Neurological Voyeurism: What are the dramatic and societal issues regarding the representation of autistic culture within television and film as a means of contemporary societal discourse? An exercise in writing a television pilot. By Jake Hugh Reece Wilson Student No. 500311755 BA (Hons) Film Studies UXS - 3090: Dissertation Submitted 1 st May 2015
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Neurological Voyeurism:
What are the dramatic and societal issues
regarding the representation of autistic
culture within television and film as a
means of contemporary societal discourse?
An exercise in writing a television pilot.
By Jake Hugh Reece Wilson
Student No. 500311755
BA (Hons) Film Studies
UXS - 3090: Dissertation
Submitted 1st
May 2015
Declaration
‘I hereby declare that this dissertation is my own work in partial fulfilment of the
requirements for the BA (Hons) Film Studies.’
Signed: …………………………..
Date: 29/04/15
Word count:
Practice-based research (television pilot script)
6564 words
Critical analysis
3506 words
Total: 10070 words
Permissions
‘I hereby give permission for my dissertation to be used for teaching purposes in the
School of Creative Studies and Media at Bangor University.’
This paper can be used without the author’s consultation by the aforementioned
institution indefinitely for any and all academic purposes.
Signed: ……………………………….
Date: 29/04/2015
Acknowledgements
I would like to thank Geraint Ellis, my tutor, for advising me in the production of this work.
Without him, I would have had no idea where to start.
Thanks to every lecturer I have had in Bangor University since the beginning, especially
those who have helped me hone my writing abilities. I have improved dramatically since I
started and I can only attribute this to the following staff here at Bangor:
Jamie Sherry; Rebecca Skains; Dyfrig Jones; Huw Powell; Stephanie Marriott; Gerwyn
Owen; John Finnegan; Eben Muse and Professor Nathan Abrams,
To all of you, thanks.
I am a very different person than I was at the start of my studies at university. I cannot say
that I’m wiser from three years of study, despite having learnt so much, it has only
increased my awareness of scale of the road ahead and all that I have yet to learn and
experience. Though what I can say for certain from my time here is this:
Thanks for giving the means to carry on,
- Jake
Contents
Television Pilot (Practical Research)................................................................................ 0
Part 1: Introduction – aims and objectives ...................................................................... 39
Part 2: What does it mean to be autistic? ........................................................................ 41
Part 3: Autism in television and film .............................................................................. 43
Part 4: Critical analysis of Spectrum .............................................................................. 47
Part 5: Conclusion – television as an historical artefact and architect ............................. 52
Bibliography .................................................................................................................. 53
Filmography .................................................................................................................. 57
Appendix A – Spectrum treatment ................................................................................. 58
Appendix B – Spectrum logo ......................................................................................... 61
0
SPECTRUM: “EVENT ZERO”
TELEVISION PILOT (PRACTICAL RESEARCH)
An original screenplay by
Jake Hugh Reece Wilson
Final Draft
April 25rd, 2015
© Jake Hugh Reece Wilson
31 Pendre Avenue
RHYL, Denbighshire
LL18 4NH
01745 334578
jakehrwilson.blogspot.com
1
EXT. DENSE BIRCH FOREST – NIGHT
Dim rays of moonlight shimmer through the canopy of
birch trees to the leaf-strewn ground.
BANG! BANG! BANG!
Three empty casings fall. A revolver is thrown upon the
litter. A hiking boot smushes one of the dead bullets
into the wet earth.
A man in a red checked shirt and ripped jeans, GEORGE
SHERIDAN, runs through the forest. A loose branch
scrapes his arm, drawing blood.
From behind, a murky figure chases him. The bushes
rustle around its running four-legged gait.
George slows down to a jog. He catches his breath and
scans the surrounding treeline.
He chuckles in relief.
A bloody bite mark appears on his leg. George screams
and falls down. The red on his leg deepens with
pressure.
George is dragged into the shadows. His curdling scream
ripples through the cloudy sky.
TITLE CARD: SPECTRUM
FADE OUT:
EXT. DERELICT FARMLAND – MORNING
Colourless dry grass sways in a gentle breeze. Flakes
of grey blow from the dead blades.
A collection of aged patchworked cottages and metallic
shacks stands alone in the field. The sun peeks out
from the clouds.
A sign reading ‘Your Swords, an Emerging City -
Dublin’, stands, rusted and covered with greenery.
The specks upon the earth shine like diamonds in the
light.
2
EXT. PATCHWORK HAMLET – MORNING
The door of the centremost house creaks open.
BIYU SHERIDAN, a young woman garbed in a dark dressing
gown wanders out. Her black hair is frizzled and her
face is altogether tired and somewhat annoyed.
She yawns and walks around her house.
Biyu enters a small shack of metal sheets built onto
the wall and emerges dressed in gardening boots, dirty
tracksuit trousers and a nylon blue jacket.
She plucks a shovel from the shed’s wall.
EXT. BACK OF HOUSE – MORNING
Biyu receives a small metal chit from two large muscled
men.
They load two boxes full of potatoes onto their rusty
pick-up truck.
They drive off in a cloud of smoke.
Biyu looks at the small metal chit and sighs.
EXT. HAMLET GARDEN – MORNING
The shovel enters the soil. With a heave, Biyu lifts it
up and discards the earth.
She works in a garden between the three houses of the
hamlet. Her grab figure stands out amongst the bright
potato flowers.
She kneels and pulls on an exposed grey ivy plant from
underground. Like spaghetti, it is long and noodley.
Pores of sweat drip from Biyu’s face.
With a plop, it comes free, throwing Biyu to the muddy
earth.
She groans angrily.
A scruffy pre-teen boy, ELI SMITH, runs to Biyu from
behind a nearby house. He wears a patchworked white
office shirt and wrinkled jeans along with a belt
carrying screwdrivers, cloths and spray cans.
3
CONTINUED:
He stops before her and sniggers.
BIYU
Laugh it up, short stuff.
Eli offers her a hand and helps her up.
Biyu inspects her sodden clothes and sighs.
Eli helps wipe her down with a cloth from his belt.
ELI
Why isn’t George helping
you? I thought it’s his turn
today.
Biyu frowns curiously at the weed.
She grabs the shovel and jabs it into the grey vine,
cutting it in half. The plant lets out thick, viscous
grey goo that is absorbed into the soil.
BIYU
He isn’t up yet. Is Mary?
Eli crouches by Biyu and idly reaches forward to poke
the sliced vine. Biyu slaps his finger away and gives
him a serious gaze.
ELI
(sadly)
She hasn’t changed.
Biyu stares at the ground.
Eli’s frown turns to a grin. He rises to his feet.
ELI
Ain’t fair that you do all
his work. Lazy sod. I’ll get
him.
Eli runs off.
Biyu smiles and shakes her head.
She buries the remnants of the vine with a push of her
shovel to the pile of earth.
4
CONTINUED:
Biyu digs deep into a bulge in the ground, revealing
another grey vine.
BIYU
(to herself)
Where on earth are you
varmints coming from?
She plants her shovel in the earth and grabs the vine.
ELI (O.S.)
Mum!
Biyu looks at the approaching form of Eli.
The boy puts his hands on his knees and pants.
ELI
Uncle George’s not in the
house!
Biyu’s face enflares with anger.
With a groan, she rises.
INT. GEORGE’S HOUSE – MORNING
Biyu inspects the messy property of her brother. Lined
on the walls are the taxidermied heads of a doe, wolf
and stag. The room is lined with a faint cover of dust
– not from disuse, but lazy cleaning.
She lifts the mattress off a fifty-year-old decaying
bed, slams open every wood-wormed cupboard and forces
the wooden planks off the floor to inspect the secret
stashes of medicine within.
Biyu growls in annoyance.
Her eyes fall upon an empty gun display case. The
creased shape of a revolver defines the red velvet
interior.
Biyu smirks.
EXT. BIRCH FOREST - DAY
Biyu and Eli stride through the illuminated woods.
5
CONTINUED:
Biyu holds a lever-action rifle tightly in her hands
whilst Eli stays close to her back. The boy has a faded
school backpack over his shoulder that rattles with
every step.
Biyu’s eyes are glued to the boot-shaped tracks
imprinted in the mud.
EXT. BIRCH CLEARING - DAY
Biyu whistles like a bird. She expectantly glances
around from atop a rusted, overgrown car in the middle
of a clearing.
No response.
She whistles once more.
