Hollywood’s Jews Get Their Wandering Papers. By David Cole.
Last year I reported on the mandatory diversity quotas and hiring caps (no more than 30% white actresses, and that 30% must be divided between real women and trannies) adopted by the streaming services that these days comprise the core of the business.
So yeah, I was right. It’s now mandatory, and white actresses are hardest-hit. …
The caps and quotas are now everywhere (all streaming services, TV networks, and movie studios), everyone’s afraid to speak out against them, and Jews are capped as white in production jobs. …
Jews erased from Hollywood history:
The only explicit mention of Jews in the [recent piece on Bari Weiss’ Substack] comes toward the end when the authors point out that the new $484 million Academy Museum of Motion Pictures completely erases Jews from the history of Hollywood: “It’s missing any mention of the small band of mostly Jewish emigres from Eastern Europe who created the film industry. The people without whom there would be no entertainment industry.”
The museum pays tribute to blacks, trannies, and even Native Americans, but no mention of the people who created Hollywood in the first place.
The Substack authors present this omission, once again, safely: It’s PC Hollywood catering to wokeness by hiding the fact that the town is a meritocracy built by impoverished immigrants.
Get those dudes some Bengay because they’re straining. What the omission actually means is that Jews are now white, to be erased along with all other whites.
From their own industry.
This is surely not what Hollywood’s liberal Juden had in mind when they opened the doors to this shit. …
What’s happening now is that Jews are being dispossessed from a world of their creation. This ain’t like being kicked out of Madrid or Vienna; over the centuries Jews got used to being expelled from other people’s kingdoms. But this is their kingdom; everyone else is the immigrant. …
Now blacks are in charge of Hollywood:
It turns out that Jews underestimated their soul brothers. The Substack piece details how black producers are using the caps and quotas, along with heavy-handed strong-arm tactics, to become the new power brokers and kingmakers in town (Jews are used to being mugged by schvartzes in the street, but not on the studio lot!). …
Jews are being displaced:
I’m not claiming that Jews “control Hollywood” in a conspiratorial sense. There are no cabals in this business. This is an industry where every smile is fake and every handshake oily. Everyone’s out for themselves, and alliances are short-lived. But one of the reasons for the massive Jewish presence behind the scenes is that West and East Coast Jews are literally born speaking the language of the industry. …
Generally, most American Jews grow up immersed in that language. Whether or not they make a career out of it, there’s an understanding that they can if they want to, and if they do, they’ll fit in perfectly.
So the psychological toll of being informed that they’re now capped, that beyond a certain number they’ll be barred from the business because of their skin color, is severe. You can feel the anxiety in the panicky words of the Jews interviewed for the Substack piece; they’re rattled.
I’m reminded of a controversy from 2015, when Conan O’Brien’s comedy writer Andrés du Bouchet … blasted the fact that the “cool kids” were displacing the nerds on late-night shows … Du Bouchet’s point was that the average comedy writer is a nebbish who’s always used humor as a way to compensate for, shall we say, physical and aesthetic limitations, and now giggling frat boys like Jimmy Fallon and talentless loafs like James Corden are redefining comedy to mean “handsome A-lister does a walk-on.”
Well, as Peter Griffin would say, “You think that’s bad…” Now the nerdy nebbishes are being told they can’t even get hired because of their ethnicity.
For Hollywood Jews, that’s an earthquake.
Feeling the effect of rewriting history to favor groups in the present:
It’s also inevitable. The minute 1619 theology (backed largely by Jewish elites in politics, academia, publishing, and the news media) became the left’s religion, the Jewish experience no longer counted as exceptional. “Fuck yo’ Ellis Island refugee bullshit. You dih-int come here in chains. You came here freely, so you ain’t no more oppressed than them Mayflower mutherfuckers.”
That’s why the history of Hollywood was erased at the new museum. In 1619-land, Samuel Goldwyn gets no more victim points than Myles Standish (it’s also why the notion of a political “black/brown coalition” is so laughable; 1619ism also dismisses the Hispanic immigrant experience, but that’s a topic for another column). …
It’s about punishing whites, so that the less economically-competitive can get more goodies:
The most ridiculous thing about the Hollywood caps and quotas is that they seem predicated on the notion that there’s a finite number of movies and TV shows that can be churned out per year, so nonwhite set-asides are needed. But that’s just not true. There’s no limit to the amount of content that can be produced in any given year. If you want to have more black-led content, the solution isn’t to ban whites; if you want more black joke writers, the solution isn’t to ban Jews. The solution is to make more content. A writers’ room can have any number of participants. Don’t fire; just hire more.
Unless…unless the goal isn’t diversity but punishment. Retribution. Study any racial cap-and-quota system throughout history: Jim Crow South, Nazi Germany, apartheid South Africa, 20th-century Fiji. It’s always about keeping one group down. It’s never about “equity.” It’s about the empowered telling the disfavored, “I want to keep you stifled. I want to artificially inhibit your chances of success.”
We should be honest about this: Hollywood’s caps and quotas are not about adding blacks but subtracting whites. And now Jews are finding out that for the purposes of this discussion, they’re as white as Grace Kelly. …
Of course, the product will suffer:
Now, to what extent Hollywood can prosper with power brokers named D’Jaunte and Trevarious instead of Joshy and Isaac remains to be seen. Can the 1619 Hollywood business model survive, long-term?
Looking forward to a couple of decades of lame, politically-correct entertainment starring outlandishly high numbers of black actors. Looking forward to it? … it’s already started.
Remember: politics is downstream of culture.