The author reflects on personal autism representation, highlighting characters like Dale Cooper and the stark contrast with clinical portrayals. They critique how shows like The Good Doctor misrepresent autistic experiences, while The Accountant and its sequel offer a more nuanced depiction. In these films, autism is presented not as a handicap but as a superpower within a gripping action narrative. The sequels focus on familial relationships, showcasing the charm and complexities of autistic characters. While flawed, these films embrace the playful, imaginative aspects of autism, underscoring the diverse nature of autistic experiences beyond conventional stereotypes.
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<p class="slate-paragraph slate-graf" data-word-count="216" data-uri="slate.com/_components/slate-paragraph/instances/cma5fon560029icl07nnxkvzo@published">When I consider autism “representation” that resonates with my own journey as a diagnosed autistic—characters like Dale Cooper, Data, Alan Grant, Yakko Warner, Paulie Walnuts, David Byrne (especially in <em>True Stories</em>), Bob Dylan in the <em>Must Be Santa</em> music video, and Goku—I seldom envision characters or narratives where the condition is specifically named or even suggested. One certainty about the spectrum is its elusive and somewhat nebulous nature—you grasp your interpretation of it whenever and wherever you can. However, the representations in works that attempt to accurately portray the autistic experience often err by being overly clinical, rendering their autistic characters as mere clinical descriptions from the <em>DSM</em> rather than fully fleshed-out individuals. Characters like Shaun Murphy in <em>The Good Doctor</em> are so cringeworthy they leave me practicing eye contact for extended durations alone in my room lest I be deemed "aspy" by association. These earnest yet misguided portrayals have infused the public perception of “autistic identity” with a sense of corniness, arising from neurotypical creators' failure to comprehend an essential truth about depicting autism: the autistic experience is more about form than content.</p>
<p class="slate-paragraph slate-graf" data-word-count="70" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqen000p3d6evrs0vngw@published">The 2016 action thriller <em>The Accountant</em>, featuring Ben Affleck, along with its recently released sequel <em>The Accountant 2</em>, surprisingly offers a compelling portrayal of autistic perspectives. These honest, albeit quirky, celebrations of the <em>autistic experience</em> position being on the spectrum not as a liability, but as a powerful asset—a refreshing and genuinely enjoyable approach at a time when autism is often criticized in public discourse.</p>
<p class="slate-paragraph slate-graf" data-word-count="98" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqdv000o3d6eo5hfpbhw@published"><em>The Accountant</em>, penned by Bill Dubuque and directed by Gavin O’Connor, does, admittedly, dive headlong into some of the stereotypical pitfalls of autism representations. Affleck portrays Christian Wolff, a high-functioning autistic CPA who moonlights for the world’s most dangerous crime syndicates, assisting them in financial manipulation while subtly notifying the authorities of their activities. He’s also depicted as a lethal assassin, trained from childhood by a military-ops father to be a killing machine, who at one point unleashes Indonesian martial arts on his traumatizing 12-year-old bullies.</p>
<p class="slate-paragraph slate-graf" data-word-count="82" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqen000q3d6eg813q6s6@published">Wolff’s autism is pivotal to both the storyline and his character development. It’s portrayed as a simultaneously burdensome superpower that enables him to solve complex tax fraud enigmas while also driving him into revenge schemes fueled by a compulsive urge to “complete the puzzle.” This depiction is generally grim, only occasionally lighthearted (thanks to Anna Kendrick's presence), nestled within a packed mid-tier action film that successfully balances silliness with seriousness.</p>
<p class="slate-paragraph slate-graf" data-word-count="63" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqfg000w3d6esnf06lkn@published">However, upon rewatching <em>The Accountant</em>, I was unexpectedly touched by its exploration of autistic solitude. Although it employs a simplistic approach, the relationship between Wolff and his charmingly dangerous younger brother, Braxton (Jon Bernthal), offers a sincere reflection of the notably autistic experience of “Sorry, I’m doing my best.”</p>
<p class="slate-paragraph slate-graf" data-word-count="88" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqfj000y3d6ezekorg5u@published">In contrast to the brief exploration of this relationship in the original film, <em>The Accountant 2</em>, released in theaters on April 25 and set to stream on Amazon Prime, smartly dedicates time to it, swapping the previous film’s sluggish tone for a more playful interpretation of the autistic-neurotypical buddy-cop dynamic. Bernthal’s presence grants Affleck the opportunity to evolve Wolff from a stereotypical, robotic portrayal into a nuanced (albeit wildly unrealistic) character who just so happens to be autistic.</p>
