#like this might just be the classic autism alienation feeling talking but

[theworstcreature]

Idk why it always comes as such a shock to me when a friend shows that they do, in fact, trust me as if I don’t actively try so hard to be someone who cares so much

[siriusist]

3, 7, 9, 15, 18

booknet ask game (Apologies for the delay!):

3. what was the last book you rated 1/5? 

Probably this horrific and justifiably priced 0.25 cent paperback I got from the library book sale. I care so little about the title I’m not even going to bother getting up to look at it, but basically it was somehow involving a mystery on a liner heading to New York, and The Kennedys circa 1941 when Joe (’God what a terrible person’) Kennedy was ambassador to England (And casual Nazi supporter/isolationist, lovely).

But the book promises you that it will mostly talk about Rosemary Kennedy as a character. Which I liked, because in case you don’t know, Rosemary Kennedy was JFK’s sister who was considered the ‘prettiest’ of all the Kennedy girls, but also constantly was on a diet because she ‘put on weight easily’ (Poor girl), and because she was seen as ‘simple.’ Supposedly when she was in her early twenties, she had the mental capacities or a naive thirteen year old/ writing level of an eight year old. They kept basically shoving her into boarding schools to try to push her forward in terms of education, but obviously when she most likely had something like a severe case of autism, there weren’t exactly many programs that directly addressed those who were learning disabled, and being a Kennedy, they most likely were like PUSH HER THROUGH IT AND SHE’LL BE FINE (Great, thanks guys).

All this being said, there is proof in terms of letters that basically everyone was afraid, because once she became a teenager, she started running away from these schools or sneaking out late at night, and they were literally worried because of how ‘naive’ she was, that she’d end up getting pregnant by some weirdo guy forcing himself on her/ convincing her to have sex. What most normal people/historians think now, is that she saw her brother being John F. Kennedy, El Primo Playboy of the World 1941, dating movie stars and having a buttload of friends (As my older brother used to say), and she obviously wanted to be involved in this glamorous, fun life with the rest of her family, rather than shoved away at some crappy boarding school with nuns the age of time immemorial (Understandable). (Also, for what it’s worth, JFK basically WAS a great older brother, for what I’ve heard, and wanted his parents to loosen up on her. He involved her in his social groups if she was around and never pushed her into anything that someone with her ‘limitations’ might be hurt by).

So of course the natural thing would be to do is to give her a lobotomy so she doesn’t run away, and of course, it had some horrific side effects and basically killed her personality entirely from all accounts, making her basically a human vegetable with only a shadow of the person she’d been before. After that Joe ‘I’m the Worst’ Kennedy carted his daughter off, and debatably, depending on who you ask, she was basically ignored by most of the family for 60+ years of her living in a care home, or embraced in private (The Kennedy message/propaganda/nice try guys). There’s really only consistent public photos of Ted Kennedy visiting her, because besides the whole ‘I accidentally murdered a woman I was having an affair with’ thing, Ted was the baby and seemed actually like ironically the most ‘Christian’ in the most broadest sense of the word besides Bobby Kennedy (Yes, I know they’re Catholic, it’s an analogy).

So bringing this back to this awful book, the ‘mystery’ on the cruise liner shit basically seemingly revolves around Rosemary pre-lobotomy and how she wants to get married to a ‘coloured jazz man.’ BUT THIS NEVER FACTORS INTO THE PLOT. NONE OF THE HISTORICAL FIGURES ABOARD DO EVEN THOUGH THEY HAVE ‘POV’ CHAPTERS ASIDE ORIGINAL CHARACTERS.

You heard me right. xD I KNOW IT’S THE 1940S IN THE BOOKS AND THERE’S FAR WORSE THAT COULD HAVE BEEN DONE AND THE JAZZ MAN IS NICE AND ALL BUT DAMN IT’S SORT OF THE WORST, BECAUSE THEY BASICALLY MAKE THIS THE ENTIRE REASON FOR HER LOBOTOMY AND WHILE THEORETICALLY IT WOULD FIT IN WITH JOE’S MOTIVATIONS HISTORICALLY, IT JUST CAME OFF AS SUPER SKEEZY AND UGH. Mostly the book A) Actually did a considerable job giving Rosemary a sweet and loving personality that you like, but considering what you know if you’re probably reading this book and how they’re just dropping bread crumbs the entire way through, it’s just incredibly morbid and bleh. 

If you’re going to write historical characters and fiction well, at least have something more to back it up than ‘Racism was more (outwardly) prevalent back then so she was going to be in an interracial relationship so lobotomy.” It just came off as conflating two important issues (The rights of the learning disabled to date and have families of their own, and interracial romances versus status in society), and just came out to justify it for a lobotomy we never even see. (Trust me, I’m making it sound far more interesting than it is).

Plus the mystery on the liner is the main aspect of the story, and I think that’s what makes it the worst: This author just chose to have these random historical figures on BECAUSE, and considering Rosemary’s background and what we know happened to her, it just seemed like a pretty desperate ploy to reel people in (like myself), and have them go, “Wait, this is just a sub-par mystery book, not a historical mystery book: She used that whole actual living person who existed and who was screwed over by her own family as ‘shock value’ and a ‘hook’ for the audience.” Double EW.

7. what was the last book that made you cry? 

Indian Horse by Richard Wagamese, who is unfortunately no longer with us but a BEACON of Canadian Literature, and I'm SO sad he didn’t get to write more books, because his writing style is BEAUTIFUL and poetic.

“Saul Indian Horse is an alcoholic Ojibway man who finds himself the reluctant resident of an alcohol treatment centre after his latest binge. To come to peace with himself, he must tell his story. Richard Wagamese takes readers on the often difficult journey through Saul's life, from his painful forced separation from his family and land when he's sent to a residential school to the brief salvation he finds in playing hockey. The novel is an unflinching portrayal of the harsh reality of life in 1960s Canada, where racism reigns and Saul's spirit is destroyed by the alienating effects of cultural displacement.”

What you also don’t get about the book from this review, is the role hockey plays as being central to the narrative. In that moment, and when Saul is young, inside his own head, he is just what we as the reader see him as: A young boy who loves a sport and finds it freeing. A PERSON. A kid who loves hockey. 

He’s so good that he has a chance to make it to the NHL. He’s good enough to play on the ‘white teams,’ but when he starts beating white players, grown men and women throw things at him, like plastic ‘Indians’ from a ‘Cowboy and Indian’ set. 

He is a skilled player. He has raw talent. But to make it to the next level, and because they won’t let him be on the team in any other role, because a Native man can’t become a skilled star in 1960s Canada, he has to become a ‘goon.’ There’s actually a moment in the book where he snaps, and it’s so well written and heartbreaking, where it’s like this Dr. Jekyll/Mr. Hyde dynamic inside of him, where he literally just goes, “Okay? You want me to be a bloodthirsty ‘Indian’? Then I’ll be that for you.”

There’s also a movie I haven’t had the guts to watch all the way through, because I tried watching it on a plane ride from Australia to Canada without actually having read the book first, and having no idea what the movie was about aside from hockey and Indigenous culture, and Jesus Christ IT KILLED ME. I’m terrible at flying, had been throwing up and thoroughly miserable for about three hours at that point on the plane, tried to turn on a movie to distract myself, and within ten minutes, I was like “No, I think sticking to the vomiting is justified.” (To give you an idea of the directing style, it’s bizarrely produced by uber-Republican yet ‘weirdly-obsessed with Indigenous people’ movie star Clint Eastwood. If you’ve seen his other films and how sparse and depressing they can be, you can only IMAGINE what this material lends itself to. So I’d really stick to reading the book first. Because Wagamese’s voice is so much stronger within the book, and the pain and horror poor Saul is exposed to serves a purpose within the larger narrative much more clearly, and even when he is an alcoholic, he still is able to find hope within himself and returning to his people, and that’s a beautiful thing that I think was lost in the portions of the film I was able to catch.) Check it out: It was only written in 2012, but it’s already being heralded as a ‘classic’ in Canadian Indigenous Literature.

9. do you actually check out books that have been recommended for you?

I do. I might not actually READ them, but I’ll at least check out a snippet on Amazon to see if it’s my cup of tea. So if anyone has any recommendations, go right on ahead <3

15. how do you feel about reading buddies?  

I would love a reading buddy! <3 Feel free to message me if you’re keen. <3

18. what was your favourite book when you were 10?

Probably something by Roald Dahl or The Hobbit, if we’re talking sheer escapism or enjoyment (Or the original run of Harry Potter). My Dad is an English teacher, so I was always reading older books than were probably age-appropriate (I was placed at a college-reading level at twelve on an assessment test), so other than that, a lot of classic literature: Just name it, I’ve probably read it. 

I also was a nerd who decided to read the entire dictionary back to front somewhere around this time and copy down all the words I actually didn’t know on a list, so that was a hobby. xD I guess I could count that as a ‘favourite book.’ (-Insert Homer Simpson “NEEeeeRRRddddd” gif here-).

[snarp]

Anyway! I have to take synthroid now. I got my TSH re-tested Monday, and it had gotten even worse since last time. Psychiatrist had been suggesting I try it regardless of how the follow-up test looked, but I’d been anxious about adding even more meds.

The hospital also tested it; am very curious to see if/when they send the results on.

I am having trouble talking coherently about what happened to me while physically in the hospital. In retrospect, I think it was a bad idea for me to check in in the first place. I should have realized it would be impossible for me to get anywhere in a hospital (scary on its own) of the specific type where people with psychosis are yelling all the time, TVs are on loudly and constantly to distract them, and mandatory scheduled group therapy sessions prevent retreat to your (non-private) room.

So, it would’ve been bad even if Other Stuff hadn’t gone wrong, and I spent three days panicking, and I don’t want to think about it. It’s unsurprisingly easier to think about what was going on with the people around me. So, I’ll just do that?

