We the Jews, it is known, rule the world. Many have tried to stop us and failed throughout the thousands of years of our rule, and despite several attempts at extermination we have reached the 21st century when we still hold humanity in a tight grip. Unfortunately, the Supreme Council of the Jewish World Government decided to channel all this tremendous power precisely to create television and brainwash the global public through dramas and comedies, and as a result the world looks the way it does. Evil anti-Semitic jokes aside, it’s hard not to notice the Jewish dominance on television over the decades, especially in the key positions behind the cameras and the scenes, and the people who staffed and are staffing them and thanks to whom your screen looks the way it does. Don’t like what you see? Do what everyone has done throughout history: blame the Jews.
If you think TV is too liberal these days, blame this Jew. In 1967 he was nominated for an Oscar for the screenplay for “Divorce American Style”, and four years later he changed the face of the American small screen with the bold sitcom “Everything Stays in the Family” which introduced the character of Archie Bunker to the world and attacked American racism with great sophistication rooted against blacks and Jews, while promoting liberal values of equality, feminism and acceptance of the other in prime time. A string of sitcom hits in the seventies and eighties (“The Jeffersons”, “Good Times”, “Mood”) made him one of the most important creators and producers in Hollywood and a tireless political activist against the extreme Christian right. Even today he is still active, advising the creators of South Park, producing remakes of his hits for Netflix (“One Day At A Time” released in 2022) and on his 100th birthday held last September, he continued to talk about his plans for the future. till 120.
The funniest man on TV for more than 30 years, who created two of the greatest comedies ever – maybe, in fact, just the two greatest comedies ever. And what an amazing path he made from “Seinfeld”, in which his character George Costanza had to become Italian because NBC thought the series was too New York and Jewish anyway because of Jerry Seinfeld, and to his “Calm Down”, which for 23 years has been the most representative A consistency of American Jewish culture (and Jewish culture in general) on television – whether it’s in the episodes that deal with David’s Judaism directly (“The Palestinian Chicken” is perhaps the best known, but there were many others, such as the episode in which Larry almost got into a fight because he whistled Wagner in line for the cinema) , whether it’s in collaborations with other great TV Jews like Mel Brooks and Ben Stiller, or whether it’s simply because of its very Jewish tone: decades of neuroses from Shalom Aleichem, Sigmund Freud, Woody Allen and Philip Roth all embodied in one man, the most neurotic of them all , stubborn of all, right of all and funniest of all. #1 on this list, forever.
The father of Saturday Night Live is almost personally responsible for finding, nurturing and sending out into the world countless great comedians, and over almost 50 years of creativity has reshaped American and global humor. And it’s not limited to just a few laughs on Saturday night – the production company he founded to produce the show is responsible for a number of iconic works, starting from masterpiece series like “30 Rock”, through Jimmy Fallon’s and Seth Meyers’ Light Night shows to the musical “Bad Girls” – you can’t imagine the Today’s comedy without this Canadian-Jewish, who might even have been born in a kibbutz (it’s not clear to him either if his parents immigrated to Canada before or after his birth in 1944).
The legendary host of “The Daily Show” defined throughout the first decade of the 21st century what television satire is in the new era, cultivated countless talents that accompany us to this day (Stephen Colbert, John Oliver, Steve Carell, Samantha Bee and much more). The Judaism of John Stewart (or John Stewart Leibovitch, if you’re interested in such things, and if you’ve clicked on this list, then you probably are) has not always been at the forefront of his humor or his work, but for years, the New York Jew This was the supreme satirical authority on the screen – and before the days when we stopped trusting the news or believing anything we were told, we trusted his show more than the news broadcasters themselves.
Many know him as “Rob Reiner’s dad” or as “well, this actor, we saw him in what-is-it”, but Carl Reiner is not only one of the greatest comedic actors in American history and Mel Brooks’s partner in the beginning of his filmography which includes dozens of series and films, but also one of the groundbreaking screenwriters and creators of American television in the 50’s and 60’s who paved freeways for other Jewish screenwriters. He started out as one of the main writers on the classic “Dick Van Dyke Show” and other sketch shows, directed and produced films and series in the 1970s and 1980s, and became one of the most influential figures at the seam between film and television Hollywood. He died two years ago at the age of 98.
