During my hundreds of interviews over the years, whenever I mentioned Jewish media domination, my interrogators first would deny the Jewish preponderance of power. Then, when that defense sank beneath a sea of facts, they acted shocked that anyone could even suggest that Jews might use their media power for their own advantage.

The domination of America’s news and entertainment media is so obvious that some Jewish media have begun to acknowledge it, but they suggest the Jewish domination makes no real impact on content. The cover of the August 1996 issue of Moment magazine was blazoned with the headline, "Jews Run Hollywood, So What?" The article, written by well-known Jewish film critic Michael Medved, includes the following comments: "It makes no sense at all to try to deny the reality of Jewish power and prominence in popular culture. Any list of the most influential production executives at each of the major movie studios will produce a heavy majority of recognizably Jewish names." Medved reports about how Walt Disney studios hires only "highly paid Jewish moguls" such as Jeffery Katzenberg, Michael Ovitz, and Joe Roth as producers. He goes on to state that:

     The famous Disney organization, which was founded by Walt Disney, a gentile Midwesterner who allegedly harboured anti-Semitic attitudes, now features Jewish personnel in nearly all its most powerful positions.¹

Interestingly, in spite of the attempts to besmirch the name of Walt Disney as an anti-Semite, his films were the most morally spiritually uplifting and educational in the industry. All this while Michael Eisner’s new Disney and its subsidiaries continue to make anti-Christian and sexually degenerate films such as The Priest² and The Crying Game.³

Not only do the Jewish producers create a plethora of pro-Israel and pro-Jewish propaganda along with their anti-Christian, anti Gentile hate films and documentaries, they are careful to monitor films made by both Jews and Gentiles. For example, Jewish censors of the fact-based film, Seven Years in Tibet, felt that the main character, an ex-Nazi explorer from Austria, was not repentant enough about his past. They had the filmmaker invent a repentance scene and insert it into the "true story."⁴

Michael Medved writes in his article that "Jewish writers and directors employ unquestionably flattering depictions of Jews for audiences that react with sympathy and affection." It goes without saying that they depict those who oppose Jewish supremacism as thoroughly evil.