I hadn’t really processed before how closely schizophrenia can resemble autism in terms of speech patterns, repetitive self-soothing behaviors, difficulty reading others’ expressions, etc etc. It makes my childhood misdiagnosis make more sense.

My roommate initially freaked me out, because she was angry and couldn’t really modulate her voice’s volume or figure out personal space. She believed that a parasite, which she described as being similar to a cordyceps mushroom, was interfering with what she saw and heard and trying to control her behavior. Very classical.

A guy down the hall had superficially-more-plausible conspiracy-theory-type delusions, which involved a carefully-unnamed “them” who were manipulating politics, listening to all of our conversations, and putting dangerous things in the hospital’s food. He warned me about the food continuously and at top volume as I was eating lunch, at one point taking a break to insist that another patient bring me a cup of water. I tried to tell her that I didn’t need it, then apologized to her when she got it anyway; she grimaced, gestured vaguely, and went out to the smoking area to get away from him.

I got the impression that he might have done this to her before, and she’d just decided it was easier to go along with it. The staff was generally spread too thin to be able to get involved with stuff like this, that didn’t involve unwanted physical contact or outright threats. From context, I think his “they” included “Indian doctors.” It is probably relevant that the woman he thought ought to be bringing me water was black, and I am white.

Delusional Parasitosis Roommate’s beliefs, weird as they sound, are a good metaphor for what was happening to her: she was having trouble controlling herself and understanding what was happening around her, and she thought something external was to blame. Psychotic episodes often do have clear external triggers, physical or mental trauma; and the fears which we express, in their purest waking form, through psychosis, are cultural in nature as much as they are personal. The fear of being controlled and lied to by something that is killing you is common, because it actually happens; and so we‘re drawn to stories about monsters capable of bringing that fear all the way home, making it literal. Stories of possession by demons, ghosts, youkai, alien parasites, and so on, are -

Yeah I don’t feel like finishing this essay. I’m just saying: the only problem here is that she wasn’t thinking of it as a metaphor. Also, that she blamed it on “some kind of lichen,” and we all know that lichens are blameless.

She complained to a nurse: “even if I am wrong, how’s it hurting anyone? Why do I have to be locked up here for it?” And, I mean, as long as she didn’t eat a bunch of pesticides to try to kill it, thus harming herself, she’s right! (Though she might actually have done something like that; she was transferred in from a normal hospital looking very ill.)

The dude with the potentially-physically-possible beliefs about “them,” however, shouted us all out of the day room in under ten minutes. Some delusions are just better than others.

[arosnowflake]

I love your blog and your autistic and aro headcanons! I just wanted to ask: I'm [probably] not an autistic person but sometimes yours and other autistic people's headcanons and writing about experiences inspire my own autistic character headcanons. I worry I should not be making these headcanons (in case I'm misinterpreting your experiences or being unintentionally Terrible) but if you have any advice on this I'd be grateful! No worries if not, as well. Keep being your fantastic self

This is a really sweet message thank you so much! As a general rule, there’s nothing wrong with allistics making autistic headcanons; in fact, I’d personally really like to see that be something that grows more mainstream, because it’d mean normalization of autistic headcanons/characters and show a general growing interest in actually learning about autism. So please, do go ahead and make your headcanons! There’s no problem with them!

That said, it’s also unfortunately true that some allistics (often a lot of them) who make autistic headcanons can fall into some common ableist (or not necessarily ableist but still kind of unfortunate) pitfalls, so in case you’re worried about that (although honestly the fact that you sent this ask in the first place probably means that you’re good anyway), here’s some tips and tricks to avoid common issues with allistic autistic headcanons (there’s an oxymoron if I ever heard one):

Please don’t use functioning labels for your autistic characters. Functioning labels are labels like ‘high-functioning’ and ‘low-functioning’, and they’re generally considered to be bad by the autistic community for a variety of reasons (more here (although most of the links are dead), here, here (under ‘We Are One Community’), here). However, I’ve noticed a lot of allistics (and ignorant autistics too) who add these onto their headcanons. Please don’t? 

More of a personal thing, but please don’t separate your autistic headcanons into ‘Aspergers’ and ‘autism’. Aspergers is autism, and with the updated DSM, does not exist anymore and has been merged into the overarching diagnosis of ASD. Classifying specific characters as ‘aspies’ is alienating to autistics who aren’t aspies. If aspies themselves headcanon characters as aspies I don’t mind, but when allistics do it I get Suspicious. 

This also goes for separating your autism diagnosis into ‘PDD-NOS’ and ‘classical autism’, but I pretty much never see that so it has lower priority.

Full disclosure though: I have very negative experiences with the Aspergers diagnosis in general and I hate it so much that I have ‘aspie’, ‘aspergers’, and ‘aspergers syndrome’ just straight up blacklisted. I’m not an unbiased source here. 

While we’re on the topic of correct language usage, please use identity first language for your autistic headcanon, not person first language (identity first: autistic person; person first: person with autism). The majority of the autistic community prefers identity first language because we don’t feel like our autism can be separated from who we are (more here, here). 

Also maybe refrain from using the phrases ‘ASD’, ‘on the spectrum’, ‘somewhere on the autism spectrum’, etc. and just use ‘autistic’ instead. There’s nothing inherently Problematic(TM) about those phrases, but it’s really weird to read an entire autistic headcanon that doesn’t use the word autistic, or seems to want to avoid using it. 

Don’t use infantilizing language! Maybe think twice before calling your autistic headcanon a ‘precious baby’ or a ‘smol child’ or something, especially if they’re a grown adult. I mean, doing this once in the tags of a post when they’re being cute or something is fine, but do NOT do this on posts where you talk about them being autistic, and do NOT do this on a regular basis.

Do NOT compare them to inhuman things like animals, computers, or aliens. Just. Don’t. Ever.

Be careful headcanoning inhuman characters as autistic. It’s generally not inherently problematic, especially not in fantasy/sci-fi shows where the majority of the cast is inhuman, but it gets really tiring to only ever see the robot/alien headcanoned as autistic, and it promotes our dehumanization. Just examine your patterns and maybe try headcanoning a human character as autistic as well in those sci-fi/fantasy shows?

This goes more for robots/aliens than for things like elves. Robots/aliens tend to be autism-coded, which has lead to the negative stereotype that autistics are like robots, and the very literal alienation of autistic people. Elves, on the other and, are not historically autism-coded, and are generally considered super cool and graceful and such, so headcanoning them as autistic is pretty much always okay.

If possible, promote autistics who make content for your autistic headcanon! Read their fics! Reblog their headcanon posts! If you can’t find stuff that’s fine, and you can definitely make your own stuff as well, but if you can, promote autistics!

Related, listen to autistics! Not just when we tell you something is problematic, but if you’re making headcanons, it’s a good idea to have at least a base knowledge of our experiences and the issues we face, so that you don’t accidentally do something problematic. (Anon seems to have this down already, but since this is more of a general list, I’m putting it on anyway). ASAN and the Autism Women’s Network are both fantastic places to start learning about autism, Autism Speaks is the devil and to be avoided at all costs, and there’s plenty of autistic bloggers on this site, so maybe follow some autism blogs!

Don’t put an ‘I’m allistic so tell me if I said something bad!’ disclaimer on your autistic headcanon posts. This is a good habit when writing Serious Posts, but for headcanons, it’s unnecessary and generally kinda weird. It’s not Problematic(TM), and I understand having anxiety and insecurity when making headcanons for something outside of your experience, but it’s. Kinda annoying. Do it in the tags instead; that way people can still be informed about the fact that you’re allistic, without it being obnoxiously on the post no matter what you do.

Don’t write fic specifically about being autistic - you are not autistic and you’re probably gonna get something wrong. Instead, incorporate your autistic headcanon into fics about something else. It’s fine if the autism features heavily, just... no ‘x always knew they were different’ or ‘x has always seen the word in a different light due to the fact that they’re autistic’-centric fics. 

Exception: you can write fics about being autistic provided you have an autistic beta/sensitivity reader. And if you do, mention it somewhere on the fic. Idk about other autistics, but unless an autism-centric fic seems like it was written by an autistic, I scroll right past it, because they tend to be very ableist if they’re written by allistics. So if you have an autistic sensitivity reader, mention it.

Headcanon lists are fine though! Headcanon lists are generally less intensive and require less ability to ‘get into someone’s head’ than fic writing, so if you want to say ‘I headcanon x as autistic because y reasons’ or ‘x is autistic and they stim in the following ways/have meltdowns/script/etc.’ that’s fine and cool!

Fanart and edits are cool too! Again, there’s less need to get into someone’s head, so drawing a character while stimming or editing the autism/neurodiversity rainbow infinity symbol behind them is just fine!

Every once in a while, sit back and examine the patterns in your autistic headcanons. What kind of characters are you headcanoning as autistic? Do you notice any worrying patterns? For example, are all your autistic headcanons white, or are they all male, or are they all robots/aliens, or do you also just so happen to headcanon all of them as aro/ace and/or unavailable for romantic/sexual relationships? That’s not to say that any and all patterns are always bad or ableist (pretty much all of my autistic headcanons are also aspec bc I’m an autistic aspec and I like projecting) (although if your autistic headcanons are always male/white, then yes that’s absolutely bad), but if you find a pattern, examine possible reasons why it exists.

This is a good habit to get into with any kind of minority headcanon, by the way! I’m gonna use LGBT+ headcanons as an example: who are you headcanoning as aspec and why? Do you notice a particular LGBT+ that’s getting left behind in your headcanons? Do you always pick the same character archetype for certain LGBT+ headcanons (for example, cold unapproachable characters as aro or extroverted characters as pan), and if so, why? 

