"Some ticket buyers think they don't like Jews"
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A studio boss can hear prejudice the way a bookmaker hears a bad line: not as ideology, but as market noise. Jack L. Warner's "Some ticket buyers think they don't like Jews" is a scalpel of a sentence because it refuses to grant antisemitism the dignity of conviction. He frames it as a self-myth ("think") held by "some" consumers, the kind of bias that’s half-inherited, half-performed, and easily contradicted by their own behavior once the lights go down.
The intent is transactional, but the subtext cuts deeper. Warner is admitting that Hollywood, even when run by Jewish moguls, never stopped negotiating with a public that could be casually hostile. The line reads like an internal memo made public: don't panic, don't preach, sell the picture. Yet inside that pragmatism is a quiet indictment. If people "think" they don't like Jews, what they actually dislike is the idea of Jews as visible power - Jews as producers, bosses, tastemakers - not the product itself. They'll buy the ticket; they just don't want to feel complicit in who made the dream.
Context matters: mid-century America had social antisemitism baked into clubs, neighborhoods, hiring, and polite conversation even as Jews were central to the industry's machinery. Warner's phrasing turns that hypocrisy into a punchline. It's cynicism with a survival instinct: a reminder that in mass culture, prejudice often collapses under pleasure, and that the audience's self-image is sometimes the most brittle thing in the room.
The intent is transactional, but the subtext cuts deeper. Warner is admitting that Hollywood, even when run by Jewish moguls, never stopped negotiating with a public that could be casually hostile. The line reads like an internal memo made public: don't panic, don't preach, sell the picture. Yet inside that pragmatism is a quiet indictment. If people "think" they don't like Jews, what they actually dislike is the idea of Jews as visible power - Jews as producers, bosses, tastemakers - not the product itself. They'll buy the ticket; they just don't want to feel complicit in who made the dream.
Context matters: mid-century America had social antisemitism baked into clubs, neighborhoods, hiring, and polite conversation even as Jews were central to the industry's machinery. Warner's phrasing turns that hypocrisy into a punchline. It's cynicism with a survival instinct: a reminder that in mass culture, prejudice often collapses under pleasure, and that the audience's self-image is sometimes the most brittle thing in the room.
Quote Details
| Topic | Human Rights |
|---|---|
| Source | Help us find the source |
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