticism for amplifying antisemitism — kicking off a pattern that has played out repeatedly. Soon, the company apologized and said it would train its model to avoid the same behavior in the future. Criticism of Grok is still widespread, but it no longer praises Hitler — though even this week it reportedly told one user that the Nazi gas chambers were not designed for mass killing, prompting an investigation by French authorities.
Chatbot training is seen as essential for delivering high-quality AI results. DebunkBot can be found online on its own website now, but Williams said efforts were underway within the ADL to convince the companies operating major AI platforms to incorporate its expertise.
“There’s far more receptivity than not, by any stretch of the imagination,” he said, while noting that the work was early and he could not share many details.
Whatever happens with that effort, Williams said, the new research demonstrates that combatting what’s sometimes called the world’s oldest hatred is possible.
“AI and LLMs — those are tools, right? And we can use tools for good and for evil,” Williams said. “But the fact that we can subject conspiracy theories to rational conversation and arguments and actually lead to favorable outcomes is itself, I think, relatively innovative, surprising and extraordinarily useful.”
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