Actually! Examining your patterns in fandom behaviour in general is good. If you notice you usually don’t like female characters, then that’s probably something you should examine. If you notice that all your faves are white and that you are more interested in white background characters than main characters of colour, you should examine that. If you notice that, even though you like this minority character or headcanon, you don’t consume or create any content for them, examine why. 

Problematic fandom behaviour very rarely manifests itself in something that happens once. It’s not inherently wrong to dislike this female character or not to like that ace headcanon, but if you notice that you consistently don’t like or aren’t interested in a particular character or headcanon, or if you notice that you consistently give particular characters particular headcanons, that might be an issue. Like I said, patterns are not always bad, but it’s good to be aware of them in case they are.

I’ll elaborate a bit on autistic aspec headcanons bc that’s such a hot button issue in fandom (bc people are asshats), but the tl;dr is that autistic aspec headcanons are not inherently bad and in fact, as an autistic aspec myself, I rather like them. However, headcanoning the one autistic-coded character as the one aroace in the group unfortunately does happen pretty often (Entrapta from She-Ra comes to mind - I’ve seen SO MANY posts about how everyone is a lesbian in She-Ra except for Entrapta, who is aroace of course, and it’s... pretty suspicious). But that’s not to say that you cannot headcanon autistic-coded/headcanoned characters as aspec; I elaborate more on this topic here (featuring a GREAT addition by @aroworlds!). Just examine your patterns and why they exist.

So this is not something that Inherently Problematic(TM), but it’s very annoying to me, so here goes: maybe diversify your autistic headcanons. I’m not saying ‘make sure your autistic headcanons are also poc/lgbt/etc.’ (although that’s very cool too), but just... diversify the autism itself. Often, it’s the exact same character archetype that gets headcanoned as autistic, and as an autistic whose autism tends to manifest in less typical ways, it gets... annoying. 

Examples of typical autism tropes: the eccentric (computer/science) genius, the robot/alien, the socially awkward.traumatized loner, etc.

Examples of characters frequently headcanoned as autistic: Tony Stark (eccentric computer genius), Bruce Banner (socially awkward science genius), Pidge from Voltron (eccentric computer/science genius), Keith from Voltron (socially awkward loner alien), Entrapta (eccentric computer/science genius), Sherlock Holmes (eccentric genius), etc.

Also note how 90% of these characters are skinny white guys.

Seriously it’s 100% more likely for a skinny white guy to get headcanoned as autistic than it is for any character of colour and/or female character to get headcanoned as autistic, PLEASE examine your biases.

Examples of character archetypes that damn near never get headcanoned as autistic: team leaders, extroverted/loud characters, team heart (aka the ‘team mediator’, the glue that keeps people together), etc.

Examples of autistic headcanons I have that are non-conventional/less common: Allura from Voltron (team heart, leader), Hunk from Voltron (team heart), Arthur from BBC Merlin (leader), Kaldur’ahm from Young Justice (leader).

All of these characters are pretty damn autism-coded, and while it’s not... impossible to find content for some of these, there’s generally a lot less for them. 

What I’m getting at is that, because the stereotypical autism-coded character of the eccentric computer nerd/socially awkward loner/robot/alien looms larger in the public consciousness, there’s a confirmation bias when it comes to these kind of characters. This often gets coupled with the stereotype that all autistic people are white boys, which results in a whole lot of the same white guys being headcanoned as autistic, even when other characters are just as if not more autism-coded. 

It’s not Problematic(TM) to headcanon more stereoypically autism-coded characters as autistic, and it’s honestly not even Problmatic(TM) to only headcanon those characters as autistic, especially not if an autistic person who does present like that relates to those characters or if an allistic isn’t sure about their headcanons and wants to play it safe. But it does lead to a very monotone depiction of autism, and leads autistic people who don’t fit the stereotypical mold (me!) to feel left out. So, if possible, try researching lesser known autism traits or just generally thinking a bit out of the box when making autism headcanons.

It’s definitely bad to only headcanon skinny white guys as autistic though. Like I know I’ve said this 50 times now, but seriously, fandom racism and sexism (or a neat combination of the two in case of female character of colour) is SUPER noticeable in autistic headcanons. 

And lastly: when in doubt, ask an autistic! Asking questions isn’t illegal, and if you’re not sure about whether x thing you want to do is okay, just shoot an autistic (who is okay with questions) an ask! I’m always open for questions about autism and such (and I love talking about it so that’s a bonus), so don’t be afraid to hit me up for further info!

[film-focus-mind]

my essay on autistic representation in the media

I wrote this for three months for my usem class, it’s just my opinions on what is wrong with most autistic media representation

Abstract

The representation of those with autism in the media is, simply put, stereotypical and deeply flawed. From depicting people with autism as eternal children, rude, idiotic, or genius savants, the media portrayals play into and perpetuate harmful stereotypes. This portrayal affects how society views autism, despite how consciously some people realize that the autistic representation is not accurate and socially harmful. If a character with autistic traits is shown in a negative light, people will form implicit biases and associate autistic traits as being wrong and bad. Media representation of those with autism has to change to be more accurate and less abusive and stereotyped. There needs to be better autistic representation for the sake of both neurotypical people and people with autism. Stereotypes need to be rejected and replaced with people with autism as being people.

Keywords: autism, media representation, stereotypes, Autism Spectrum Disorder

My interest in autistic representation is personal. My little brother Leo was diagnosed with autism at age three. Despite this diagnosis, he never knew he had autism until he was thirteen. Around that time, the popular kids show Sesame Street started featuring an autistic character named Julia (Cohen, 2017). Julia talked like my brother did: in short incomplete sentences and sometimes repeating what others had just said, she got upset when there were loud noises, and she could not stand the feeling of paint on her fingers. As Leo and I watched the show and the character’s interactions with others, it dawned on me that Leo didn’t know what he and Julia had in common. My parents never told him because they didn’t want Leo to feel different.

“Leo, do you know why you’re like Julia?” I asked.

“Why?” Leo replied. “Why” in Leo’s case also meant who, what, where, when, and how. 

“It’s because you both are autistic!” I explained. “Your brains both work just a little bit differently.”

Although the Julia of Sesame Street was created as a caring and positive role model, she’s one of the few instances of positive representation of people with autism on television. Most autism representation shows people with autism as rude, child-like, dumb, or worse. Many characters who are on the autism spectrum are quite one- dimensional. Having autistic traits has been portrayed in a negative light or in an overly simplistic way. Autistic represetation hardly factors the experiences of actual people with autism. If the media portrayed people with autism as equals, there would be dozens of Julias in mainstream media (Safran, 1998). How is the media portraying people with Autism Spectrum Disorder? How can things improve? What does this say about society’s views on autism? 

For clarification, the terms ‘high functioning’ and ‘low functioning’ are problematic and will not be used in the context of this discussion because those words hold a very discriminatory view of autism, one that prioritizes the neurotypical ways of functioning over other ways of functioning. In this paper, the terms autism and Asperger’s syndrome will be used to differentiate between the two distinctly different types of ways that autism affects people. It is important to remember that Asperger, the doctor whose name is used to describe a branch of autism, was a Nazi (Baron-Cohen, 2018). That historical association speaks great lengths about how autism is/was viewed, considering how Asperger describes autism. Asperger’s opinions on autism would be considered very outdated and insulting to contemporary people with autism (Draaisma, 2009). 

Portrayals of autism in terms of fictional characters can be split into two distinct tropes, which are infantilization (Stevenson, Harp, & Gernsbacher 2014) and the savant (Draaisma, 2009). The former usually applies to autism generally, while the latter applies to those exhibiting the characteristics of Asperger’s Syndrome. Tropes are different character archetypes that group characters by their believed-to-be stereotypical traits. In a few cases of media representation, both tropes can apply to the same character, but for the most part they do not overlap. Both tropes only give a glimpse at the complexities of autism, usually leaving out autistic traits that can be seen as good.

To start, there’s infantilization (Stevenson, Harp & Gernsbacher, 2014), or for a better term, the eternal child trope. This trope portrays characters with autism of any age as child-like, and usually also naive or idiotic. These characters can be either autistic or have Asperger’s, but they act the same, naive, unable to focus, throwing tantrums, and generally interacting with the world in “innocent” and “unsophisticated” ways. Also, these characters typically have a special “obsessive” interest that they love talking about, some of examples of obsessive fixations are classical music, science, outer space, cartoons, trains, and dinosaurs. It is more harmful when adults are portrayed with this trope, as a person can be an adult with autism, and a mature autistic adult. We often think of neurotypical children as also having obsessive interests or naïve qualities, so the stereotype is not as blatantly discriminatory. Yet, when these are the only traits an autistic character has, that becomes problematic. This child trope creates a stigma of autism disappearing when one turns eighteen, or that people with autism are incapable of mental growth. Some examples of this trope that can be seen in mainstream film, television and book portrayals are Kirk from the television show Gilmore Girls (Palladino, 2000), Lenny from the great American novel Of Mice and Men (Steinbeck, 1965), and Amelie from the French movie Amelie (Jean-Marc, 2001)

Multimedia tropes are not the only case of infantilization of those on the autism spectrum. Most autism-based charities only show children with autism, effectively branding it as a children’s disease and leaving out the reality that many with autism are mature adults. In a study done in 2014, only eight out of 170 autism based charities had pictures that included adults with autism (Stevenson, Harp & Gernsbacher, 2014). When only children with autism are shown, it leaves out adults from the picture. Such absences also contribute to the man-child stereotype. When one only sees children with autism, and then meets adults with autism, they won’t be seen as the adults that they are. Adults with autism then get treated like children. Infantilization ultimately restricts the definition of what a person with autism is like, and the next trope does that as well. 