<p class="slate-paragraph slate-graf" data-word-count="184" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqey000s3d6e4zj6uygs@published">In this manner, the sequel humorously engages with the often comical aspects of intimate relationships between autistic and non-autistic individuals, expressing a sense of joy. At one point, amidst a convoluted plot of cartel conspiracies and human trafficking, the film pauses, seemingly admitting, “We’re not quite sure what’s happening either,” allowing its overstimulated audience a breather. Braxton encourages Christian to seek a night out for drinks. The film opens with Christian attempting to game the algorithm for a speed-dating event, ultimately failing 50 times due to his unapologetically blunt demeanor (I can relate!). Much of the narrative revolves around Christian's attempts to “blend in” and create community in a society that renders it nearly impossible. Yet, during a night out with his spirited younger brother at a lively L.A. saloon, Christian becomes captivated by line-dancing, memorizing the moves, and eventually joining in beside a charming waitress he awkwardly flirted with, spurred on by Braxton’s enthusiastic shout—“That’s my big brother up there!”</p>
<p class="slate-paragraph slate-graf" data-word-count="113" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqf0000t3d6e4jqib54g@published">It’s a warm interplay following a quieter moment when the brothers reconnect. They haven't seen each other since the previous film, which ended with Christian vowing to stay in touch—a moment that genuinely struck me as particularly sad. Braxton, embodying the archetype of a <em>man’s man</em> mercenary, appears teary-eyed as he questions his older brother: “Is it because of you or because of me?” Christian seems puzzled, leading Braxton to clarify: “Do you just not miss me? Is that due to you or me? Is it because of … your condition?” to which Christian gently responds: “I’m just me.”</p>
<p class="slate-paragraph slate-graf" data-word-count="90" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqfj000z3d6e512lkptu@published">This tender moment stands out in an otherwise brutal film that showcases more Mozambique Drills than <em>Rain Man</em> has autistic mannerisms. You probably shouldn’t tear up while watching <em>The Accountant 2</em>, but I did: I understand the longing to meet the neurotypical world partway, to apologize for failing to convey how deeply you care for someone, and for misreading social cues during a conflict. The <em>Accountant </em> series captures these genuine autistic experiences through John Grisham's lens, and honestly, I’ll take it.</p>
<p class="slate-paragraph slate-graf" data-word-count="126" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqfi000x3d6e6ies6jw5@published">However, <em>The Accountant 2 </em>truly matures into a work resonating with autistic narratives through its awkward and complex dynamics. One of the antagonists is an acquired savant, who has gained extraordinary abilities due to a head injury. The “guy (or gal) in the chair” archetype—Christian’s childhood friend, Justine (played by the autistic actor Allison Robertson, transitioning from Alison Wright, who still lends her voice)—is essentially a Professor X figure, orchestrating the protagonist’s global espionage operations from the home for autistic youth established by her father, heavily financed by Christian's ill-gotten gains, while overseeing a group of child autists (all portrayed by children on the spectrum) skillfully hacking military drones and manipulating L.A. traffic lights to create a green highway for Christian to navigate.</p>
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<p class="slate-paragraph slate-graf" data-word-count="68" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqf2000u3d6ep3ho07by@published">It’s quirky, peculiar, and delightfully exaggerated, presenting an approach that feels distinctly autistic in its imaginative breadth. This is autism portrayed through shōnen anime—a power fantasy where neurodivergent individuals wield their supercharged autism to outmaneuver what Justine refers to as “the NTs” (neurotypicals) or “normies” (terminology that, admittedly, is so cliché it elicits only a heavy sigh from me).</p>
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<p class="slate-paragraph slate-graf" data-word-count="123" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqeo000r3d6eqh3blz29@published">This is as silly as the manga and anime series <em>Yu-Gi-Oh!</em> or <em>JoJo’s Bizarre Adventure</em>, which ultimately means it’s enjoyable. While critics have labeled <em>The Accountant 2</em> as “mean-spirited, poorly produced schlock,” “on the edge of reducing his autism to a punchline,” and a “stereotypical Hollywood portrayal of autism,” I found it surprisingly empowering. In light of the American government’s oppressive campaign against autism—highlighted by Health Secretary Robert F. Kennedy Jr.’s alarming rhetoric—seeing a Goku-like depiction of autists going into battle against child-traffickers is nothing short of thrilling.</p>
<p class="slate-paragraph slate-graf" data-word-count="97" data-uri="slate.com/_components/slate-paragraph/instances/cma5foqf9000v3d6ew5m4cwpt@published">Affleck’s portrayal is far from flawless. Yet the search for perfect autistic representation is a futile pursuit, as it simply doesn’t exist. Christian Wolff’s autism is as legitimate as my own, albeit distinct and considerably more action-packed. For autistic viewers, it seems pointless to become frustrated in pursuit of an idealized depiction of such a varied and complex experience; sometimes, a fun fantasy suffices. Like Christian, I yearn to share a drink with my brother atop a repurposed Airstream stocked with luxury firearms and priceless art. Until then, I’ll settle for a line <span class="slate-paragraph--tombstone">dance.</span></p>
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