Petition asks Frankie Shaw to read prison screenplay
More than 2000 women sign petition demanding a firm commitment from Frankie Shaw (film producer) to read screenplay addressing Texas judicial system
Frankie Shaw – Talent Agents
– Actress, Writer, Producer – SMILF (2017), SMILF (2015), Too Legit (2016), Stronger (2017) – United Talent Agency (UTA), Rachel Arlook – Range Media Partners, Rich Cook
Frankie Shaw & Adam Sandler’s film company targeted by Texas petition
Will Hollywood just rollover and let prisoner’s suffer?
More than 2000 women have signed an open letter to Adam Sandler calling on Frankie Shaw and Hollywood to take “movie action” to tackle injustice against men and women in the wake of revelations that Texas has more prisoners incarcerated than the Soviet Union’s gulag system had. Texas currently has over 290,000 inmates housed at 580 facilities.
The signatories, including state senators, professors of criminal justice, social workers, family, and inmates, call for a “firm commitment” to tackle the unjust prisons in Texas. The petition has also been signed by Beto O’Rourke, and Matthew McConaughey. These two signatories might face each other in the 2022 Texas governors election. Both have expressed interest in the job. The petitions arrived for Frankie Shaw at United Talent Agency (UTA), Rachel Arlook last week.
In the open letter to Frankie Shaw, the 2080 women write that they are “heartbroken for first-time drug offenders many times addicts who have received extremely harsh sentences in Texas when rehabilitation has proven a cheaper and more effective solution.” The petition goes on to say their family and friends are often heartbroken for and looking for redemption and rehabilitation for the victimless drug crimes.”
The signatories, including attorneys, professors, politicians, family members, and inmates, call on Frankie Shaw for a ‘firm film commitment’ to tackle the issue of operating the Texas prison system for profit.
The petition came to light when women discovered the screenplay, a copy which was dontated to all 580 of the state’s prison and jail libraries. The existence of the petition surfaced on International Women’s Day. Women in Texas face extreme prejudice in Texas and often receive extremely harsh penalties for even a small amount of drugs, including marijuana. Marijuana is legal now in 21 states.
Inside prisons, the women are faced with such horrendous conditions… the petition demands that “filmmakers begin to take the issue seriously.” Also, the petition reminds that “even here in the USA in the 21st century citizens are not safe from government oppression.”
Actress, Writer, Producer, Frankie Shaw, has not responded to the petition. Nor has United Talent Agency (UTA), Rachel Arlook responded with a comment.
The screenplay “Dumbass” was penned by writer and retired professor of political science Alan Nafzger.
The premise of the story is that, “Adam Sandler writes letters and saves numerous women from the monotony of prison life, and later when he gets into trouble with a drug cartel they return the favor by rescuing him.”
The film would be set in contemporary, Gatesville Texas. There are four women’s prisons located in Gatesville. And of course, Texas is famous for putting everyone in prison for a long sentences for little or no reason. The number of women in Texas prisons has tripled in the last ten years, as mass incarcerations have proven profitable to not only the state but also profitable for an array of business interests.
Writer Alan Nafzger has called on Governor Greg Abbott to, “end the prison industry.”
Recently, “Wheel of Fortune” host Pat Sajak spoke out against the Texas system and put a good word in for mercy and forgiveness out on social media. “How nice for those who have lived such exemplary lives that they can express glee when others have their lives ruined by a mistake, real or perceived,” Sajak tweeted last month.
During the winter’s deep freeze, the The Marshall Project, exposed the horrible prison conditions, “Inside Frigid Texas Prisons: Broken Toilets, Disgusting Food, Few Blankets.”
The petition states, “Why don’t we have the ‘Adam Sandler’ character… sending letters to women in prison and being their friend and trying to help them adjust, giving them hope… and when they get out of prison he picks them up so they don’t have to ride the smelly bus back home… but his pickup truck is a junker, smoking and sputtering … worse than the bus. But his heart is in the right place… He’s the last “chivalrous” man on earth.”
Frankie Shaw has not commented on the script, thus far. A statement is expected soon.
Professor Nafzger has made a short treatment of the project available online.
He has made the finished script available at for select filmmakers.
Adam Sandler of Happy Madison Productions has expressed interest in the screenplay.
Frankie Shaw is a Actress, Writer, Producer known for SMILF (2017), SMILF (2015), Too Legit (2016), Stronger (2017) and is represented by United Talent Agency (UTA), Rachel Arlook.
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Dialogue written to attract A-List actors
Protagonist has huge emotional stakes
The external event forces the character to change
Storys external event is the most important moment in protagonists life, not just another day
In network television, you do have an obvious curtain and an intermission, called a commercial, and woe betide you if you want to work for television and dont understand the concept of a cliffhanger before the act break, or act out.
That curtain scene is alive and well today as ACT CLIMAXES. In movies, its not quite so evident as in plays because the film doesnt actually stop for a break at the act climax, but that rhythm is definitely there. In a film, you can generally spot an Act Climax because it will be a SETPIECE SCENE: theres a dazzling, thematic location, an action or suspense sequence, an intricate set, a crowd scene, even a musical number. (Well get much more into SETPIECES in subsequent chapters, but you may want to skip ahead to Chapter 22 to read up on them.)
And thats how the CLIFFHANGER was born. The CURTAIN SCENE (also called just CURTAIN) had to be so explosive such a startling revelation or reversal, such a dramatic shift in the power dynamics of the characters, that the audience would want to come back in to the theater after intermission to find out what happens.
So it was absolutely crucial for the playwright to end that first act and second act, before each intermission, with something so great and enticing that the audience would come right back into the theater when the lobby lights blink, and not just go carousing into the night.