The next difficult trope is the savant (Draaisma, 2009). The definition of savant is someone who is good at one particular subject, at an almost unnatural level, but that other-worldly savant syndrome seems to come at a price. Characters with autism who fall under this trope are smart beyond their peers, but are depicted as being very rude and as lacking in key social skills. This character trope, like that which focuses on  infantilization, will show people have a special interest, like physics, medicine, drawing, learning languages to name a few examples, which they pursue with genius intensity and knowledge. These characters have friends, but are often depicted as being overly blunt and difficult or not nice to their friends. This kind of portrayal brands people with autism as being bad people and antisocial. Thus, the general public are led to believe that all people with autism must be rude (Safran, 1998). All people with autism are expected to be a know-it-all in one area, but are thought of as idiots if they are not. Some examples of the savant trope are Sherlock from the BBC’s television show Sherlock (Moffat, 2010), Paris from the sitcom Gilmore Girls (Palladino, 2000) and Sheldon Cooper from the tv show the Big Bang Theory (Cendrowski, 2007).

Sometimes, the savant trope is combined with the eternal child trope to create a doubly stereotyped character with autism. Typically these children are beyond their peers, but have trouble making friends, with a tendency to be alienated. An example would be Max from the tv show Parenthood (Holton, 2013). Max enjoys talking about beetles, wearing pirate costumes and he doesn’t like candles. When his parents find out about him being autistic, they resolve not to tell him of his diagnosis. Not telling kids of their diagnosis is bad because the children may be already feeling as if they are an outcast among their peers, but they don’t know why (Sinclair, 1999). Sometimes having information about what makes someone different can provide comfort in challenging situations. Keeping information like that from children with autism does more harm than good. It would deprive an understanding of themselves necessary to overcome their disabilities.

Another autistic stereotype is that autism affects more boys than it does girls (Lai, Lombardo, Auyeung, Chakrabarti, & Baron-Cohen, 2015, pp. 11-24). Most portrayals of autism on television are of males, effectively erasing autistic women from the narrative as well. This erasure actually has an effect on diagnosing autism because many believe that girls do not “get” autism. This also happens on a social level because females do not have the diagnosis that might help them understand their behaviors and social interactions at younger ages. With the bias of being a mostly male disorder, women with autism get diagnosed at a later age than their male counterparts (Bargiela, Steward, & Mandy, 2016). Many autistic women are not diagnosed until adulthood, which can set them back multiple years of working to get help with their disorder. Women being autistic is seen just as much of being an oxymoron as an autistic adult.

Autistic misrepresentation occurs even though characters are not explicitly stated as being autistic. When characters are portrayed with stereotypical autistic traits, they are understood by viewers as being autistic. When people see these traits being portrayed as dislikable, that may cause people to see those traits in a very negative light. This happens even before people with autism have a chance to prove those stereotypes wrong. In short, it doesn’t matter whether the word autism is used. Only the traits matter, not the label. 

How do autistic stereotypes affect people with autism? For starters, when people meet someone who shares traits with a negatively portrayed autistic character, people think that having those traits are linked with being a bad person (Safran, 1998). This leads to isolation, ostracization, and bullying. Stereotyping of any sort can be quite harmful. People will tend to judge all persons with autism they encounter in real life based on the examples they see in media. The general public will see what’s on tv and believe it to be true, even if subconsciously. It predisposes persons to negatively prejudge people with autism before meeting them.

People without autism are also hampered by these stereotypes by causing people with autism to struggle to find their respected and credible voice in social, educational and work settings. Successful interactions with people with autism require an unbiased and accurate understanding of them. These successful interactions are rendered less likely by stereotypical portrayals, which foster disrespect and distrust of people with autism encountered in real life. Everyone should want to treat everyone with respect, and correct their behavior if it is wrong.

People can actively undertake many strategies to make autistic representation more like Julia from Sesame Street, and less like every other character fuelling misunderstanding. The first solution is hiring actual people with autism as consultants for a show (Huws & Jones, 2010, pp. 331-344; Holton, 2013), ensuring the screenwriting matches up with the real experience of autism. Another way is to try to make a multidimensional and meaningful character, not a character who is merely a foil based on comic relief or being a challenge for the other characters. Autistic characters must exist as themselves, not as plot devices for other neurotypical characters.  

Another solution is to approach rectifying harmful stereotypes by using a character to educate non-autistic people about the realities of autism (Behind the Scenes, 2017). Upon seeing a character as a learning opportunity, research is done into the subject, and a more accurate portrayal occurs. People have a tendency to learn from engaging and considering fictional characters. Thus, making one accurate fictional character would do the most good when it comes to opening up people to the nuanced realities of autism spectrum disorder.   

.In conclusion, autistic representation in books, films and televisions shows negatively effects or influences therefore society’s general views of autism. These tropes are discriminatory and harm people with autism by spreading misinformation. There are many years of poor autistic misrepresentation that those in the media industry must work to undo.

References

Bargiela, S., Steward, R., & Mandy, W. (2016). The experiences of late-diagnosed women with autism spectrum conditions: an investigation of the female autism phenotype. Journal of Autism and Developmental Disorders, 46(10), 3281-3294.

Baron-Cohen, S., Klin, A., Silberman, S., & Buxbaum, J. D. (2018). Did Hans Asperger actively assist the Nazi euthanasia program? Molecular Autism, 9(1). doi:10.1186/s13229-018-0209-5

 Bringing Julia to Life [Behind the Scenes]. (2017, March 20). Retrieved from https://www.youtube.com/watch?v=HhzfHVmSLRU

Cendrowski M (Director). (2007). The Big Bang Theory [Television series]. Los Angeles, California: CBS.

Cohen E (Director). (2017). Sesame Street, season 47 episode 15 [Television series]. Los Angeles, California: PBS

Draaisma D. (2009). Stereotypes of autism. Philosophical Transactions of the Royal Society of London. Series B, Biological sciences 364(1522), 1475-80. Retrieved from https://royalsocietypublishing.org/doi/full/10.1098/rstb.2008.0324

Holton, A. E. (2013). What’s wrong with max? Parenthood and the portrayal of Autism Spectrum Disorders 37(1) 45-63. In Sagepub. Retrieved January 29, 2019, from https://journals.sagepub.com/doi/pdf/10.1177/0196859912472507

 Huws, J.C. & Jones, R.S.P (2010) ‘They just seem to live their lives in their own little world’: Lay perceptions of autism, Disability & Society, 25:3, 331-344, DOI: 10.1080/09687591003701231

Jean-Marc D. (Producer), & Jeunet J. (Director). (2001). Amelie [Motion Picture]. France: Canal+.

Lai, M., Lombardo, M. V., Auyeung, B., Chakrabarti, B., & Baron-Cohen, S. (2015). Sex/Gender Differences and Autism: Setting the Scene for Future Research. Journal of the American Academy of Child & Adolescent Psychiatry, 54(1), 11-24. doi:10.1016/j.jaac.2014.10.003

Moffat S, (Executive Producer). (2010). Sherlock [Television series]. London, United Kingdom: BBC.

Safran, S. P. (1998). Disability Portrayal in Film: Reflecting the Past, Directing the Future. Exceptional Children, 64(2), 227-238. doi:10.1177/001440299806400206

Steinbeck, J. (1965). Of mice and men: With an introduction. New York: Random House.

Sherman Palladino, A (Director). (2000). Gilmore Girls [Television series]. Los Angeles, California: the WB.

Sinclair, J. (1999). Don't mourn for us. Autistic Rights Movement UK.

[realhousewives-fan]

Animosity in the Air Tonight

When Noella Bergener was supposed to apologize to Heather Dubrow, it was just another classic non-apology.

These “if I hurt your feelings” apologies need to stop. But Heather is a tough and smart cookie, she didn’t buy it:

“It’s not how I feel, it’s what you said.”

Gina Kirschenheiter is over the fighting and obsessing over a chicken salad with Shannon Beador. 

Gina comes through with the comic relief this season.

Earlier this season Gina said that she has “a champagne taste and a beer budget”. 

And she’s gushing over the luxury around them in Aspen.

But even if Gina claim that she’s over the fighting, it might look like she’s really just over Noella. 

She clearly overreacted with her.

While I don’t think Noella was wrong for not remembering Gina’s friend for a hot second, she was doing too much on this trip.

For instance, her version of what happened the other night wasn’t completely accurate.

She made it seem like Heather had talked about her son’s autism, which is not true.

Sure, Heather’s comment about her karma giving what she needs was mean, but she just threw back what Noella had just said to her.

Apparently, Noella can’t dish it nor take it.

But by excluding herself from archery, she’s contributing to alienating herself from the group. There’s bonding in activities.

It’s really extra and dramatic too.

Lying in bed, ordering a Bloody Mary and a fruit bowl, sulking over a different scenario from the other night, while the women are doing something fun together.

I’m a little conflicted about the scene where she was crying by the river. I don’t know if there were real emotions or constructed.

But that’s the thing with Noella, you never know with her.

Can we talk about the archery though?

Because Emily Simpson’s archery skills were kind of a turn on though. She’s like an amazon, that woman.

But she also said that Jennifer Armstrong doesn’t have “original thoughts”. She just follows Heather around.

Now, that I agree with. Jen is still a blank canvas, and we’re on the 16th episode!

[tf2humbug]

After I answered a question yesterday about the possibility of Medic (or any other TF2 character) being a psychopath, I got to thinking about what might actually be the deal with these guys. Obviously, they’re abnormal, but I don’t like writing off weird characters as just being crazy and/or stupid.

I dug into what I understand about the characters—the core mercs as well as the Administrator and Miss Pauling—and came up with this run-down of how I think they might be diagnosed if evaluated by a modern psychiatrist.