EXT. BIRCH MARSH – AFTERNOON
SQUELCH! SQUELCH! SQUELCH!
Two pairs of boots march through sticky, thick mud.
Biyu and Eli trek through a flooded part of the forest.
Their feet frequently become stuck in the mud whilst
intermittently swatting clouds of flies away from their
faces.
EXT. DENSE BIRCH FOREST – DUSK
The canopy is tinted purple as the howl of a wolf
announces the day’s end.
Biyu and Eli are muddied and tired. Biyu inspects the
tracks of George. She grimaces as she sees them lead
deeper into the woods.
BIYU
(shouting)
George! Are you out there,
honey?
The forest remains quiet.
ELI
Biyu, we need to go home. We
can’t leave Mary on her own
at night.
6
CONTINUED:
Biyu sighs and nods.
BIYU
He’s stubborn. I’m sure he
can last one night solo.
Eli smiles in reassurance.
He turns around and begins walking back.
Biyu looks around forlornly. Her eyes glisten with a
hint of water as she burns the area into her head.
Something shines in the bush.
Biyu runs to it and picks up a revolver – George’s
revolver - complete with three spent bullets.
Biyu frowns in anger and pockets the gun.
BIYU
Eli!
The boy turns around. Biyu throws him her rifle.
BIYU (CONT’D)
I’m going to continue alone!
Hurry back and hold the
fort, will you?
Eli shakes his head, his eye wide with fear.
Biyu glares.
The boy nods slowly and jogs away. He gives a nervous
look behind before he disappears into the light
treeline.
Biyu reloads and heads into darkness.
EXT. DEEP FOREST – NIGHT
Biyu strides through the undergrowth, herself tiny
against the birches of the deep woods.
She takes an aged flashlight from her belt and uses it
to illuminate her path.
7
CONTINUED:
Biyu stops as George’s footprints end. She shines the
light on a series of wolf pawprints and a dragging
marking that leads further into the forest.
Biyu checks the revolver. Four shots.
She silently follows the markings.
After a while, the dragging print goes away, leaving
only the pawprints.
A soft moan comes from ahead.
Biyu points her gun and approaches the area.
She eyes a depression in the ground that holds a shiny
red, scaly ball.
She stands above and pokes it with her gun’s muzzle.
The ball shifts in annoyance. A little hand reaches
around and scratches where Biyu’s gun touched.
Biyu’s hands shake. She cocks her gun and pokes the
ball again.
The creature groans as two wings unwrap themselves,
revealing a European dragon-like body. It yawns,
showing a battery of sharp teeth and a forked tongue.
It is the size of a toddler, with four legs, a tail,
its wings and a predatory head.
The dragon looks up at the imposing Biyu and downs its
spiny ears.
BIYU
(firm)
What the hell are you?
The dragon whimpers in fear.
Biyu kicks it with her boot.
BIYU
Up.
The dragon climbs shakily out of the hole.
8
CONTINUED:
Biyu looks into the reptile’s human-like eyes. The
serpent breathes loudly, its body shaking badly.
BIYU
If you try to run, I will
shoot you. Understand?
The dragon squeals. The high-pitched wail rattles the
stillness of the air and vibrates the leaves on the
trees.
Biyu hits the dragon’s head with her gun, knocking it
out.
A loud roar echoes in the distance, quickly followed by
a series of animal calls.
Biyu pockets her gun and picks up the small dragon. She
slings the animal over her shoulder.
The bushes around her become a blur as she sprints away
from the deep woods.
EXT. PATCHWORK HAMLET – MORNING
Off in the distance, the forest is alive with the cries
of animals.
Biyu, with the dragon over her shoulder, emerges from
its green edge.
The human hastily jogs into her house.
INT. BIYU’S HOUSE – NIGHT
Her house is small, neat and well maintained – an echo
of what George’s house used to be like.
She plops the creature on the ground, next to her tidy
bed, and looks over it curiously.
The red dragon sleeps contentedly, its body shiny and
free from any cuts or injuries, aside from the odd
patch of dirt or mud.
A roar outside makes her head turn in panic.
Biyu closes the curtains and locks the doors.
9
CONTINUED:
She sits on a chair overlooking the room and holds her
revolver tightly at the small reptile.
Her hand and gun shakes as she looks at the dragon with
rage in her eyes.
Biyu’s eyes droop tiredly.
INT. BIYU’S HOUSE – MORNING
Dimmed sunlight shimmers through the closed curtains.
Biyu snores on the chair, her gun missing from her
hand.
She opens her eyes and sees its barrel at her nose.
The dragon holds the weapon clumsily in its clawed
hands.
Biyu slowly raises her hands.
BIYU
Easy little lizard. I’m
don’t want to hurt you.
DRAGON
Let me out!
Biyu’s eyes widen.
BIYU
You can talk?!
The gun shakes in the dragon’s hands.
DRAGON
Listen, lady. I just want to
go home. Please just let me
out!
Biyu nods slowly.
BIYU
I’m going to reach into my
pocket. Is that fine by you?
The little reptile nods uncertainly.
10
CONTINUED:
Biyu carefully reaches into her trouser pocket and
takes out the key.
TING! She drops it.
The dragon reflexively looks down.
Biyu slaps the gun out of his hands and pins him to the
wall, one hand on his neck, the other around his thin
hindlegs. The dragon struggles and whimpers against her
hands.
BIYU
(through gritted teeth)
Where is he, freak?
DRAGON
(choking)
What? Who?
Biyu tightens her grip on his neck. The front door
clicks open.
BIYU
If you don’t want us to be
eating lizard tonight, tell
me where you took George.
Eli runs to Biyu’s side. His face is etched in concern
and wonder. The dragon’s orange eyes are wet with
tears.
DRAGON
(whimpering)
I don’t know what you’re
talking about, human. Please
let go; you’re hurting me!
ELI
Wow, a talking lizard! Did
you find that last night,
Mum?! That’s so cool!
BIYU
Go get my knife, Eli.
Eli looks at Biyu angrily.
Biyu glares right back.
11
CONTINUED:
BIYU
(stern)
Now.
Eli folds his arms and looks away with a humph.
Biyu groans, annoyed.
DRAGON
Listen, human. If you let me
go, I promise you’ll never
see me again. Just don’t eat
me, please!
MARY, a frail old woman in a long dressing gown, enters
the house. Biyu looks toward her and softens her
stance.
BIYU
Mary? What are you doing up?
Mary walks to the dragon, smiles, and strokes the
reptile’s head.
The dragon looks at her in hope.
MARY
Don’t be afraid, little
girl. We’ll let you go.
Mary slaps Biyu’s knee sharply.
Biyu yelps and lets go of the dragon.
The dragon falls to the floor and hides under Biyu’s
chair.
He looks between Biyu, Eli and Mary uncertainly.
Biyu picks up the revolver.
Eli kneels by the chair. The dragon edges further into
the darkness.
ELI
What’s your name?
DRAGON
Aelwen.
12
CONTINUED:
ELI
Do you know anything about
George? He’s look a bit like
me, except bigger and short
hair.
Aelwen grimaces.
EXT. BLACK WOODS – DAY
Aelwen runs quadrupedally through the woods, crying
severely.
A trio of silhouetted animals run after her.
EXT. DEEP WOODS – NIGHT
Biting wind breezes through the trees. Aelwen shakes.
Aelwen finds a depression in the ground and crawls into
a ball.
INT. BIYU’S HOUSE – MORNING
Aelwen hesitantly shakes her head.
AELWEN
I ran away yesterday. Mom
sent guards to get me back.
I can’t be certain, but it’s
possible that they found him
while there we looking for
me.
Biyu raises an eyebrow. She opens her mouth to speak
up.
Mary raises a finger and sits on the bed.
MARY
Biyu, she’s just a child. I
doubt she had anything to do
with George’s disappearance.
Biyu clenches her fists.
BIYU
Then who did?
13
CONTINUED:
Biyu glares at Aelwen. The dragon-girl wilts under her
gaze.
CRACK!
The humans turn in shock towards the window.
Biyu stands beside the window, the revolver in her
hand, and opens the curtains.
A giant reptilian eye stares through.
Biyu’s eyes widen. She urgently jumps away from the
wall.
SMASH!
A large crimson hand punches through the building,
leaving a massive hole.
Eli grabs Mary’s hand and leads her away from the
intrusion, backing up against the far wall.
Biyu points her revolver at the intruder.
