With one in 36 children diagnosed as autistic, authentic and diverse portrayals of neurodivergent characters in media are more important than ever. Yet recent data underscores how far the film industry still lags behind reality. According to the USC Annenberg Inclusion Initiative's latest reporting on mental health representation in film, only one character across the top 100 films of 2024 was identified as being on the autism spectrum. More broadly, of the 4,425 characters appearing in those top-grossing films, just 1.7% were depicted as having a mental health condition despite the 23.4% of the U.S. population who live with one.

This semester, LMU School of Film and Television Professor Stacy Spruill's Elements of Screenwriting class hosted an insightful panel to explore the topic and discover how emerging writers at LMU can be part of bringing complex and nuanced depictions of autistic individuals to life onscreen.

The panel featured Britton Payne, most recently Vice President of Business and Legal Affairs at Nickelodeon, who is a steadfast advocate for autistic characters in children's media, and his 10-year-old daughter Eleanor, who offered a fresh perspective on the representation of autism in comic books. They were joined by LMU alum Niya Wright '16, who developed an autistic character for Netflix's animated series "Ada Twist, Scientist" based on her brother, and Alfonso Julián Camacho, a nonspeaking autistic writer of two children's books, who shared the power of alternative communication in storytelling. We sat down with Professor Spruill to delve into what sparked this conversation, what screenwriters can do to create more authentic representation, and what her hopes are for the future.

LMU: First off, what inspired you to focus on authentic autistic representation for this panel?

Professor Spruill: This subject is very personal for me. As a Black woman, I'm always aware of representation in movies and TV, and I have a nine-year-old son who's been formally assessed and identified as profoundly gifted. Frustrated with the public school system's lack of resources for students like him, my husband and I felt dismissed and unheard and switched our son mid-year to a new grade school. The first family to befriend us were the Payne's, who have an autistic son. They recognized our frustrations and welcomed us in. It was the first time my family had a meaningful experience getting to know someone who is autistic. That wonderful exposure continues to shape how I guide my screenwriting students to tell stories about lives different from their own with authenticity, care, and equity.

LMU: Why do you think it matters, not just for autistic viewers, but for neurotypical audiences to have authentic representation for autistic characters onscreen?

Professor Spruill: We train our screenwriters to create authentic worlds. I remember watching NBC's "Friends" and realizing nobody in that world looked like me. It took nine seasons before Aisha Tyler had a guest-starring role. I know what it feels like to be unseen and also misrepresented in media. At LMU, we have autistic students whose lived experience is vital. They should be encouraged to tell their own stories. And if the rest of us are being inclusive in ours, we must listen to them to become reliable narrators who are channeling their words, thoughts, experiences, and perspectives onto the page.

LMU: What are the most common misconceptions that you see reflected in the media?

Professor Spruill: I think the most common misconception is the "Rain Man" stereotype that autistic people are nonverbal, isolated, and treated as outsiders rather than as full members of their families and communities. TV shows and films often present them as exceptions, with others needing to speak louder or slower, which isn't accurate.

In my screenwriting workshops, our students are thoughtful and engaged, and they feel comfortable calling these assumptions out. They share vulnerable, personal experiences from their families and friendships, and the focus becomes showing respect and highlighting the humanity in everyone.

LMU: What did you learn from Britt about being an ally and what are some of the stereotypes or assumptions that can be made about autistic people and characters?

Professor Spruill: Britt showed us all what it means to use your platform as a megaphone to draw attention to important voices and then step aside to let autistic people speak for themselves. One of our guests, Alfonso, is nonverbal and communicates with a speech-generating device. He asked us, "What do you think is on my resume?" The answers were safe assumptions like, "kind" or "thoughtful". Then he shared his real bio, and he's an award-winning author, TV contributor, and a national panelist. He even told jokes, inviting us all to engage with him without fear. It was a very powerful lesson in seeing people fully, beyond stereotypes.

LMU: What role can allies play in contributing to more realistic autistic characters being portrayed across the media landscape?

Professor Spruill: Another panelist, Niya, started in the industry as a set PA and worked her way up to writer's assistant on a Netflix animated series. When the writers' room wanted to introduce a neurodivergent character, she drew on her nonverbal autistic younger brother and their mother's experiences as his caretaker. Using her own life as inspiration, Niya helped create two authentic characters and launched her professional writing career in the process.

Allies like her help bring lived experience into storytelling, whether its TV, film, gaming, podcasts, or even brand storytelling for companies like Disney and Mattel. Writing is about reflecting the world that we live in as it really is. We don't need to put a red bow on it. Not everything needs to be solved in 35 minutes or 60 minutes. That is the reality of life, that everybody has challenges that don't necessarily get solved.

LMU: What was your ultimate takeaway from the panel about representing this community?

Professor Spruill: We still havea lot to learn. This panel only scratched the surface. Everybody was so engaged and eager for more, so I'd love to invite Britt back. I hope he can return for a deeper dive because the students' minds were absolutely blown.

LMU: What unique perspective did Eleanor bring to the panel discussion, and how did her insights as an autistic child influence the conversation about representation and storytelling?

Professor Spruill: Eleanor brought a remarkable depth of knowledge about content that most of us aren't exposed to. She highlighted examples of Black, East Asian, and other underrepresented characters, showing us just how much more is possible in storytelling. It was a wake-up call: we're writing these characters, but we've only just begun to explore. I think it speaks to LMU's commitment to lifelong learning, and I'm grateful to Dean Moore and my chair, Beth Serlin, for supporting this panel and making this conversation possible.

LMU: What changes or progress do you hope to see in how we train writers and storytellers to create more complex portrayals of autistic characters?

Professor Spruill: I hope we deepen our understanding of the world and of humanity, and have the courage to lead this conversation. Our screenwriting department strives to be the number one destination for writers. We want to be the place where writers can infuse their work with their own truths and ask, "What do I want to say about the world? What do I want to say to the world?"

When it comes to getting these kinds of stories produced, the Hollywood gatekeepers may hestitate to greenlight for fear of making missteps. But it's our job to show them how it can be done. It's our job to show them our storytelling is undeniable through our deep character development and authentic world building.