A disclaimer! First off, please take all my conjecture with a big ol’ grain of salt. I’m not claiming to be an authority on either psychiatry or neurology, and this is just my personal interpretation of the characters. It’s fine if you don’t agree! Also, I want to be clear that I mean no disrespect to anyone who might have any of the conditions I mention. I hope my tone comes off as respectful and not exploitative.

One last thing. I feel like this should go without saying, but just in case: DON’T USE THIS LIST AS A WAY TO DIAGNOSE YOURSELF. If I mention something that strikes a chord with you, by all means research it, but talk to a professional if you seriously suspect you might have a mental issue. I am NOT a professional!

Now that all that hemming and hawing is out of the way...

Scout

Not to rely on stereotypes, but I think ADHD is likely. His impulsivity, hyperactivity, and need for stimulation are strong indicators. He also has a tendency to self-medicate with massive amounts of caffeine and sugar from all the soda he drinks. Oh, and it’s been pretty heavily suggested that Scout is dyslexic, which I believe to be the case.

Soldier

It’s pretty much directly stated in the comics that he has brain damage, resulting in delusions and cognitive impairment that border on dementia. (Think Gary Busey post-motorcycle accident.) The comics suggest he was brain damaged by lead poisoning in the water, but I’m certain he had preexisting problems from old head trauma. That helmet has an important function!

On top of that, I think Soldier’s a good candidate for Tourette Syndrome, but I don’t mean the coprolalia version you see in TV and movies, where someone involuntarily shouts obscenities. He commonly has sudden verbal outbursts (”MAGGOTS!”) and physical tics (saluting, marching, etc.) that manifest in his drill sergeant persona.

Pyro

Oh, boy. Okay. Pyro is a hell of a puzzle, and I could go on for pages, but I’ll boil it down to what I think is most likely. Of course, they exhibit pyromania, but possibly also synesthesia?

One possibility is an “eccentric” mood disorder that manifests as a loss of contact with reality, among other symptoms. That would be either Schizotypal Personality Disorder or full-blown Schizophrenia. The distorted Pyroland version of the world fits this really well, and it’s possible that it might be a chronic thing, with Pyro constantly filtering the world through their delusions.

The other likely possibility is some sort of Temporal Lobe Epilepsy, where seizures in a focal part of the brain yank Pyro out of reality without sending them into the physical convulsions you associate with general epilepsy. This would suggest that Pyro does touch base with reality but gets “transported to Pyroland,” instead of living there all the time.

Demoman

This one is easy. Demo’s a severe alcoholic, to the degree that stopping drinking cold turkey would probably kill him. In the comics, his body even rejects normal food and drink because it’s learned to get energy just from booze, and his body, in times of withdrawal, can make its own alcohol supply, which an actual real thing. It’s called Auto-Brewery Syndrome, where microbes in the gut can convert carbs into ethanol. Demo must just have the most advanced case of it in human history!

Heavy

He seems completely neurotypical to me, aside from the hints of both psychopathy and PTSD that come with being a mercenary. I do think he used to have problems from sleep apnea, but some surgery cleared that up. Now he just snores like a chainsaw. (Yes, I know sleep apnea isn’t a mental condition.)

Engineer

I suspect, but I’m not certain, that he may be in the very high-functioning part of the Autism Spectrum, with savant-like qualities. Maybe he got his 11 PhDs and abilities as a human calculator just from being driven and extremely intelligent, but I wouldn’t be at all surprised if he were wired differently. If it is the case, he’s learned to compensate incredibly well in his interpersonal behavior. That Texan charm is a pretty effective tool for putting people at ease, I bet.

Medic

Like I said before, I don’t like simply labeling characters as “crazy.” Yeah, he’s got the mad scientist thing going on, but I think that stems from Bipolar Disorder. Specifically, I believe Medic has type I, which is what people usually think of when they imagine bipolar behavior: extended periods of elevated mood (or hypomania) punctuated with full manic episodes, which can take on psychotic features. There may or may not be periods of depression. He doesn’t seem to swing that way, but it’s possible.

He’s DEFINITELY a self-medicator. I mean, duh. Huffing Medi-Gun fumes and a bit of drinking probably help to calm him down when he gets too high-strung. I doubt he takes pills for it, e.g. lithium or anti-convulsants, because of the high likelihood of side-effects. I could see him doing some DIY ECT, though. Getting too unstable? A few brain zaps, and he’s right as rain!

Bonus fact! Did you know that a German term to call someone insane is to say that they “have a bird”? It might come from folklore about insane people literally having bird familiars living in their heads, or it might be something like calling someone a “crazy cat lady,” where people who keep birds will talk to them too much and seem a bit off. Just thought that was interesting!

Sniper

I personally believe he probably has some Agoraphobia. Not to a debilitating degree, but he hates being stuck in what feel like insecure places. It’s actually a symptom of Avoidant Personality Disorder, which I think is pretty likely for him. It’s thought to result from feeling abandoned and alienated by other people at a young age. (*cough*orphanedbybirthparentsandraisedinAustralia*cough*) In addition to agoraphobia, signs include self-imposed social isolation, emotional distance, mistrust, and an inferiority complex. If he does have APD, he’s integrated it neatly into his occupation, where distance is a good thing.

Spy

Similar to Heavy, he seems pretty neurotypical to me. It’s possible that he had some similar issues to Scout when he was younger, but if so, he’s learned to compensate. He does exhibit the most psychopathic traits of all the mercs, but like I said before, I don’t believe any of them are actually true psychopaths.

Administrator

Classic megalomaniac! She’s got textbook Narcissistic Personality Disorder. Everything about the way she presents herself screams narcissism: grandiosity, a thirst for power, arrogance, a sense of entitlement, lack of empathy, and extremely manipulative behavior. Maybe she has good reasons for her narcissism, like being an 150-year-old supervillain, but I digress.

Miss Pauling

Poor thing. I’ve mentioned it before, but my pet theory is that the Administrator broke down her original personality and built it back up to make her a useful pawn, capable of appearing very unassuming and responsible while performing cold-blooded acts of violence guilt-free. She’s a perfect tool, with limited freewill and no room in her mind for cognitive dissonance to slip in. To her, I imagine it feels like living with with Depersonalization Disorder, where either the world around her or her own actions take on an unreal quality as a way of shielding her mind from the nasty parts of her job, but on the outside, the effect is seamless.

[aion-rsa]

The Best TV Comedies of 2020

https://ift.tt/eA8V8J

Have we ever been in more need of a laugh than in 2020? Amidst a historic global pandemic, a tumultuous American political election, civil unrest, wildfires, MURDER HORNE… alright, you get the picture. 2020 has been the pits, man. Thankfully, this year from hell featured some bright spots on television, even if rays of sunshine were sorely lacking in reality.

If the shows on our list weren’t making us laugh, we would have been ugly-crying since March. While we were all locked in our homes, we got reacclimated with the Warner Brothers (and sister), said goodbye to BoJack Horseman, and met regular human bartender Jackie Daytona, making quarantine a bit more bearable, if only in 30 minute increments. From brand new series like How To with John Wilson, to swan songs for Den of Geek favorites like Schitt’s Creek, TV comedies in 2020 kept us cackling through the chaos.

To determine the best TV comedy of 2020 in a particularly stacked, diverse year, we polled 12 Den of Geek staffers and contributors. Below, you’ll find our honorable mentions and our list of the series most likely to raise your mood in the darkest year of our adventures.

Honorable Mentions

The following shows received votes but just missed out on the top 20: 

Ramy, Never Have I Ever, Feel Good, The Great, Avenue 5, The Duchess, Staged, Famalam, Inside No. 9, Ghosts, The Shivering Truth, Bob’s Burgers, Katy Keene

DEN OF GEEK TOP 20 COMEDIES OF 2020

20 – Big Mouth (Netflix)

How long can a show about puberty, a very specific time in the life cycle, remain viable? Well based on the fourth season of Netflix’s animated comedy Big Mouth, just about as long as it wants to. Big Mouth season 4 succeeds by finding new avenues to delve into the psyches of its young characters going through chaaaaanges. In the process it also finds ways to expand its storytelling capabilities, delving into issues of trans youth, code switching, and anxiety. Through it all it remains as hilarious, and disturbingly vivid, as ever. – Alec Bojalad

19 – The Eric Andre Show (Adult Swim)

It’s not like Eric Andre reinvented the wheel or anything with the fifth season of his anarchic, absurdist talk show. If you were never a fan of anti-comedy that centers heavily around duping random people on the street, gross-out gags, and the torture of unsuspecting guests, then you’re not going to start liking it now.

However, for those of us already onboard The Eric Andre Show train, it’s no small feat that, five seasons in, this is still one of the funniest shows on TV. You’d think by now Eric would’ve run out of guests who have no idea what they’re in for, but, no, there’s an all-new batch of naive celebrities whose lives are effortlessly worsened by Eric, his crew, and his new house band. You’d assume he couldn’t prank people on the streets of New York City and Newark, New Jersey anymore because he’d be recognized by now, but, no, he pisses off a lot of people and breaks a lot of other people’s brains with ever-inventive, bizarre, obnoxious pranks. 