A large dragon crouches down with its head peering into
the house. At its arms, a giant wolf with a blue
cybernetic eye and a horse with a metal prosthetic leg
appear on either side.
Aelwen whimpers and tries to back away from the figure
but is stopped by the chair.
BIYU
(shouting)
Go away, you monsters!
The giant dragon sharply turns its head to the armed
human.
It snarls.
The cyborg horse steps forward.
A small cylindrical gun pops out of its haunches and
emits a low hum.
ZAP! It fires, consuming the room in light.
14
INT. WHITE ROOM – DAY
Through murky darkness, a pair of silhouetted beings –
one human, one equine - look over Biyu. They chatter
incoherently and move jerkily, distressed.
The human one takes a needle and injects Biyu.
Darkness takes over the room.
INT. WHITE ROOM – NIGHT
The human figure watches over Biyu intently.
Biyu lies upon a medical bed, strapped by wire to a
monitor that checks her heartrate with periodic beeps.
She murmurs and slowly comes to. Her eyes squint as she
focuses on the person watching over her.
The figure is an ape with orange fur and dark blue skin
visible upon its hands and face. On the side of the
ape’s face is a small implanted computer chip that
blinks intermittently.
APE
Hello, young ma’am. Can you
hear me?
Biyu moans and tries to sit up, but her arms and legs
are bound by restraints at the joints.
She stares at the ape’s inhuman face and tries to talk.
The only thing that leaves her mouth is air.
Biyu glares at the ape angrily.
The ape hums in thought.
He presses a button on the monitor’s side with an
audible click.
BIYU
What are you?
The ape grins and straightens his gait. He uncouples
her hands and legs from their restraints.
Biyu strokes the sore skin underneath.
15
CONTINUED:
ROLAND
I’m Doctor Roland. I’m
pleased that your vocal
chords are still working as
they should.
Biyu touches her neck in worry.
Roland laughs.
ROLAND (CONT’D)
(shouting)
You had a nervous jolt from
the witherblaster during
your arrest – severed your
nerve cells in some places.
I simply applied a dose of
nanites to repair the vocal
tracts from the inside.
Biyu grunts and stares at the ape.
Roland rubs his midnight blue hands together.
BIYU
(deadpan)
I meant ‘what are you’.
He blinks rapidly and shakes his head in confusion.
ROLAND
A… doctor of nanoscopic
medicine.
Biyu eyes a scalpel and pockets it.
Roland gasps and backs off slowly.
Biyu lunges forward and holds him in a headlock. She
brings the blade to his hairy throat.
BIYU
Where are my family?
Roland whimpers and raises his hands.
16
CONTINUED:
ROLAND
Across town! One was a minor
and the other a senior, so
we give them special
treatment.
Biyu throws the ape doctor away and rushes out the
handleless door.
INT. STERILE HOSPITAL CORRIDOR - NIGHT
Biyu runs down and accidentally knocks over a horse
carrying boxes of medical supplies on its back.
EXT. NEW CANAAN RURAL STREET - NIGHT
Biyu makes it out of the building – a white cuboidal
structure with a neon red pawprint symbol and ‘New
Canaan Clinic’ upon its top. Around her, the buildings
are tall, combining futuristic tower blocks with quaint
wooden houses and cabins. In the distance, a tall wall
of scrap metal stretches around the buildings.
A passing wolf gasps in a feminine voice and watches
Biyu with uncertainty and fear. By her side is a small
cub, who she shields with her body.
Biyu runs down the smooth tarmacked road.
EXT. NEW CANAAN URBAN STREET - NIGHT
Biyu pants as she jogs across the settlement.
Along the way, she jumps into a pair of lions. One with
a mane and one without.
The larger big cat growls and roars at Biyu.
LION
Hey, what’s the big idea,
human?
The smaller one takes a step back.
LIONESS
Help! Someone’s ran from the
hospital! Help!
17
CONTINUED:
A wandering wolf, adorned with a large cannon on its
back and a strap around its chest reading ‘POLICE’,
spots the rogue Biyu.
It barks three times.
Shortly after, a siren rings through the air.
Biyu groans in frustration and runs down an alleyway.
EXT. DARK ALLEY – NIGHT
Biyu sprints down, knocking over several cans of waste.
POLICE WOLF
(shouting)
Stop, human!
The police wolf follows her, barking occasionally.
EXT. NEW CANAAN HIGH STREET – NIGHT
Biyu emerges in a long, wide street with many shopping
stalls and illuminated shops on either side along the
bottom of the buildings.
The creatures around all gasp at the sight of the
hospital-gown clad woman.
Around Biyu are a crowd of humans, apes, horses, lions,
wolves and dragons. They all stare and chatter in
confusion.
Biyu stares in bewilderment and turns around at the
approaching crowd.
The armed wolf emerges from the alley and pounces her.
Biyu screams in pain as she hits the ground.
POLICE WOLF
Sorry about that, sunshine,
but it’s clear that you do
not belong here.
The animals around all crowd around Biyu, talking
amongst themselves. They grow taller and darker, until
they all silhouette against the moonlight.
18
INT. HOLDING CELL – EARLY DAWN
Biyu sits on a bed in a ramshackle cell. The walls are
grey and aged, with a glass wall and locked door on one
side for entry and exit.
Her hands shake in worry, her gown dirty and torn from
abuse.
She stares at the ground intensely.
CLANK!
Footsteps approach Biyu from the corridor.
She rises and stands towards the door.
A large crimson dragon, clearly too big for the
hallway, talks to a white dragon.
The crimson dragon wears a gold necklace and a crown of
silver and jewels on its head, whilst the white one
wears an even grander crown of platinum and diamond. At
their side is a lion that wears a strap along its chest
holding several oversized keys and papers.
The white dragon points at the crimson one, says
something, and walks away.
The crimson dragon rolls its eyes and holds out its
hand.
The lion hands it a big brass key.
The dragon inserts the key into the door and turns,
opening it.
The giant reptile enters the room with its eyes set
upon Biyu.
Biyu breathes heavily and backs as far against the wall
as she possibly can.
The reptile lies before the human with a non-aggressive
tone to its body. It eyes are alight with curiosity.
BIYU
(frozen with fear)
Hi.
The reptile chuckles in a feminine voice.
19
CONTINUED:
CRIMSON DRAGON
Hello, young lady.
Biyu gulps and looks away from the creature.
The dragon turns its serpentine head away and gazes at
the lion guard.
The two exchange eye contact for a good moment.
The lion guard nods.
LION GUARD
Yes, Viceroy, ma’am.
The feline then proceeds down the corridor at a brisk
pace.
The dragon meets Biyu’s gaze.
VICEROY
I’m sorry for the scare.
It’s easy to forget that the
eccentricities of our
society when it comes to
outsiders. Where do you come
from, may I ask?
Biyu gulps and continues her stare.
Viceroy smiles softly in reassurance.
BIYU
I don’t know where I am, but
it’s fifteen miles from
where the city of Swords
once was.
The dragon’s face turns serious.
VICEROY
Are there more humans like
you?
Biyu nods hesitantly.
20
CONTINUED:
BIYU
I’m a farmer, same with my
husband and our families.
But we not farm for
ourselves; we sell our crop
Dublin. A organisation there
rules there, I think. Only
George has ever been there.
A rattle of keys announces the lion guard’s return. At
his side are Eli and Aelwen.
The small dragon-girl hides behind the human boy’s leg.
Eli smiles and places his hands on the glass.
ELI
(muffled)
Mum!
Biyu rises and smiles in relief. Her smile is wiped
when she looks to Viceroy, who sits in the way.
The dragon smiles and raises her tail for Biyu to pass.
Biyu runs to the wall and smiles at Eli.
BIYU
Did they hurt you?
Eli shakes his head.
ELI
Nah, they’ve treated me
awesomely. You should see
this place, Mum! They’ve got
meat here and they let me
have some for free!
A rumble comes from Viceroy’s belly.
VICEROY
(mumble)
And I’m sure that I’ll
regret giving away my meat
ration later.
Viceroy waves at Aelwen. The shy dragon continues to
conceal himself behind Eli.
21
CONTINUED:
The crimson dragon turns to Biyu.
VICEROY (CONT’D)
Listen, I’ve got to be
honest with you; you’ve
caused quite a stir here in
New Canaan. I, and my fellow
senior members of the
council, thought that life
beyond the forest was
impossible.
Biyu chuckles.