To understand how much Seinfeld changed the representation of the Jews on television, you only need to go back a few sections and remember that in the beginning, George became Costanza. Yes, there was such a thing as being too Jewish for the general public, and not so many years ago. But Seinfeld let Judaism (and specifically, his very New York Judaism) into the American Meister at the front door, and along the way rammed it down Billy Bob’s throat from Kentucky. Jerry’s Judaism erupted on the screen in a variety of ways, from the humor (how not), through the family to the scale of values that is always in question. Also as a diagnostic comedian, he refined the style to Zen minimalism, exacting every comedic nuance, and paved the way for the next generation of comedians, who did exactly the opposite of him, but not least thanks to him.
At the head of the content systems of the American broadcast and premium cable channels there is an unreasonable concentration of Jews and it has been this way since the founding of Hollywood. Few of them have been able to change the face of television like Jeff Zucker at NBC. The success of “Friends” in recent years, the prosperity of the reality genre (“The Intern” and “The Fear Effect”, for example), the Light-Night riot starring Jay Leno and Conan O’Brien and a host of other stunts that Zucker pulled off between 2000 and 2011 marked Him as one of the most powerful and badass people in American television, and as one of the main people responsible for the transition from scripted television to reality. From 2013 until last year, he served as the big boss of Warner-Media and CNN, a position he was forced to vacate after a secret affair between him and an employee was revealed. naughty.
The Twitter bio of David Simon (first and foremost the creator of “The Undercover”, but also “Murder from Red to Black”, “Trema”, “The Snap”, and much more) simply says “‘The angriest man on TV’ is not a big compliment”, referring to the title he stuck to “The Atlantic” magazine in 2008. It may not be a big compliment, but the fact that he is happy to put it on the front (and also justify the title “the angriest man on Twitter”) shows exactly what his priorities are when he writes. Simon, a Jew from Washington who was a legendary police reporter in Baltimore before becoming a screenwriter, actually created the greatest series about African Americans in the United States, in which the only distinct Jew was the damned and unrestrained lawyer Maurice Levy, although probably also the warm and sharp Sergeant Jay Landsman , although this is never explicitly discussed. His most Jewish work, by the way, is the mini-series “The Conspiracy Against America”, based on a novel by Philip Roth, which describes an alternative history in which Charles Lindbergh was elected president of the United States on the basis of an anti-Semitic campaign – and its consequences for the life of a Jewish family bourgeois
The mastermind behind Disney’s insane success over the past 15 years. In 1994, he was appointed the boss of the ABC network, and when Disney bought it in 1996, it discovered that it had a treasure in hand. During his 15 years as chairman of Disney, he grew it from a market share of about 50 billion dollars to the region of 300 billion, oversaw the strategic acquisition of Pixar, Marvel and Lucasfilm and marched it towards a future in streaming. A year after leaving the position in 2021, Disney came back to him begging him to come back and here he is again. With all this power in his hands, Iger is considered one of the most likable people in the television and entertainment industry and does not tend to take credit for the many successes under his command. In an interview with Barbara Walters, he previously explained that “I’m just an entertainment official. My job is to make creative people look good and make the balance sheets look good. Between these two poles the magic happens.” Magician.
Is it true that once upon a time loving comics and playing with dolls (sorry, action figures) was considered a thing for nerds, and today heroes are the most mainstream thing you can think of? So the guy you have to thank for that is he, a native of Ramat Gan who was wounded in the Yom Kippur War, and went on to conquer the USA. At first it was as a toy manufacturer, then as a producer of cartoon series based on Marvel characters, then the producer who bought Marvel, founded ” Marvel Studios”, and began to roll the stone that eventually became the avalanche of today’s superheroes. The entire entertainment industry would not have looked the same if Avi Arad had not recognized the commercial potential of men in tights.
Under the (Jewish) patronage of Rob Reiner and the genius Hollywood screenwriter William Goldman, Aron Sorkin trained in the early 1990s at the Castlerock production company, where he made his premiere as the brilliant screenwriter of “Good Guys” with Jack Nicholson and Tom Cruise. The end of that decade brought him to television, with “Sports Nights” and “The White House”, where he changed the way television is written and spoken and was crowned as the most brilliant screenwriter of our time. As of 2023, there are hardly any television series that are not influenced by Sorkin’s writing for their witty and dizzying dialogues and meticulous character building. The failures of “Studio 60” and “Newsroom” dimmed his shine a bit, but what he changed in the concept of the television script, no one will be able to change back.