Finally, you might think the series would suffer irrevocably from the departure of co-host Hannibal Buress only two episodes into the season, but Eric demonstrates he’s more than capable of spreading chaos all on his own (though he’s sometimes assisted, alternatingly, by a Hannibal clone named Blannibal, comedian Felipe Esparza, and Screen Actors Guild Awards nominee Lakeith Stanfield). Season five is the same The Eric Andre Show as it ever was, but that still makes me laugh harder than anything else on television right now. I’d be happy for Eric to keep making this show forever. – Joe Matar

18 – Saved by the Bell (Peacock)

A Saved by the Bell reboot shouldn’t have worked. But as Peacock’s recent series showcased, with the right creative team and angle, you really can successfully reimagine an outdated but beloved ’90s teen comedy for 2020. Working as both a soft reboot and sequel, this is meta-comedy at its best. Saved by the Bell is fully aware of what made the original special and why they don’t still make shows like it now. Juxtaposing those two competing views through the lens of the privileged and perfect Bayside kids and the new normal students makes this an accessible and seriously funny series with a biting humor rarely seen in teen comedy. – Rosie Knight 

17 – Everything’s Gonna Be Okay (Freeform)

Australian comedian Josh Thomas brings his off-kilter sensibility to a loving and sharply funny portrait of a modern family in Everything’s Gonna Be Okay. In the pilot, Thomas’s character Nicholas, a gay twentysomething from Australia, visits his father in the US and learns that his physically and emotionally distant dad is dying. Things really pick up as Nicholas steps up to care for his two teenage half-sisters, Matilda (Kayla Cromer) and Genevieve (Maeva Press), while also trying to date, and manage his melodramatic mother from the other side of the planet. 

Matilda especially comes into her own as she hopes to go to college away from home next year— something others doubt since she’s autistic. Her autism is a reality that becomes part of the fabric of the show, a setup rather than a punchline. Few shows would include a teenage threesome that manages to be funny, heartfelt, and matter-of-fact, but in Matilda’s world, sex (and exploring her sexuality) are often all three. Everything’s Gonna Be Okay is a family show that acknowledges the realities of family: death, disabilities, teenage girls with sex drives, and laughter at funerals. – Delia Harrington 

16 – Star Trek: Lower Decks (CBS All Access)

Created by one of the writer/producers of Rick and Morty, it’s no surprise that the first episode of Lower Decks involved some pretty broad humor and wildly out of control situations. The producers of the 1970s Star Trek: The Animated Series understood the creative potential of animation when they replaced Ensign Chekov with a giant cat, and Lower Decks follows suit, the pilot giving us blood, guts, gore, zombies and a giant spider, all in Rick and Morty’s madcap tone.

As the show has developed over its first ten episodes, though, it’s become something more than that. The knowing humor is a delight—the focus on things like “second contact” (the less glamorous setting up of diplomatic relations after first contact), ascensions to a higher plane of existence gone wrong, and re-visiting half-forgotten alien races like the Pakleds shows the same sort of gently teasing love of the franchise that Galaxy Quest did. But the characters have also developed into real, complex people to the point that a character death is genuinely moving, and the audience are really able to care about what happens to these essential cogs in Starfleet’s machine next. – Juliette Harrison 

15 – Solar Opposites (Hulu)

A big part of what makes Rick and Morty so great is that, in addition to all the sci-fi hijinks, there’s meaningful development of the show’s characters and world. Unfortunately, as the series has progressed, this is also what’s dragged it down. As Rick’s nihilism has increasingly alienated the people around him, a lot of the fun has been lost. The show still puts out the occasional brilliant episode (for example, the season four finale), but it almost feels like all the characters on Rick and Morty straight-up hate each other and watching it can be kind of a drag sometimes.

It’s such a treat then, to see all that fun sci-fi silliness rebirthed in the form of Solar Opposites, co-created by Justin Roiland and Mike McMahan (Rick and Morty co-creator and writer/producer, respectively). Making good use of all the storytelling lessons they learned from their other sci-fi cartoon show, the two have released a confident and consistently funny debut season. Though it feels awfully similar to Rick and Morty at first blush, it has more in common with classic sitcoms, with its focus on goofy, self-contained plots about the alien family at the show’s center. However, the series shakes the sitcom formula up a lot with a surprising dedication to callbacks and continuity, most notably exemplified by the continuing, dramatic tribulations of a community of people who have been shrunken down and forced to live in the aliens’ multilevel terrarium. The combination of madcap sci-fi alien plots contrasted with the trials of the melodramatic dystopian shrunken-people world makes Solar Opposites one of the most inventive comedies of the season, and I’m excited to find out where it’s going next. – Joe Matar

14 – Dave (FX) 

There are countless hip-hop artists whose backstories would make for compelling television. So why did FX choose to spotlight a goofball white rapper from the suburbs with a mediocre penis joke for a stage name? It takes only one episode to realize any preconceived notions about Dave, based on the life and rap career of Dave Burd, aka Lil Dickey, should be spit from your silly mouth faster than Lil Dickey spits bars on a freestyle. 

A telling sign that Dave was going to be a sleeper hit was the involvement of co-creator Jeff Schaffer, a longtime EP and writer on Curb Your Enthusiasm and the creator of FX’s The League. Together Schaffer and Burd mapped out a first season that sees Dave navigate the early stages of his music career with a level of narcissism he believes is needed to be taken seriously in the rap game. But the series also shows another side of Dave, self-deprecating in a surprisingly endearing way, rarely swayed by what others think, and frustratingly true to himself and the path he sees for his life. This is FX’s star vehicle for Burd, but the show manages to make him the center of the universe while still developing key players in his life as the season progresses, giving each character an affecting spotlight episode. The standouts include episodes about Dave’s real-life friend and hype man GaTa and his struggles with bipolar disorder, the evolving managerial relationship with his roommate (Andrew Santino), and how sudden fame begins to erode a once promising relationship with his girlfriend, Ali (Taylor Misiak). 

Already renewed for season 2 and a ratings hit with FX/Hulu reporting high streaming numbers, Dave is no longer an underdog and will carry a new set of expectations as the titular character’s career ascends. If you’re still a skeptic, you need to adhere to television’s golden rule when it comes to Dave: Don’t judge it until you binge it. – Chris Longo

13 – Brooklyn Nine-Nine (Fox)

At only 13 episodes, Season 7 was the shortest season yet of Brooklyn Nine-Nine, but it packed a lot into those 13 half-hours. With Melissa Fumero pregnant in real life, the writers used this to cover six months in series by following Jake and Amy’s attempts to conceive a baby, helping those limited episodes to feel like they were filling out more time. The show has also struggled to work in its annual Halloween Heist episodes since moving to NBC and being put into a winter start slot, but in 2020 Rosa managed to triple her victory by engineering Heists on not just Halloween, but Valentine’s Day and Easter as well.

Season 7 aired too early to deal with the Black Lives Matter protests that dominated the summer of 2020, but the writers have already pulled all their planned scripts for Season 8 and re-written them in light of those events, so that is yet to come. 2020 had a little bit of everything that makes B99 great—a dose of Pimento, Jake and his daddy issues, Holt’s adorable corgi Cheddar, and one final appearance from his nemesis Madeline Wuntch. For once, the season didn’t end with Holt somehow being removed from his job as Captain of the 99, but there’s still plenty to look forward to in Season 8—maybe 2021 will be the year that Charles Boyle finally wins the Halloween/Valentine’s Day/Easter/Cinco de Mayo Heist? – Juliette Harrison

12 – Animaniacs (Hulu)

Rampant remakes and sequel reboots have turned into the norm, but streaming services have especially embraced this idea as a way to anchor a library of programming. These endeavors are extremely hit or miss, but Hulu’s revival of Animaniacs is one of the few exceptions that feel justified for a return. Animaniacs always functioned as a radical cocktail of perversions of pop culture and classic comedy and 2020’s Animaniacs actively thrives with decades’ worth of new material to lampoon. The series has stripped itself back to its basics and temporarily removed most of the old supporting players, except for Pinky and the Brain, but this allows Animaniacs to build itself back up and establish new recurring characters and segments.

There’s such clear joy present in Animaniacs, whether it’s from the voice actors, the creative staff, or the animation team. Segments like an unauthorized Russian version of the Animaniacs or catchy songs about Shakespeare and the different First Ladies of America prove that the classic series’ sense of humor has successfully been maintained. If anything, the cartoon is even more fearless. It’s the perfect burst of ‘90s Saturday Morning nostalgia that’s also exceptionally funny and thought provoking. – Daniel Kurland 

11 – Rick and Morty (Adult Swim)

Rick and Morty is a colossal behemoth of storytelling that’s developed a fascinating and often antagonistic relationship with its audience. 2020’s Rick and Morty content only includes five episodes from the second half of the show’s fourth season, but they’re some of the series’ wildest installments when it comes to storytelling, perpetual jokes, and the show’s ability to deconstruct itself and its fandom. The series Emmy-winning “Vat of Acid Episode” explores the emotional highs and lows of “save states” while “Never Ricking Morty,” the show’s “Story Train” episode, is perhaps the most structure-obsessed piece of television that’s ever been written.

Rick and Morty continues to expand its universe in exciting ways and allow its characters to realistically mature. These episodes provide fascinating insight on both Rick’s relationship with Morty as well as his bond with Beth. Even Jerry and Summer get their moments to shine and Rick and Morty feels more like an ensemble than ever before as it prepares to shake things up even more in season five. – Daniel Kurland

10 – Aunty Donna’s Big Ol’ House of Fun (Netflix)

In 2019, Netflix gave us I Think You Should Leave, the sketch comedy series from Tim Robinson that birthed memes that somehow only get more relevant (and funnier) as time goes on. In 2020, Netflix, likely mindful they needed to hold us over until Robinson finishes filming season 2, gave us a gift from down under called Aunty Donna’s Big Ol’ House of Fun. If you liked Robinson’s sketch series, imagine that on crack, dialed up to 100, and featuring the three silliest Australian dudes to ever walk on that continent. The series stars Mark Bonanno, Broden Kelly, and Zachary Ruane, a group of friends who formed a comedy group called Aunty Donna and gained a large following on YouTube with their absurdist humor that features simple premises that often descend into frenetic madness. See: them explaining how a board game works or doing roll call at school. 