BIYU
What made you come to that
conclusion?
Viceroy sighs melancholically and closes her eyes.
EXT. DUBLIN STREET – DAY
A picturesque town street stretches far unto the
horizon, with bright green bushes, luminescent cars and
pristine detached houses, all under a perfect blue
cloudless sky.
VICEROY (V.O.)
After Greyday…
A violent blast sweeps over the street, ripping the
structures to pieces.
Left behind are the bones of the houses and ruined,
turned-over cars, carpeted under a layer of grey dust.
From the sky sprinkles shiny flakes of silver.
VICEROY (CONT’D)
…When greydust was unleashed
upon the earth and the old
world devastated by the
ecological apocalypse…
EXT. FOREST FLOOR – NIGHT
A carpet of grey dust covers the floor between huge
trunks of coniferous trees.
22
CONTINUED:
A male human wearing a thick black coat trundles to a
lit campfire where a group of thirty humans nestle
around, sharing the warmth.
VICEROY (CONT’D)
I and a group of others were
part of a commune of the old
world faith. We were lucky;
the blast was absorbed by
the forest, leaving us alive
and confused.
EXT. FOREST EXIT – NIGHT
A thick-clothed human donning a flashlight and hood
pushes through a thick cloud of grey dust. He leaves
the protection of the trees and braves an open wall of
grey.
VICEROY (CONT’D)
We naturally tried to
contact others beyond the
woods to find out what had
happened.
The dust bites at the clothes of the human’s coat
corrosively.
The man groans and runs back, in pain from the
exposure.
VICEROY (CONT’D)
But in those early days of
the disaster, travelling
from this forest was not a
possibility. So we hunkered
down here in these woods.
EXT. FOREST CLEARING – DAWN
The humans, all wearing ragged worn-in clothes, are
gathered in a circle. The black coat human talks
without sound; the others listen.
VICEROY (CONT’D)
The trees offered good
shelter, so we began to
build ourselves a home here.
23
CONTINUED:
MONTAGE
- A female human saws a log in half with a long
serrated knife.
- A pair of men push and hold a large half-log upwards
whilst a woman bolts it to the moulded stone
foundation.
- Whilst standing on a wooden ladder, a woman hammers
into place a large sheet of wood from two half-logs.
END OF MONTAGE
EXT. FOREST CLEARING – DUSK
A single-room cabin, like a mead hall of Norse origin,
stands in the forest clearing. From its windows comes a
homely light.
VICEROY (CONT’D)
During those days we had no
idea of what the dust would
do.
INT. CABIN HALL - NIGHT
The central piece to the hall is a table, whereupon
which are a group of moaning humans. All the makeshift
beds around are filled with sick men and women. The few
well humans tend to them hurriedly.
VICEROY (CONT’D)
I still don’t know how it
happened, but the exposure
began to change most of us.
It took time, but over the
course of many months, most
of the members of our
congregation… changed.
INT. HOLDING CELL – EARLY DAWN
Viceroy opens her eyes and looks solemnly into Biyu’s.
24
CONTINUED:
VICEROY (CONT’D)
And so, here we are. Humans
with inhuman bodies. And now
that you’ve arrived, young
Biyu, I find myself at an
impasse.
Biyu steels her nerves and frowns.
BIYU
Do you consider us a threat.
Viceroy nods.
Biyu grimaces.
Viceroy turns to the lion guard and they exchange a
strong gaze.
The lion nods.
Viceroy smiles.
VICEROY
I can’t let you go, you
understand? I just can’t. I
shall consult with the
council of New Canaan on
your future. If you can find
your way here others can. We
must be prepared.
Viceroy starts to leave the cell. Biyu blocks the
dragon’s path, earning her a strong glare.
BIYU
The reason I found that
young dragon is because I
was looking for my husband!
He’s been out there for
almost two days now! I need
to continue searching!
Please! He could die!
Viceroy’s gaze softens. The dragon remorsefully lumbers
out the cell, picks Aelwen up in her mouth and heads
down the corridor.
Aelwen, held in her mother’s snout, waves to Eli sadly.
25
CONTINUED:
Eli waves back with a smile.
The lion guard gently pushes Biyu and Eli down the
opposite direction.
Biyu’s face is dominated by scorn.
INT. STONE APARTMENT – DAY
Biyu looks down from the grated window on the top floor
of a stone complex. She stares at an open plaza
situated within the centre of the settlement.
The apartment is made of stone brick with a chair,
table and two beds all constructed out of wood. A
diamond-shaped rug, a luxury from the old world,
decorates the floor.
She stares at the passing people below angrily.
Eli sits on a cushion on the ground with his legs and
arms crossed, staring at his mother.
Biyu turns to Eli, grunts, and turns back.
BIYU
Shut up.
Eli throws his arms in the air angrily.
ELI
I didn’t say anything!
Biyu hums in thought.
Eli frowns and looks away.
There is a knock on the door.
Biyu turns in interest. Eli rises and presses the
button low to the ground that unlocks the door.
Aelwen stands sheepishly before them.
AELWEN
Oh, hi. Um… I was wondering
if you’d want to play with
me, Eli. Mom said you can
wander the town if you want.
26
CONTINUED:
Eli grins.
Biyu steps toward the boy and dragon.
BIYU
(pensively)
Are you sure?
Aelwen nods eagerly.
Biyu groans and heads back to the window.
BIYU (CONT’D)
Go on then, Eli. Just be…
sensible, all right? I don’t
trust this place.
Aelwen gasps in glee and in a flash, she and Eli run
out the room and shut the door.
Biyu rests her head on the windowsill and gazes at the
small red dragon and boy as they into a park of trees
on the other side of the plaza.
Their laughter echoes through the air.
A smile escapes Biyu’s lips.
EXT. WALL BOTTOM – DUSK
Biyu walks around the inner perimeter of the vast wall
of assorted metal that surrounds the village.
See eyes the sheets between the beams for any sign of
weakness or a hole.
She sighs in disappointment.
A small grey nub sticks out from the ground.
Biyu jogs to it and kneels.
She grabs a rock and shovels the dirt from its sides.
Pulsing with grey liquid, the root is identical to
those Biyu found on in her garden.
She furrows her brow.
27
INT. STONE APARTMENT - NIGHT
The sound of crickets rattle the moonlit night.
Biyu and Eli sleep in their beds, nestling against
thick duvets of wool.
A blur enters the room in a flash; just as soon as it
arrives, it leaves.
Biyu rises from her slumber.
On her lap is a small piece of paper, crumpled into a
ball. The bars on the window are gauged open from the
outside, leaving a big hole.
She unfurls the note.
In black, extremely uneven and chaotic writing, it
says:
GET OUT. YOU’RE IN GRAVE DANGER. IF YOU WANT TO LIVE,
MEET BY THE GATE IN FIVE MINUTES.
Biyu throws the note and rushes to the window.
She scans the surroundings. In the distance, at the top
of a building, a shadowy figure vanishes in a silent
ping of light.
Biyu runs to Eli and shakes him awake.
BIYU
Get up. We’re going.
Eli moans.
ELI
Do we have to?
Biyu slaps his arm.
He groans and very quickly rises, cradling his arm.
EXT. OUTSIDE STONE TOWER – NIGHT
Biyu jumps from the window. She groans as she lands
from the nine-metre drop and massages her knees.
Eli stands above, pensively looking down at the fall.
28
COTNINUED:
She holds her arms out.
Eli closes his eyes and falls.
Biyu reaches out and grabs him. She groans as she puts
him down.
BIYU
You’re heavier than I
remember…
Eli chuckles and hugs Biyu.
She smiles and ruffles his hair.
She waves for him to follow and the two run down an
empty road.
EXT. URBAN ROAD – NIGHT
Biyu and Eli shimmy carefully through an alley,
avoiding the boxes and cans of rubbish.
A grumpy horse walks to the exit on the other side and
peers through the darkness.
The two humans freeze.
The horse sighs in boredom and walks off.
Biyu and Eli jog silently out of the alley.
EXT. GATE (NEW CANAAN SIDE) – NIGHT
Biyu and Eli hide in the bushes watching a double-
hinged gate with a wolf and dragon standing either
side.
ELI
(whispering)
So how do we sneak by them?
Biyu smiles and puts her finger to her lip.
Eli nods.
A quiet zip is followed by a groan from the two guards.
The wolf shakes its head and the dragon puts its hand
to the side of its head in pain.