Until we thought that the clichés of Judaism were no longer such an interesting topic to laugh at, that’s how Rachel Bloom burst into our lives, with some of the most beloved clichés, but with a modern take. From an independent producer with a penchant for musicals, to the creator, writer, star and the reason we watch “My Crazy Ex”, Bloom almost immediately became a driving and new comedic force that even the older generation can love (just look at her central role in the series “Reboot”). And in each of her works and performances, the emphasis on the origin, heritage and character of American Jewry occupies a central place. And really she should receive some Jewish award especially for creating the song “Remember that we suffered”.
The Queen of Evil, the woman who underwent more plastic surgery than her ex-husband, and a comedian who used to write far more brutal comedowns than these, was one of the most groundbreaking women in the comedy industry, television, entertainment in general. Some women break a glass ceiling, Rivers cut through the competition with her. She analyzed the Tonight Show in the days when Johnny Carson was the king of television, got herself a talk show, continued her career deep into its golden years (a rare event in itself for a woman in Hollywood), and in between kept the legacy of Catskill and Heideke humor alive in their pop version. But more than anything, she was the dirtiest mouth on television, and for that we will say – Kusemek, thanks.
Was there a more vocal character on television in the nineties than Fran Payne, the daughter of Fran Drescher’s character in “Nanny”? With a sharper Jewish accent? Who threw more Yiddish words on the American screens? The answer to all of these questions is “no,” and if you didn’t read that “no” automatically in Drescher’s loud puff, you probably didn’t watch enough television in the 1990s. True, Drescher’s career has not yet returned to the heights of her successful sitcom, but in its six years she created an iconic character of an American Jewish woman, who certainly embodied all the stereotypes and certainly invented them. And this is a character that continues to accompany us in countless other characters that came after her (for example, in all the scolding mothers of “The Crazy Ex”). Only a few remember that she created and produced “Nanny”, and only a very few know that two years ago she was elected president of the Screen Actors Guild (SAG). Now imagine meeting this voice.
Garry Shandling’s tremendous contribution to comedy has been somewhat forgotten in the last two decades, since after the end of “The Larry Sanders Show” he chose to go into semi-retirement – during which he served as a kind of mentor, a father figure or an angry Jewish uncle figure to a huge line of comic creators, including Ed Apatow (who also directed the wonderful docu “The Zen Diaries of Garry Shandling”) and Sarah Silverman. But before that Shandling was a pioneer of Jewish stand-up, neurotic and full of Oedipus complexes – a kind of George Costanza before he was George Costanza – and also of sharp and personal television, first in the surreal “It’s the Garry Shandling Show” and then the magnum opus of “Larry Sanders”, which was revolutionary in blurring the boundaries between television and its behind-the-scenes and between comedy and comedy. To be clear: without “Larry Sanders” there is no “Calm Down”, there is no “30 Rock”, there is no “Bojack Horseman” and there is no “The Office”, each in its own way.
The almighty Hollywood producer, from the days of “Love in the Sky,” through “Armageddon” and “Pirates of the Caribbean” to “Love in the Sky: Maverick,” is best known for his ability to produce cinematic blockbusters and crowd-pleasing action hits. When he brought his skills to television, the result was the very successful franchise of “CSI” and another little show called “The Race to the Million”, and in the first decade of the millennium he was the first person to have three series in the top 10 of the American ratings chart. Last year, when he was already 80 years old, he released no less than three new series for television, among them the interesting remake of “American Gigolo”, the successful “Terra del Fuego” for CBS and “National Treasure: The Edge of History” on Disney+.
He brought to the world “Charlie’s Angels” and “Starsky and Hutch”, then also “The Love Ship”, and “Dynasty”, “Beverly Hills 90210” and “Melrose Place”, as well as “Bewitched” and “The Seventh Sky”, and in total he produced and produced dozens of TV series and redefined the guilty pleasure for hundreds of millions of viewers around the world. It is doubtful if there is another person who is single-handedly responsible for such large amounts of well-invested and well-made trash, and when you sit in front of the trashy Netflix TV you will remember that you owe him everything. And that’s before we even talked about Tori Spelling.