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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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Netanyahu Applauds Eurovision Runner-Up Noam Bettan: ‘Everyone Is Very Proud of You’
Noam Bettan, representing Israel, performs “Michelle” during the dress rehearsal 2 of the Grand Final of the 2026 Eurovision Song Contest, in Vienna, Austria, May 15, 2026. Photo: REUTERS/Lisa Leutner
Israeli Prime Minister Benjamin Netanyahu congratulated Israeli singer Noam Bettan on finishing in second place in this year’s Eurovision Song Contest on Saturday, despite boos and anti-Israel protests in the audience and boycotts from several countries due to Israel’s participation.
“Noam, what an amazing victory, what an achievement, and how much pride, strength, confidence, and artistry,” Netanyahu told the 28-year-old singer during a phone call. “You are on a path to greatness. In any case, you have the gratitude of the entire nation. Everyone is very, very proud of you.”
The prime minister also applauded the singer for standing “tall against those hollow verbal potshots.”
“You did it exactly as it should be done,” Netanyahu told Bettan. “You did a wonderful job. And I saw that the audience, as usual, was more supportive than the judges. Well done to you. Keep moving forward, rise and succeed, and many blessings.”
During their call, Bettan thanked Netanyahu for his kind words and said it was “a great privilege” to represent Israel in the Eurovision Song Contest, “to bring honor, to represent us in a positive light, and to bring some light and goodness into this world.”
“And I have a certain hope, because I felt there was a very great unity tonight, and I hope so much that it stays with us and continues in two days, in a year, and in 50 years,” Bettan noted. “I want unity so much, and I truly hope it continues.”
Prime Minister Benjamin Netanyahu spoke with singer Noam Bettan, who represented Israel in the Eurovision Song Contest and won an impressive second place in the competition > >https://t.co/dxTAe2NiRQ pic.twitter.com/lVMZYl2JlQ
— Prime Minister of Israel (@IsraeliPM) May 17, 2026
The 2026 Eurovision Song Contest took place at the Wiener Stadthalle in Vienna, Austria.
Bulgaria won with the upbeat dance track “Bangaranga,” performed by Dara. The victory marked the first ever Eurovision win for the Balkan nation, which will host next year’s competition. Bettan finished second with “Michelle,” a trilingual song in Hebrew, French, and English that is about putting oneself first when in a toxic relationship.
Anti-Israel protesters who disrupted Bettan’s performance during the semifinals last week were removed from the audience inside Vienna’s Wiener Stadthalle after chanting “stop, stop the genocide” and “Free, free Palestine.”
“One audience member, close to a microphone, loudly expressed their views as the Israeli artist began his performance, and during the song, which was heard on the live broadcast,” Austrian national broadcaster ORF and the European Broadcasting Union, which organizes the Eurovision, said in a joint statement about the incident. “They were later removed for continuing to disturb the audience. Three other people were also removed from the arena by security for disruptive behavior.”
Bettan told Reuters he also heard boos from a few pro-Palestinian protesters in the audience when he first went on stage for the semifinals.
Spain, Ireland, the Netherlands, Slovenia, and Iceland refused to participate in this year’s Eurovision because of Israel’s inclusion, in protest of the country’s military operation in the Gaza Strip targeting Hamas terrorists who orchestrated the deadly attack in southern Israel on Oct. 7, 2023.
Israel also finished second in the 2025 Eurovision Song Contest.
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Harry Styles Responds ‘Correct’ to Fan Shouting ‘Long Live Palestine’ at Amsterdam Concert
Harry Styles poses on the red carpet during for the BRIT Awards at the Co-op Live Arena, in Manchester, Britain, Feb. 28, 2026. Photo: REUTERS/Temilade Adelaja
British pop star Harry Styles on Saturday night interacted with a fan who shouted a slogan in support of Palestinians during the kickoff of his “Together, Together” world tour in Amsterdam.
The “Aperture” singer was performing in Amsterdam’s Johan Cruijff Arena on the opening night of his tour and stopped to adjust his earpiece on stage when an audience member shouted, “Viva, Viva Palestina!” which means “Long Live, Long Live Palestine” in Spanish. The former One Direction singer replied to the comment saying, “Correct.” A clip of the interaction was posted on social media.
One of the charity partners for the “Together, Together” tour is Choose Love, which provides humanitarian aid to Palestinians in the Gaza Strip and West Bank, including food and medical treatment.
The tour will include more than 60 performances around the world, including in The Netherlands, the United Kingdom, Australia, Mexico, and Brazil. Styles’ only shows in the United States will be 30 consecutive nights at New York City’s Madison Square Garden. The singer’s fourth solo album, “Kiss All the Time. Disco, Occasionally,” was released in March.