29
CONTINUED:
They fall to the ground.
Biyu rushes out of the bush and pushes her way through
the gate.
EXT. GATE (FOREST SIDE) – NIGHT
Biyu and Eli stand at the edge of the forest with the
gate behind them.
THUD!
Viceroy drops from the sky. In her arms are Aelwen, who
shakes free and smiling walks to Eli’s side, and a
large crossbow.
She sighs in relief.
VICEROY
I’m glad you heeded my
warning.
Biyu offers the dragon her hand.
Viceroy looks at it in confusion.
Pensively, she shakes the human’s tiny hand, a smile
emerging upon her snout.
VICEROY
(amazed)
I haven’t done this in… a
long time.
Biyu chuckles and grins at the crimson dragon.
BIYU
So what’s the problem?
Viceroy sighs.
VICEROY
The council has voted to
contain you in order to
preserve the secrecy of our
people.
The dragon drops the crossbow and a quiver of arrows at
Biyu’s feet.
30
CONTINUED:
Viceroy waves toward the woods and nods.
Biyu smiles.
BIYU
What will happen to you if
we go?
Viceroy grimaces, glances away from Biyu, and smiles
forlornly.
VICEROY
Sooner or later, the outside
world is going to discover
us. There’s little point in
keeping innocents here
prisoner, especially when
they have family to care
for. I’ll make sure that the
old woman is cared for; you
go do what you have to.
Viceroy winks.
Biyu nod in thanks.
The large dragon kneels down and looks Aelwen in the
eyes.
VICEROY (CONT’D)
Take them to the edge of the
forest, dear. Make sure they
don’t stray from the path.
Can you do that?
Aelwen nods and nuzzles Viceroy’s nose affectionately.
They stare at each other intensely.
Aelwen laughs.
AELWEN
Of course I won’t, Mom. I
was selfish. Sorry.
Viceroy smiles and licks her little daughter.
Aelwen groans in embarrassment.
31
EXT. DARK FOREST CORRIDOR – NIGHT
Aelwen leads Biyu and Eli down a path free from trees
that cuts through the woods.
BIYU
Aelwen?
The little red dragon looks to Biyu.
BIYU (CONT’D)
Back there, when you looked
at your Mom, it was as if
the two of you… knew that
the other was saying.
Aelwen nods and grins.
AELWEN
We have these little bits of
metal in our heads that let
us talk to each other
without our mouths. Every
ontomorph has one.
Eli runs to Aelwen’s side. The faces of the two
brighten with each other’s presence.
ELI
Ontomorph? What’s that?
Aelwen points to her chest with a smile.
Eli smiles in realisation.
The little dragoness stops suddenly.
Eli and Biyu look to Aelwen confusedly.
Aelwen turns to face the way they came with panicked
eyes. Her legs shake and her dead darts around in fear.
BIYU
Aelwen, what’s wrong?
Aelwen runs towards the city.
BIYU (CONT’D)
Wait! Aelwen!
Biyu and Eli chase after the rogue dragon.
32
EXT. FOREST GLADE – DAWN
Aelwen runs across an open area of forest with Biyu and
Eli right behind her.
Biyu grabs her tail and slows her pace, slowing the
dragon down in turn.
BIYU
Aelwen, what on earth is the
matter with you?! We need
you to show us the way!
Aelwen whimpers against her grip.
AELWEN
Please! Mom needs me!
They’re going to-
A roar rings through the air. Aelwen gasps.
AELWEN (CONT’D)
(desperate)
Mommy!
Aelwen bites Biyu’s hand.
Biyu winces and nurse her wrist.
The small dragon disappears into the forest.
Eli stops at Biyu’s side, panting and out of breath.
ELI
You okay, Mum?
Biyu nods, her face red. She gasps in pain at markings
on her hand.
Eli rips a piece of cloth from his battered shirt and
holds it out.
Biyu silently words ‘thanks’ and tightly wraps it
around her injury.
Aelwen runs out of the woods, her face teary and
terrified.
BIYU
What was that for, Aelwen?
33
CONTINUED:
A pack of five wolves burst from the vegetation.
Half of their torso is made of metal and their eyes
glow a faint red. After emerging from the woods, their
sprint is redirected towards Biyu.
BIYU
Oh, crap.
Aelwen darts by the two.
Eli and Biyu match the dragon’s pace and follow her
lead once more.
EXT. DARK FOREST CORRIDOR – DAWN
Biyu, Eli and Aelwen run from a snarling and barking
pack of wolves.
Biyu grabs the crossbow from her backstrap and loads it
whilst on the move.
She aims toward one of the shadowed creatures at her
right flank.
PING!
The arrow hits the beast’s leg. It whimpers and falls
to the ground.
BIYU
Aelwen, talk to me! Are
these things human?
Aelwen cries hysterically.
BIYU (CONT’D)
AELWEN!
Biyu reloads and quickly fires at a wolf approaching
from the left.
She misses.
The massive dog jumps with a deathly snarl.
Eli screams as it pins him down.
The beast’s claws dig into the human boy’s soft skin.
34
CONTINUED:
AELWEN
(screaming)
Eliott!
The dragon girl jumps toward the wolf and punches it in
the eye.
The canine whimpers and falls over.
Biyu grabs Eli’s arm and helps him up.
BIYU
Keep going, come on!
They continue to flee.
EXT. DENSE BIRCH FOREST – DAWN
Biyu and Eli stagger through the woods, their bodies
brown with dirt and red with blood.
The wolves hide in the dense treeline, eyeing the
humans. Their skin turns see-through when immobile – a
kind of active camouflage.
Eli falls down in exhaustion.
Biyu grabs his hand and grunts as she drags him by his
hand.
She spots a pile of revolver casings partially buried
in dirt.
Her eyes look to the ground in thought.
EXT. DENSE BIRCH FOREST – NIGHT
Biyu stares at the dragging mark upon the soil
alongside wolf pawprints.
EXT. DENSE BIRCH FOREST – DAWN
Biyu gasps in realisation.
She looks ahead with newfound anger and determination.
BIYU
George…
She stops in her tracks.
35
CONTINUED:
Aelwen looks to her in terror.
She gives the dragon a comforting gaze and pats her
shoulder. She then stares at the trees around her.
BIYU
(yelling)
Come on, then!
She raises her hands.
BIYU (CONT’D)
You took one of us already,
so finish it!
Silence.
Biyu scans the surrounding timeline sceptically.
From nowhere, a maw of red flesh and white teeth
emerges from the air with force.
She hits the floor at its impact.
Biyu covers the empty casings with her hand.
BIYU
(weakly)
I’m coming, brother…
INT. WHITE ROOM – DAY
Biyu opens her eyes.
A bright white fills the ceiling.
She tries to rise, but is halted.
A lasso of rope fastens her to a stool in the centre of
a blank room. Her arms and legs are locked to the wood
tightly, and the rope roughly gnarls at her back.
She grunts and wiggles to break free.
On the other side is Eli, who’s sleeping soundly.
AELWEN (O.S.)
Miss Biyu!
36
CONTINUED:
Biyu looks up.
Aelwen is tied to an alcove above her hindlegs. She
rocks the rope back and forth in an attempt to get at
the bondage.
BIYU
What happened?
Aelwen stares the Biyu fearfully. Specifically, at her
arm.
Biyu gasps.
The human’s hand and upper arm is covered in a thick
layer of reptilian blue scales that emanate from the
bite mark on her hand. Her fingertips are adorned with
black claws and her digits are altogether more
muscular.
Eli sits unconscious with a layer of grey fur over his
limbs. His changes spread out from the claw marks on
his wrists.
AELWEN
(regretfully)
I’m sorry.
The little dragon looks away.
AELWEN (CONT’D)
I didn’t know.
A section of the wall opens.
The largest wolf from the hunt walks in.
He smiles.
Biyu, Eli and Aelwen stare at the cybernetic canine
fearfully.
He chuckles and nods toward the open door.
A tiger is thrown in, its legs tied up and muzzle
covered with duct tape.
The wolf rips the tape off with its paw.
37
CONTINUED:
The tiger gasps for air.
The wolf leaves and the door shuts closed.
The tiger’s eyes and Biyu’s meet.
The feline gasps sadly.
TIGER
Biyu?
Biyu face freezes.
BIYU
G- George?