In Big Ol’ House of Fun, the series opens with a musical number that will have you wondering whether everything’s a drum. Episode 2 will change the way you think about your morning coffee. Friendly faces like Scott Aukerman and Ed Helms (or is it “Egg” Helms?) even stop by just to play ball. Through its infectious and (mostly) good-natured absurdist energy, the series lives up to its name with endlessly quotable and memable sketches. And much like I Think You Should Leave, Aunty Donna material only gets better when you rewatch it. Here’s to hoping Netflix will let us come back and visit this Big Ol’ House again for season 2. – Chris Longo

9 – Mythic Quest: Raven’s Banquet (Apple TV+)

Created by Rob McElhenney, David Hornsby, and Megan Ganz of It’s Always Sunny in Philadelphia fame, Mythic Quest: Raven’s Banquet is a new Apple TV+ comedy that easily justifies a subscription to the streaming service. Set within a video game studio for a popular MMORPG, Mythic Quest leans into certain workplace comedy tropes, but never feels derivative of the genre or that it’s just Always Sunny with a fresh coat of paint. The comedy effectively explores and skewers gaming culture, but a knowledge of the industry is not at all necessary to enjoy the program. 

Smart and creative scripts are punctuated by the show’s phenomenal cast, which features the likes of McElhenney, Hornsby, and Danny Pudi. However, Charlotte Nicdao’s work as Poppy Li, the studio’s neurotic perfectionist lead engineer, is a revelation. Mythic Quest works so well because of how it grounds its quick comedy in powerful character dynamics. The series’ “standalone” flashback episode, “A Dark Quiet Death,” received a ton of acclaim, but there are few episodes of television from 2020 that contain more heart and honesty than the series’ quarantine-centric installment. – Daniel Kurland

8- Search Party (HBO Max)

HBO Max’s first bingeable, bonafide hit was outsourced from TBS. After languishing on basic cable with critical praise but low viewership, Search Party made the move to the new Warner streaming service for Season 3 and proved that the series was the perfect “watch it all in one afternoon” comedy. What began as a comedic mystery series about a group of prototypical Brooklyn millenials on a quest to find their missing former classmate shifted in its third season to become a satire on celebrity trials and how tabloid spotlight can turn unassuming people into sociopathic narcissists.

Search Party’s strength is in its ensemble. Alia Shawkat brings an interesting vulnerability to disaffected Dory, but her other “searchers” are the real bright spots. John Reynolds is perfectly cast as the de facto worthless millennial “beta male,” and John Early and Meredith Hagner are consistently laugh out loud funny as self-obsessed, attention seeking airheads. Search Party has a twisty, interesting plot, but it’s also a scathing indictment on an entire generation obsessed with celebrity, self-analyzation, and searching for “meaning.” If you have not yet watched one of the year’s funniest shows, get caught up before Season 4 debuts in January 2021.  – Nick Harley

7- How To with John Wilson (HBO)

Life is strange. If you take a moment to actually watch and analyze many of the seemingly ordinary, day-to-day things you witness while walking down the street in a major U.S. city, you’ll be shocked at how alien it can all appear. In New York City in particular, every imaginable human behavior is on display somewhere, and documentarian John Wilson is out there capturing it all on camera. How To With John Wilson may seem like a series designed to teach you useful everyday skills like how to split a check or how to improve your memory, but in reality, it’s a love letter to New York, in all of its beautiful, ugly, life-affirming, and soul-crushing splendor.

It’s also insanely hilarious. Wilson’s deadpan, stammering narration on top of quick cut, slice of life footage is an endlessly watchable setup-punchline joke machine. Wilson also is wise to go down the rabbit hole and follow weird digressions wherever they lead him, like a Mandela Effect conference or the home of an anti-circumcision activist. Further, the series finale is the first piece of television to fully capture the reality of post-pandemic city life, putting to shame all of those half-assed Zoom created depictions of life in 2020. Few shows can effortlessly glide between cringe comedy and poignant moments like this. How To with John Wilson is unlike any other show on television, an absurdist masterpiece that makes the mundane feel surreal and vice versa. – Nick Harley

6- High Fidelity (Hulu)

In a time full of reboots and remakes, High Fidelity earned its existence and then some. To its many admirers, it warranted a second season for more eclectic music choices, guest stars, and beautiful lingering shots over the credits. Sadly, that is not meant to be. Hulu’s High Fidelity is so much more than just a gender-swapped adaptation, though Zoe Kravitz leads the endeavor in the lead role of Rob, the idiosyncratic record store owner counting off Top 5s, especially her Top 5 heartbreaks. 

Rob’s rich world is full of characters we’d love to spend more time with, like snarky Cherise, she of the eclectic taste who keeps putting off her musical dreams for “someday.” Or Simon, Rob’s ex and current best friend, who narrates an episode that completely changes how the audience views Rob. Zoe Kravitz carries this beautiful mood piece, sharing chemistry with just about everyone. While it seems relaxed and fun on arrival, High Fidelity eventually reveals itself to have plenty to say about being accountable for our actions and allowing oneself to be happy, before wrapping Rob in a warm summer night and sending her on her way. – Delia Harrington 

5- Pen15 (Hulu)

The debut season of Maya Erskine and Anna Konkle’s brilliant series in which they, two adult women, play middle-schoolers surrounded by actual kid actors playing their classmates, was, in my opinion, the funniest show last year, but, as I didn’t actually get around to watching it until this year, I didn’t know that at the time. Rectifying my past mistake, this year��despite the fact it’s only aired half a season so far due to production being halted by COVID—it’s not just my favorite comedy, it’s my favorite show, period.

Though it still has its fair share of laugh-out-loud moments, the comedy in the second season has, admittedly, been scaled back a bit, but it makes perfect sense for where Pen15 is right now. From the start, what the series has done painfully well is zero in on the utter nightmare of living through our stressful and confusing pubescent years. As the series deepens its exploration of these characters’ experiences with friendship, romance, sexuality, the internet, and the impact of divorce, the stress and confusion should and absolutely do ratchet up. This season is also doing a great job of further developing the show’s side characters, with a standout arc for Dylan Gage as Gabe, who is grappling with the discovery that he may be gay. Though it’s still a hilarious series in places, Pen15 most wins me over most for how uncomfortable and tragic it can be with its stunningly well-observed depiction of surviving junior high. The secondhand shame and embarrassment you’ll feel makes it one of the toughest, but most worthwhile, watches of the year. – Joe Matar

4 – Ted Lasso (Apple TV+)

Jason Sudeikis’s Ted Lasso first originated as a character back in 2013, when NBC Sports commissioned a commercial for its upcoming coverage of the English Premier League. “An American Coach in London” introduced the concept of an American football coach deciding to try his hand coaching “the other football” with top flight club Tottenham Hotspur. It was a hilarious five minute clip that seemingly exploited the “fish out of water” concept to its natural conclusion.

The character seemed destined to be a one-off goof. But then Sudeikis and producer Bill Lawrence decided to try their hand at the overmatched coach one more time with a series for Apple TV+. The end result was one of the most essential new comedies of the 2020 TV season. Ted Lasso works because its’ funny, first and foremost. The show proves that this fish still had plenty of more time to spend out of water after all. More important, however, is how aggressively wholesome and optimistic it is. In a year that saw ugly Americans all over over TV screens, Ted Lasso represented the stars and bars the only way he knew how: by believing in the best of people from aging football star Roy Kent, to selfish young buck Jamie Tart, to even the woman who got him this job in the first place as an elaborate revenge plot.  – Alec Bojalad

3 – Schitt’s Creek (Pop)

If Schitt’s Creek were a fairy tale (and in all the best ways, it is), it’d be about a group of puppets brought to life by a magic spell. When the Roses lose their fortune, they’re forced to swap wealth and glamour for unfashionable small-town living. They start out wooden, obnoxious and alone. Then, over six seasons, we watch them transform into a flesh and blood family who figure out how to love each other in a community that’s as weird as they are, and that ends up loving them back. 

If that sounds schmaltzy, then I’m saying it wrong. Schitt’s Creek doesn’t do schmaltz. It does smart and absurd and naughty. It does jokes and brightness and kindness. Or it did, because now it’s gone. 2020 waved Johnny, Moira, David and Alexis off with a final season packed with treats: Patrick’s spray tan, David’s bed-wetting, the world premiere of “The Crows Have Eyes III: The Crowening”, Moira officiating a wedding dressed in a Rapunzel wig and pearlised bishop’s mitre…

However painful it was to say goodbye, the alternative – another six seasons with diminishing returns – would have been much worse. Dan and Eugene Levy’s sitcom went out on a high, with a finale that left fans in joyful tears. Not least for moments like the one in which a usually armoured-by-sarcasm David tells his sister, “For what it’s worth, I am continuously impressed by you.” The feeling’s mutual, Roses. – Louisa Mellor

2- BoJack Horseman (Netflix)

Though BoJack Horseman premiered only the back half of its final season in 2020, those eight episodes were some of the best dramatic and comedic storytelling on television this year. This final season operated as almost a microcosm of the series’ entire run. Just like the show’s beginning, season 6B begins with BoJack in a place of relative stability. He has just finished rehab and is prepared to embark on a career as an acting professor at Wesleyan. Of course, something from his past has to pop up to shatter his fragile equilibrium, just like it always does. In this case, it’s a pair of journalists working on a story of what really happened the night Sarah Lynn died back in season 3. What follows is as sadly predictable as it is tragic… also there are jokes!

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

BoJack Horseman has been a frequently occurring item on many of our year-end best-of lists since the show first premiered in 2014. And each time, it’s hard not to continually expound upon what a bizarre, touching, and incisive drama Rapahel Bob-Waksberg’s animated creation is. That temptation remains for this final season, which is as devastating as they come. But this year, for the show’s final appearance on any of our best-of lists, let’s not lose sight of how funny this all is. 