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Israel Warns of Escalating Terror Threat in West Bank as Iran, Turkey, Hamas Seek to Stoke Extremism
Israeli soldiers walk during an operation in Tubas, in the West Bank, Nov. 26, 2025. Photo: REUTERS/Mohamad Torokman
Israeli security officials have warned of a rapidly deteriorating security situation in the West Bank, citing deepening Iranian and Turkish involvement alongside Hamas efforts to expand terrorist infrastructure and orchestrate attacks across the territory.
According to the Israeli news outlet Walla, defense officials point to a growing role by Iran, Turkey, and Hamas in financing, directing, and sustaining terrorism, while also leveraging Gaza-linked networks to expand coordination, incitement, and operational activity across the West Bank.
With Israeli communities in the West Bank steadily expanding, the local military command is under significant strain, operating with 22 battalions while confronting a wide range of security challenges, including dismantling terrorist infrastructure, disrupting terrorist financing channels, locating weapons caches, protecting settlements, and stopping arms smuggling from Jordan.
Israeli officials have previously warned that large-scale terrorist attacks targeting local communities could serve as a destabilizing flashpoint amid the wars in Gaza and Iran.
Last year, Israeli forces uncovered documents suggesting Hamas is actively preparing plans for raids on settlements in the area.
Israel’s domestic intelligence agency, the Shin Bet, arrested six Arab Israeli citizens last month suspected of transferring millions of shekels from Hamas’s Turkish branch into the West Bank as part of an underground terrorist financing network believed to have smuggled more than three million shekels to fund attacks against Israel.
Experts also point to a growing threat from the Jenin Brigades in the northern West Bank — an alliance of Palestinian Islamic Jihad and Hamas operatives that has transformed refugee camps into bases for shootings, bombings, and ambushes.
The group’s operations are reportedly sustained by a complex financing system that moves Iranian funds through Palestinian banking channels, siphons off Israeli-collected tax revenues, and makes use of international facilitators.
“By sustaining this West Bank front through Hamas and Palestinian Islamic Jihad networks, Tehran forces Israel to fight simultaneously across multiple fronts, drains resources that could otherwise consolidate gains in Gaza, and keeps the Palestinian issue politically radioactive enough to sabotage broader Arab-Israeli alignment,” Jose Lev Alvarez, a writing fellow at the Middle East Forum think tank, explained in a recent article.
“Tehran [then] advances its axis-of-resistance doctrine at minimal cost — no Iranian boots, no direct missile exchanges, just calibrated chaos designed to obstruct any credible day-after plan for Gaza and derail normalization agreements with Saudi Arabia or Gulf states demanding Palestinian stability,” he continued.
Last year, the Israel Defense Forces (IDF) warned that Iran was driving a growing terrorist threat in the West Bank, with concerns that Iranian-backed arms smuggling could enable an Oct. 7-style attack.
Israeli intelligence and security forces have since intensified operations across the territory amid fears that Iranian-supplied weapons are increasingly reaching Palestinian terrorists and escalating the risk of a large-scale assault.
Israeli intelligence assessments have also warned that terrorists operating in the West Bank are believed to possess weapons capable of breaching Israeli defenses, including what officials described as “standard Iranian weapons.”
According to Joe Truzman, a senior research analyst at the Foundation for Defense of Democracies (FDD), a Washington, DC-based think tank, Israeli officials should be closely monitoring the West Bank as Hamas regroups and rearms in the Gaza Strip after more than two years of war.
“Hamas and its allied factions understand that igniting violence in the territory would divert Israel’s attention during a critical time of rebuilding the group’s infrastructure in Gaza,” Truzman told The Algemeiner last year.
“The release of convicted terrorists to the West Bank under the [Israel-Hamas] ceasefire agreement may be a factor in the resurgence of organized violence in the territory,” he continued.
As of last February, Israeli security forces foiled nearly 1,000 terrorist plots over the past year, with senior military officials increasingly worried that the volatile situation in the West Bank could lead to a large-scale attack similar to Hamas’s Oct. 7, 2023, onslaught against Israeli settlements and communities near the security barrier.
According to a survey released last year by the Jerusalem Center for Security and Foreign Affairs, 70 percent of all respondents — and 81 percent of Jewish respondents — expressed fear of an Oct. 7-style attack coming from the West Bank. In contrast, 53 percent of Arab respondents said they were not worried about such an attack.
In response to these concerns, the IDF has established a special command to address potential threats in the West Bank and launched a nearly unprecedented counterterror operation in the northern part of the territory.