END – EPISODE ONE
38
39
Part 1: Introduction – aims and objectives
Spectrum is an original television screenplay, created as research for this practice-
based dissertation. The goal of this paper is to determine, though practice and critical analysis,
identify any and all issues revolving dramatic emotional estrangement resulting from the
asocial tendencies of autism (Solomon, Goodlin-Jones and Anders, 2004; 649-668) within the
confines of a dramatic text such as television, for it is a medium that relies upon emotional
engagement between text and viewer for future viewings (Bourdieu, 2001). In the script I
attempt to represent autism based on facts, which due to the complexity of the neurological
status, is difficult, resulting in an oversimplification of autism in most media. The usage of
this script in this paper is to ascertain through practice what issues can arise from writing
autistic characters in television.
A television screenplay was chosen for this research to challenge the societal
misconceptions that have perpetuated the subject of autism due to misleading media sources
(Draaisma, 2009; 1475-1480) by putting the autistic essence in the dramatic spotlight of the
text, as a television script was chosen over a film script to mimic the emotional weight of
residing with an autistic individual over time due to the length of a television series.
This paper comes in two parts: the screenplay of Spectrum itself and a research piece
wherein Spectrum will be analysed and contrasted with comparable works of television and
film. The objectives of this paper are to determine the viability of featuring autism within a
television show featuring all of the key defining traits of the autism spectrum for a non-
autistic audience. This will be done in reference to Spectrum and existing works relatable to
autism, including X-Men, Planet of the Apes and Star Trek: The Next Generation. By the
conclusion of this dissertation, issues revolving around adapting autism into media whilst
40
perpetuating an emotional connection between the autistic and a neurotypical audience within
the medium shall be addressed.
41
Part 2: What does it mean to be autistic?
Autism is a complex neurodevelopmental disorder characterised by communication
difficulty, repetitive interests or behaviour and difficulty in social interaction (Gillott, Furniss
and Walter, 2001; Benaron, 2009). Diagnosis requires that symptoms appear when the
individual is before the age of three years old (Bursztyn, 2007), meaning that is a neurological
difference; a label used to define a person who at a genetic level has difficulty with social
integration and emotional connection, separate from malleable emotional traits such as
shyness. It must be noted that autism is a newfound label, having only existed in its modern
form since 1981 (Wolff, 2004), and as recently as 2013, the related Asperger’s Syndrome
(Campkin, 2000), was merged with autism by the American Psychiatric Association to create
an autism spectrum based on the individual’s difficulty to integrate into society.
Autism is frequently brought about socially and politically in regards to the treatment
of children and young teenagers in education (Trevarthen, 1998), but the separation of the
autist socially from neurologically typical society, along with the increased trend of autistic
diagnosis and the rise of the internet, has led to the creation of an autistic culture (Silverman,
2008; 325-341). This cultural autonomy, a state wherein autists each develop a culture unique
to their own, including language, societal normalities and rules, is what conflicts with
neurotypical society, and due to depictions of autism in media and politics (Murray, 2008; 1-
12), has led to a negative overall image of the neurodevelopmental classification. In addition,
in recent years, the internet has for the first time allowed autists to communicate with one
another without the emotional stress that such communication would cause if physical
(Hollander, Kolevzon and Coyle, 2011; 517-519), further advancing and unifying autists even
after childhood, creating a global autistic state within cyberspace.
42
In many ways, autism is another mode of not only thinking, but also being. Autists
clash with societal conventions due to having an incompatible and insuppressible mental
structure that is different from the neurotypical norm – autism is another form of human being
itself. A human that does not socialise nor emotionally connect with others due to their
genetic and mental difference (Moldin and Rubenstein, 2006), contradictory to the
assimilatory nature of contemporary society. Due to the nature of autism, and the difficulty
neurotypicals have in understanding the autistic, it is all too often that neurotypicals represent
or create media within the discourse of autism in television and film. Therefore it is the
purpose of the Spectrum script is to construct a representation of the autistic in order to
ascertain the possibility of portraying the autism spectrum as it is medically, rather than
stereotypically.
Due to the fluid nature of the autistic definition, trying to define the autistic for the
purpose of this paper can only be done archetypally - a mental construct derivative of existing
autistic medical papers of the released up to 2015, and may be rendered invalid in years to
come. In the next chapter, the representations of autism and autistic tropes will be discussed.
43
Part 3: Autism in television and film
It is worth noting that autism has always existed within the human species – it is the label
itself that is new (Wolff, 2004). Therefore autistic characters have also been prevalent
throughout history, allowing a window into how the autistic condition has been represented in
our society (Murray, 2006; 24-45; Stockman, 2011; 74-77; Wing, 1997; 13-23) over history,
producing two different kinds of autistic characters; literal, where the character is deliberately
using the autistic label, and metaphorical (Hacking, 2009; 1467-1473), where the character
represents traits and tropes that are inherent with autism, commentating on the subject from a
conscious distance.
Among the most common tropes associated with autism is saventry – exceptional ability or
skill within a certain field of interest. This stereotype began in popular culture with the film
Rain Man (1988), wherein the character of Raymond (Dustin Hoffman), is shown to be
obsessive in the detail of his daily life, repetitive in interests and exceptional at numeracy,
which have all become synonymous with autism as whole (Schull, 2003). Whilst based on
true autistic symptoms (Benaron, L. 2009), this representation is fundamentally flawed; most
autistic individuals are not savants, but are of average intelligence, the same as neurotypicals,
though have a higher chance of becoming savants due to the societal pressures of living under
the symptoms of autism; most savants are autists, but most autists are not savants (Nolen-
Hoeksema, 2007). This emotional and mental exaggeration is a dramatic element of visual
storytelling used to segregate the character of Raymond from the average neurotypical viewer
and provide cognitive distance (Parrinder, 2000) between the viewer and character, but it
misrepresents the wide spectrum of individuals that encompass autism. Raymond is shown to
be a somewhere between low and medium on the spectrum (Sicile-Kira, 2004), therefore
capable of living independently with the correct education (Perry, 2009), yet he is residing
44
within a mental hospital – a metaphorical Pandora’s Jar, connoting a dangerous and unknown
factor to autism, implying that such individuals should be contained within society. The idea
of a societally hostile autistic threat is echoed in films such as The Addams Family (1991) and
Edward Scissorhands (1998), which futures characters who are socially distanced and
detrimental to contemporary normality, has become one of the most shadowing concepts in
representing autism within media, exacerbated by false new coverage (Jones and Harwood,
2009: 5-18) and a limited basis on factual information.
In Star Trek: The Next Generation (1983), the character of Data (Brent Spiner), is a
mechanical humanoid who is learning to understand human emotions and social norms – the
same issues that are so prominent in autistic culture. Furthermore, in Star Trek (1966), Spock
(Leonard Nimoy) is similar to Data, being emotionally estranged from his neurotypical
human comrades; he is shown to have friends, but is somewhat emotionally distanced from
social life. Later, in Star Trek (2009), the film adaption of the show, Spock (Zachary Quinto),
is binary, switching from emotionally distanced to violently angry and frustrated within the
span of minutes, highlighting his half-human side more than his previous incarnation. This
gradual emotionalisation of modern Spock from the 1960s Spock and Data represents a
greater discourse of autism within contemporary society over the last fifty years (Osteen,
2007), and signifies a frustration between autists and neurotypicals due to inadequate social
discourse.
Another trope that has arisen in works detailing autism is neurological voyeurism –
wherein a film uses the classification of autism as a tool of colourisation unto a character
without showing the common traits of the neurology that accompanies it. Examples include
Simon (Miko Hughes) in Mercury Rising (1998), who is simply a dramatic device within
story, as his autism is represented as pure saventry and mere social awkwardness –
insufficient to be classed as autism. This voyeurism of the mind plays with the fascination of
45
the unknown – of gaining insight into how other people, especially minorities, act compared
to the norm (Sipiora, 1991; 158-169; Biressi and Nunn, 2005). Neurological voyeurism uses
autism as a cinematic tourist attraction and is harmful in that it stereotypes and misleads the
audience into oversimplifying a condition to save screentime on exposition.
Television shows, on the other hand, are in the unique position to show more autistic
character due to a longer screentime than film. In House, M.D (2004), the titular character,
Gregory (Hugh Laurie), is an asocial, verbally unpleasant doctor who, despite healing people
with his skills, begrudgingly does so. He is representative of the average high-functioning
autist – an individual who does not wish for societal assimilation but must do so for financial
security, hence his attitude.
