Now that 'Jane Roe' is dead, Hollywood Feminists Plan to Rewrite her Story for the Big Screen

Deadline Hollywood is reporting that the story of the Roe vs. Wade Supreme Court decision is heading to the big screen. The announcement comes on International Women’s Day, perpetuating the delusion that abortion on demand and women’s rights are inseperable. The celebratory tone of the article suggests that only half the story will be told, if that.


Alison Owen and Debra Hayward’s Monumental Pictures is set to bring the landmark decision of Roe v. Wade, the 1973 U.S. abortion ruling that paved the way for women to have safe and legal abortions, to the big screen. They’ve tapped writer Jen Majka, who co-wrote BAFTA-winning and Oscar-nominated short The Bigger Picture, to pen the script.

It’s a fitting project to unveil on International Women’s Day: A story about the battle of 26 year-old Sarah Weddington and her journey from a small town Texas lawyer to ushering through the biggest U.S. Supreme Court decision of the century, shepherded by a well-respected and award-winning female production duo and a burgeoning writer.

That sure sounds like a recipe for a serious and objective telling of the story. A terrible legal ruling leading to the deaths of millions of children boils down to a very special episode of Ally McBeal. The chances of this being a self-indulgent pile of feminist dreck are virtually one hundred percent.

Producers Alison One (Shaun of the Dead, Saving Mr. Banks) and Debra Hayward (Love Actually, Bridget Jones’s Diary) are both Oscar nominated producers. Based on subject matter alone, a propaganda piece on Roe vs. Wade will probably achieve at least an Oscar nomination.


“We are excited and proud to be collaborating with Jen Majka to tell this important story,” said Owen. “It is one that is close to our hearts and hugely important, particularly in the extraordinary times in which we are living. Women’s reproductive freedom is just as contested now as it was before this case and this is a story that everyone should know.”

Hayward adds: “’Roe vs. Wade reshaped the universal conversation on abortion. The time to revisit its history has never felt more apt, and we’re thrilled to be undertaking the journey along with Jen.”

The unstated reason why “the time to revisit the history has never felt more apt” is undoubtedly the recent death of Norma McCorvey, aka Jane Roe.

McCorvey, like Dr. Bernard Nathanson who co-founded NARAL, experienced a profound conversion on the abortion issue and became actively and vocally pro-life.

She underwent two religious conversions, as a born-again Christian and as a Roman Catholic, and became in her last decades a staunch foe of abortion, vowing to undo Roe v. Wade, testifying in Congress and bitterly attacking Barack Obama when he ran for president and then re-election.


McCorvey was used as a tool by pro-abortion, activist lawyers for whom this film will likely be a hagiography.

Plucked from obscurity in 1970 by Sarah Weddington and Linda Coffee, two young Dallas lawyers who wanted to challenge Texas laws that prohibited abortions except to save a mother’s life, Ms. McCorvey, five months pregnant with her third child, signed an affidavit she claimed she did not read. She just wanted a quick abortion and had no inkling that the case would become a cause célèbre.

With Norma McCorvey gone, this film can go forward without the fear of being publicly contradicted by the primary eyewitness to the history it intends to portray and more than likely revise.


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