A subject recent to autistic works is the unique traits that autistic individuals can bring into
society. Television shows such as X-Men (1992) and Sherlock (2010) constitute a movement
from merely understanding the difference that autists have to showing how autists can live
independently by using their symptoms as a catalyst for gaining lifelong skills (Gaus, 2011).
In X-Men, a society of humans with superpowers are continually in conflict with a rogue
group of their own kind, representing the pro-cure and autism pride factions within the autism
culture (Cascio, 2012; 273-283), whilst in Sherlock, a secluded and skillful detective uses his
eye for detail and obsessive nature to solve crime – promoting a neurologically diverse
society. The argument of whether or not autism is a disease or another way of life is at the
core of discontent between autists and neurotypical attitudes, and subsequently, there is a
discord between factions of the autist community as to what road should be taken in regards
to societal integration. That is why discourse must be conducted within this topic, both within
television and beyond, for television and all media affects how we perceive the world around
us (Newcomb and Hirsch, 1983; 45-55), and serves as a means of chronicling and moulding
the future of societal consciousness (Gerbner, Gross, Signorielli and Morgan, 1980; 37-47).
46
When film explicitly has autistic characters, due to the limited screentime of an
average text of the medium, it fails to cover the spectrum that is autism. In the next section,
Spectrum shall be analysed to ascertain what issues can arise from writing autistic culture
within the medium of television.
47
Part 4: Critical analysis of Spectrum
Spectrum is a post-apocalyptic science fiction television pilot starring Biyu Sheridan,
a human farmer who investigates the disappearance of her husband George, to find a society
of parahumans known as ontomorphs and a plot by a rogue group to wipe out the remaining
humans through forced assimilation (see Appendix A for a full series synopsis).
Before performing the research practise, an autistic archetype was constructed out of
past representations, both allegorical and literal with factual autistic symptoms as examined in
Parts 2 and 3. Traits of the basic autistic archetype in film and television are:
A character that in some way has difficulty communicating, either verbally or
physically.
A cognitive emotional disestablishment from the audience due to neurological
difference.
Some form of bodily or behavioural restriction.
In Spectrum, I choose to represent the autistic spectrum allegorically rather than
literally as a means of separating the reader from the world they see, creating a cognitive
detachment from the environment (Parrinder, 2000) of Spectrum typical of the science fiction
genre that features futuristic settlings (Glass, 1989; 7-49). This allows the audience to not
relate the world they see with their contemporary society, forcing the audience to instead
criticise the text from its own grounding of reality contained within, similar to how Planet of
the Apes (1968) constructed a society of apes to signify grievances in racial issues in 1960s
America (Greene and Slotkin, 1998). In much the same way Planet of the Apes is about racial
tension, Spectrum is about neurological grievance.
48
The ontomorphs – a derivative species of humanity that are mentally human but
physically inhuman is allegorical of the autistic condition as a whole. The wide variety of
physical forms that ontomorphs encompass – from lions to apes to dragons – is connotative of
the autism spectrum and of the different severities that the classification covers (Draaisma,
2009; 1475-1480), as well as their various unique talents and traits. The ontomorphs are seen
to be more dependent on technology through their implants, representing the increased use of
social media between autistic individuals as a preferred means of communication (Mazurek,
2011; 1709-1714). This aspect of the script addresses the fact that in order for autists to be
unified under a banner, they need a common mode of communication to counteract the
difficulty autists face in verbal communication – that is where the internet and technology as a
whole can help.
The human protagonists in the pilot of Spectrum are Biyu and her adopted son Eli.
Biyu is representative of the conservative pro-cure section of society, defined by a social
anxiety of autism and in favour of neurological unity between autists and neurotypicals
(Ortega, 2009; 425-445), due to her initial apprehension and fear of the ontomorph settlement.
Eli on the other hand, is more open, even showing enjoyment at the physiologically diverse
ontomorph settlement, representing the desired sentiment from neurotypicals by the
neurodiversity movement that seeks neurology to be a societal difference instead of a disorder
(Cascio, 2012; 273-283). Together, Biyu and Eli represent the two generations of society
currently engaged in autistic discourse; that of parents with autistic children who seek societal
integration with Biyu, and young autists who seek societal recognition with Eli. Their mission
to save George and subsequent encounter with the ontomorphs represents the rise of autism
within society. In addition, since the majority of the prospective audience would be
neurotypical, looking at the autistic condition through a neurotypical eye would serve to
49
provide an emotional anchor for the audience (Armes, 1994), allowing for much easier
cognitive contrast between the ontomorphs and humans.
The character of Aelwen is a representative of the diagnosed autist; she lived in a city
all her life, isolated from the outside world, and as such is ill-equipped to socialise (Howlin,
Goode, Hutton and Rutter, 2004; 212-229) with the humans, who represent neurotypicals,
whilst her mother, Viceroy, represents the late-life autist – someone who finds out about their
condition after teenage years (Howlin, 2000; 63-83), resulting in a more integrated, but still
distanced individual. Aelwen travelling with Biyu and Eli therefore is conative of the need for
companionship that autists still here as a whole and furthers the need for a bridge between
neurotypical and autistic society. Viceroy’s aiding of Biyu and Eli is a signifier of the social
and emotional intelligence of high-functioning autists, as she shows an understanding of
familial bonding and empathic tendencies.
Autism is neurological difference; therefore, when translating it into visuals, it can
come across as invisible due to the difference itself being a mental rather than a physical one.
The ontomorphs are animals with human minds; this was done as an exaggeration of the
societal estrangement that autists feel among neurotypicals (Alvarez and Reid, 1999). Autists,
being a minority defined by being societally distanced from neurotypicals, have frequently
related themselves equally to non-human animals due to their cultural autonomy
(Vallortigara, Snyder, Kaplan, Bateson, Clayton and Rogers, 2008; Prince-Hughes, D. 2004).
This cognitive link between animals and autists is used in the script as a means of highlighting
the difference between neurotypical and autistic humans; neurotypicals desire a homogenous
and unilateral mental neurology as opposed to the more progressive and liberal autistic
perspective. In many ways, this movement of emotional connection between difference
species of Spectrum is reflective of a ‘process of transition’ (Gripsrud, 2002; 343), wherein
the wandering and fleeting nature of autists is shown, reminiscent of migratory peoples or
50
immigrants. Autists are less affected by cultural boundaries such as race, religion and
language due to their estrangement of neurotypical society as a whole, which is represented in
Spectrum in the ontomorph ignorance of the outside human world.
Since the ontomorphs are primarily animals physically, they would be extremely
difficult to assimilate into human society, signifying the de facto situation between autists and
neurotypicals (Bursztyn, 2007). But there are humans living with ontomorphs – those who
were not changed by the grey dust, indicative of the desired pan-neurological society that is
confrontational to the pro-cure movement. In addition, the computer chips the ontomorphs use
to communicate is a manifestation of the rejection of language of society (Richardson, 2010)
that the symptoms of autism often cause in individuals, as well as a factor adding to the
juxtaposition between the humans and ontomorphs. In addition, the bodily difference of
animals to humans turns the neurological difference into physical reality, allowing the traits of
autism to become visible in the visual medium of television.
The complex physio-mental nature of autism and the varied individuals that the
classification constitutes is the ideological basis for the ontomorphs, but equally as important
are the humans. The humans outside the ontomorph settlement in Spectrum, representing
neurotypicals, are more impacted by the apocalypse through their desolation and scarcity. The
dystopian world of Spectrum is not conventional of the genre, for there is little inherent
hostility or natural ill-will upon the humans or ontomorphs for it to be a ‘bad place’ (Gottlieb,
2001); this was done to allow a dramatic blank state upon which the construct the world of
Spectrum, as the genre of post-apocalyptic media allows for a deconstruction of the human
condition and serves as a means of suggesting solutions to contemporary issues such as
autism. In addition, the lack of environmental hostility draws more attention upon the human-
ontomorph confrontation.
51
The antagonists of Spectrum, the wolf pack, are representative of autists not in favour
of societal integration or understanding. Their plan to transform humans, including Biyu, Eli
and George, into ontomorphs like them is conative of despair that autists so often feel due to
the pressures of society (Baron, 2006). The wolves’ plan is a signifier of the social self-
segregation that many autists, especially those leaning towards the low-functioning side of the
spectrum, feel – that the outside world is too complex or alien to comprehend and so they shut
it all out mentally (Sicile-Kira, 2004). Though it is highlighted further in the series (see
Appendix A), the wolves’ want for a world inhabited by those like them is representative of
this very issue. In addition, the ontomorphs are depicted as animals with mechanical parts, but
the wolf pack in Spectrum, being more mechanical than those in the ontomorph town, connote
a greater apathy as opposed to the more empathic settlement dwellers.
Through writing Spectrum, I found that the issues of autism as a dramatic agent and
component of societal discourse can be factually based rather than stereotypically through the
use of autistic archetypes based upon current autistic scientific texts. In doing so, the previous
existing works concerning the issues revolving autist-neurotypical relations can be challenged
through the use of allegory and careful consideration of the people to be represented.
52
Part 5: Conclusion – television as an historical artefact and architect
Autism is a subject shrouded in uncertainty. It is unknown what precisely causes it nor
how to remedy the situation, and as a result, the classification has been politicised within
media frequently, but not always understood. Most people’s comprehension of worlds beyond
the norm are usually seen through texts, and as such a greater understanding of issues
revolving around autism in the creative process will aid in not only preserving a contemporary
artefact for the future, but also moulding the next generation into a more aware and rational
one.
Through this research, I discovered that works featuring autism are slowly starting to
draw more upon factual information – we are moving from Rain Man to a textual age of
diversity, in which autistic archetypal characters like Sherlock, House and Spock
subconsciously building upon the framework of texts before it to educate viewers into
understanding and even highlighting possible solutions to issue of autist-neurotypical
integration. As an artefact and architect of the future, media can change the social consensus
towards the nature of the autistic, and in doing so, construct a more neurologically diverse
society.
53
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Filmography
Edward Scissorhands. 1990. [Film] Director: Tim Burton. USA: 20th Century Fox.
House, M.D. 2004. [TV programme] NBC Universal Television Studio, NBCUniversal
Television Distribution.
Mercury Rising. 1998. [Film] Director: Harold Becker. USA: Universal Pictures.
Planet of the Apes. 1968. [Film] Director: Freanklin J. Schaffner. USA: 20th
Century Fox.
Rain Man. 1988. [Film] Director: Barry Levinson. USA: United Artists.
Sherlock. 2010. [TV programme] Hartswood Films, BBC One.
Star Trek. 1966. [TV programme] Paramount Domestic Television, CBS Television
Distribution.
Star Trek: The Next Generation. 1987. [TV programme] Paramount Domestic Television,
CBS Television Distribution.
Star Trek. 2009. [Film] Director: J. J. Abrams. USA: Paramount Pictures.
The Addams Family. 1991. [Film] Director: Barry Sonnenfeld. USA: Paramount Pictures.
X-Men. 1992. [TV programme] Marvel Entertainment Group. USA: Saben Entertainment.
,
58
Appendix A – Spectrum treatment
Title: Spectrum
Genre: Sci-fi Post-apocalyptic drama
Schedule: Pre-watershed. One episode per week over a period of
six weeks
Story synopsis:
EPISODE 1/PILOT: EVENT ZERO
After her husband, George, goes missing the woods, Biyu
Sheridan and her adopted son Eli begin a search. During the
search, they encounter a young dragon, Aelwen, and take her
back to their house. Shortly after taking her there, Biyu, Eli
and Mary are apprehended by a group of animals rescuing the
dragoness.
Biyu wakes up and finds out that the animals have human
intelligence. She attempts to escape the inhuman settlement,
but is captured and is brought before Viceroy, mother of
Aelwen. After telling her the truth of the ontomorph people,
Biyu and Eli are forced to stay in the town.
The following night, Biyu and Eli are broken out of their
tower by Viceroy. She sends them back through the woods with
Aelwen as their guide. Shortly after, she is attacked, and a
wolf pack is after Biyu’s party. Following a gruelling chase,
Biyu realises George’s fate, and surrenders.
The next morning, see wakes up to find that George has become
a tiger, and she and Eli are changing, too.
EPISODE 2: AGENT OF WOE
Still imprisoned with the pack, Eli, now half-changed into a
wolf, falls ill. In the kerfuffle that follows, Biyu kills one
of the guards with her dragon claws. Impressed by her fire,
Omni, leader of the rogue ontomorphs, evicts Biyu from her
family and gives her an order to set her loose; go to Dublin
and place a tracker upon the human settlement.
Biyu travels across the land, hiding her draconic mutations.
In the centre of Dublin, her cover is blown Richard, one of
her market contacts. She places the tracker and flees the
human city thanks to her ability to breathe fire.
59
Distraught by her newfound bodily difference, Biyu demands
Omni to cure them of the grey dust. Omni agrees, but tells
Biyu that she has three days before her changes are complete
and permanent
The following night, screams shake the base. Humans are being
brought in. The rogues have begun striking Dublin.
EPISODE 3: WAR OF THE SPECIES
George is in despair as Biyu and Aelwen plan to escape the
pack. They observe a gap in security when humans are brought
in for conversion, so that night, the group overpowers their
guards and break free. On the way out, George kills himself
over his irreversible changes.
After seeing the wolf pack make for the woods, Biyu, Eli and
Aelwen, now out, flee northbound for the mountains. Their plan
is to go up and around the grey tundra to shorten the time
travelled to New Canaan. On the rocky hills, they meet a
lonely dragon named Goliath – Aelwen’s father.
Goliath shows the group that rogue ontomorph forces are
attacking Dublin, drawing the human force closer towards the
forest – New Canaan is at risk of discovery. He lets them ride
him to the city and Biyu warns Jennifer, the head of the
council.
New Canaan decides to hide itself away from the coming humans.
Biyu is told her changes cannot be reversed; it was a lie.
EPISODE 4: DRAGONFIRE
Biyu’s transformation is complete the next morning; she is a
dragon now. In despair over her change and George’s death, she
shuts herself out. Eli, now a wolf, brings her from the edge
and convinces her to help stop the rogue ontomorphs. Aelwen
meets with Viceroy, in prison, and decides to solve the human
problem herself to allow her to go free. Eli reunites with
Mary, who doesn’t recognise him due to his change and her age.
Biyu, Eli and Aelwen join an expedition to the human
settlement. Led by Biyu – who knows best the way – the
ontomorph convoy are attacked by rogues, and one captured
tells of a base in the woods where they launch their attacks.
The convoy deviates and strikes the rogue base. Biyu uses her
newfound strength and fire to devastate the wolven foes. She
sets free the humans there and tells them to go to the city
deep in the woods.
60
EPISODE 5: PRELUDE TO CHAOS
Biyu and company arrive outside Dublin, which is in the middle
of a siege led by Lycan, leader of the rogues. They contact
the humans and are captured then brought into the city. Biyu
tells Jack, leader of the humans, of the ontomorphs. He
remembers Biyu’s camp and asks her to strike the besieging
rogues with his forces.
The next day, Biyu and Jack attack the enemy from both the
city and the field. The rogues hold fast against Biyu’s
dragonfire and Jack’s gunfire, but are eventually driven into
the forest. Biyu gives chase over the winds, Eli and Aelwen on
her back.
Using her new abilities, she finds the location of the rogue
base. Instead of going back, she lunges in and sets the place
aflame. She drives the wolves from their home and plucks Lycan
from the ground and flies back to Dublin.
In her grasp, he explodes.
EPISODE 6: DEATH OF A DYNASTY
Biyu crashes in the ocean. She wakes up on the rocky beach
with no sign of Eli or Aelwen. Her wings injured, she treks
everywhere, but she doesn’t recognise her surroundings – she’s
lost. Eventually, she’s forced to hunt due to hunger. After
naturally stalking and killing a wolf, only after does she
wander if it was an ontomorph or not. Fearing that the changes
are getting to her head, the once-human roars.
She contacts as many of the stray wolves and lonely ontomorphs
as she can find and begins to form a group for mutual
survival. She befriends a young tigress and her daughter, an
old man turned into a young ape and a once deathbed patient
saved by changing into a horse. Biyu slowly builds a sense of
identity with these people, and grows positive and even proud
of her change.
Five years later, Eli the wolf and his pregnant wife wander
across a field. They enter an open ontomorph settlement and
meet Biyu, now a village leader. Biyu invites them to stay,
but Eli declines. Aelwen arrives shortly after to open a trade
agreement with Biyu’s village, Biyu agrees.
Biyu smiles, content at what she is and of her creation.
61
Appendix B – Spectrum logo
English:
Welsh:
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