Yes, this is an exploration of the human condition and how the only way to repair our damage is to acknowledge it and then put in the work to get better. It’s also the show where Mr. Peanutbutter, his fiancée Pickles Aplenty, and international pop superstar Joey Pogo open up a Lazy Susan/small plate restaurant called “Elifino.” The animation remains just as bright in this final season, the dialogue just as witty and convoluted, and the background jokes just as rewarding. BoJack Horseman season 6 shoulders a grand narrative burden of closing out the story of the world’s most miserable Horseman. That it is able to do so is remarkable. That it’s able to do so while maintaining its sharp sense of humor is even better. – Alec Bojalad 

1- What We Do in the Shadows (FX)

Adapting a beloved indie comedy film to the small screen seems a near impossible task. But when Taika Waititi convinced Jemaine Clement they should do exactly that, it was a stroke of genius. With Waititi busy on his Marvel movies, Clement was left to write and produce the FX series alongside Stefani Robinson and Paul Simms. What We Do in the Shadows began with a solidly silly first season but came into its own during a stellar second season which leaned into the absurdity innate to the idea of ancient vampire roommates. The series has also given us a new action hero for the ages in Harvey Guillén’s Guillermo de la Cruz. 

What makes season two so excellent is the writing and performances that play on the fish out of water setup the show has so much fun with. In “The Curse,” Nandor checks his email and discovers a chain email from Bloody Mary. Most of the hilarious runtime focuses on the crew trying to uncurse themselves. It sounds simple but it is honestly one of the funniest episodes of TV you’ll watch all year. “The Curse” is only topped by “On the Run,” which allows Matt Berry to go full Matt Berry as Laszlo leaves the nest and becomes a bartender, Jackie Daytona, who loves girls volleyball in smalltown America. It’s a pitch perfect riff on feel good sports movies while also being hysterically funny. It’s still a complete crime that Robinson didn’t win the Emmy for this one. 

But the real power of What We Do in the Shadows is its heart. Even within the broad comedy, genre parodies, and often gross out humor, this is a show about love, family, and friendship. Guillermo’s arc feels radical and boundary-pushing. It’s so well built in from the very first season that it’s also incredibly satisfying. This is the kind of comedy we need more of: inclusive, intelligent, and most importantly just really, really, f**king funny.  – Rosie Knight

The post The Best TV Comedies of 2020 appeared first on Den of Geek.

from Den of Geek https://ift.tt/3nKoYDr

[supernovaautism]

I was so worried about having the perfect father-son relationship that I almost missed the incredible gift in front of me.

It is written by Ron Fournier from the book Love That Boy, as told by an autistic woman.

My wife, my children, and I stood in front of a white, seamless wall, our noses practically touching its surface. Suddenly, the wall opened—it was a hidden door to the Oval Office.

“Come on in, Fournier!” shouted George W. Bush. “Who ya’ dragging in?”

It was my last day covering the White House for the Associated Press, and this 2003 visit was a courtesy traditionally afforded to departing correspondents. I introduced my wife, Lori, and daughters, Holly and Abby, before turning to my son, Tyler, five. “Where’s Barney?” Tyler asked.

The Scottish terrier ran in, and Bush said, “Let’s do a photo!”

As the most powerful man on earth posed, my son launched into a one-sided conversation. “Scottish terriers are called Scotties; they originated from Scotland; they can be traced back to a female named Splinter II; President Roosevelt had one …”

I cringed. Tyler is loving and brilliant, but he is what polite company calls awkward. He doesn’t know when he’s being too loud or talking too much. He can’t read facial expressions to tell when somebody is sad, curious, or bored. I’ve watched adults respond to Tyler with annoyed looks or pity.

But Bush was enchanted. When my son paused, he changed the subject with a joke. “Look at your shoes,” the president told Tyler. “They’re ugly. Just like your dad’s.” Tyler laughed.

We were walking out when Bush grabbed me by the elbow. “Love that boy,” he said, holding my eyes. I thought I understood what he meant. It took me years to realize my mistake.

Missing the Connection

Fathers and sons don’t always know how to talk to one another, which is why we have sports. I never felt closer to my dad than when we played catch. The film Field of Dreams—and its idealized notion of fatherhood—makes me cry every time. I assumed that my son would be an athlete and we’d find common ground on a baseball diamond. But Tyler didn’t like athletics, and he was terrible when forced to try. I know, because I forced him to try for years.

Lori and I believed that Tyler needed the exercise. We also felt he needed to be part of a team. At school, he was struggling academically and socially. One playdate rarely led to a second. He had few hobbies or interests and was fixated on those he had: telling jokes; visiting bookstores; playing video games; building Lego models; and watching TV shows about animals, U.S. history, and the presidency.

After a dozen years of butting heads about athletics, Tyler and I came to an agreement. He could give up sports if he exercised three days a week and joined an extracurricular club. “You got a deal,” he said. Then he grew quiet. I asked what was wrong. “I was afraid you wouldn’t like me as much if I stopped playing sports.”

When Tyler was 12, Lori was watching the TV show Parenthood one night, and she recognized our son in the character of Max Braverman. Max was sweet and smart. He was also rude, obsessed with insects, and prone to meltdowns. His parents ricocheted among exasperation, guilt, and fear. Max had Asperger’s syndrome, a form of autism.

“Tyler might be autistic,” she told me. “Watch the show.” I did. Suddenly, it seemed clear what was wrong with our boy. 

Lori found Mittie Quinn, a psychologist, who gave Tyler a battery of tests. Seven years after the Oval Office visit, my wife and I walked into Quinn’s office to hear the results. “Your boy is fascinating for somebody like me,” Quinn said. “He’s got all kinds of stuff going on. But he’s just a charming, charming kid.” She said that Tyler had a pretty classic case of Asperger’s.

Labeled little professors by the pediatrician who first identified the syndrome, Aspies can be taught social skills. Especially suited for instruction, Quinn said, are boys like Tyler who are on the high-functioning end of the autism and Asperger’s scale.

Then she dropped the bomb: “He scored himself as [above] average on depression,” Quinn said. Tyler would eventually lead a happy and successful life, but for now, she told us, “he’s sad. Nobody understands him. Kids make fun of him, and he’s left out.” Thankfully, he had a sense of humor to prop him up. She added, “Do you know what Tyler said when I told him he needed to show more empathy? He gave me a confident smile and said, ‘I know. I’m working on that.’ ”

It was time for me and Lori to do some work. If Tyler felt alienated, it was because we had failed to acknowledge—and accept—his differences. I was so focused on the conceit that my son would be like Kevin Costner’s character in Field of Dreams that I failed to see the son I had.

Father-Son “Guilt Trips”

Lori, the true hero of this story, sprang into action. First, she got our son transferred to a school with a program for high-intellect and mainstreamed Aspies—a move that Tyler now says was “life changing.” Then, she persuaded me to drop my objection to his taking stronger medications to help counteract his severe attention-deficit disorder.

But the hardest thing was figuring out how to integrate Tyler into society. Lori enrolled him in a therapy group with other socially awkward boys. More than that, though, he needed something social he could lose himself in. So Lori sent us on the road together. “He would feel valued if you did this with him,” she said, inadvertently unearthing a wellspring of guilt. If I had been around more, would we have diagnosed Tyler’s condition sooner?

Lori had a redemption plan. “You can use a job that took you away from Tyler to help him,” she said, suggesting we visit sites connected to presidents because Tyler loves history and I spent my career on the White House beat.

I called them guilt trips. We traveled to the homes and/or libraries of Presidents Washington, Theodore Roosevelt (Tyler’s favorite), John and John Quincy Adams, Kennedy, Ford, Clinton, and Bush. At Lori’s urging, I also arranged meetings with two presidents I had covered, Bill Clinton and George W. Bush (which would be Tyler’s second encounter with Bush).

The project gave Tyler and me weeks alone together that might have otherwise been devoted to my work and his video games. Tyler got to road test his lessons from social-skills classes and therapy, discovering how to communicate and connect.

“There is a 90 percent chance that George Washington stood on that rock while he surveyed for the C&O Canal,” a park ranger in Great Falls, Virginia, said. “Well,” Tyler replied, “there’s a 10 percent chance he was never even here.” The ranger laughed and said, “That’s the first time somebody has called me on that, son.” He and Tyler spent the next ten minutes swapping obscure anecdotes about the nation’s first president.

I came to see Tyler through the eyes of others—a skill he, too, was trying to master—and felt proud. In Quincy, Massachusetts, Tyler dominated the guide’s time during a tour of the Adams homesteads. For every story the ranger told, Tyler had a question or an anecdote. I silenced him until an elderly woman noticed. “What happened to that nice young fellow with all the smart questions?” she asked, turning to me. “You didn’t tell him to shush, did you?”

Finally, I learned to admire Tyler’s quiet grit. A therapist had called him courageous, which I hadn’t understood. How could a boy afraid of bees, needles, and dark rooms be brave? But the boy who faces his fears—to introduce himself to new people every day, for instance—might be the bravest person I know.

A Visit with Bill Clinton

On our second-to-last trip, Tyler and I went to Little Rock, Arkansas, in March 2012 to meet Bill Clinton. The former president opened the door to his suite atop his official library. Walking over to the windows, Clinton and I pointed to buildings: the capitol dome, beneath which we both had worked; the shuttered remains of the newspaper where I was a statehouse reporter; the headquarters of one of his first political benefactors.

Tyler pointed to a picture, jolting us out of our reverie. “It’s hard to find a picture of two polar bears fighting.”

“You like that?” Clinton asked. “You interested in polar bears?”

“Yes,” Tyler replied, repeating at high speed: “It’shardtofindapictureoftwopolarbearsfighting.”

“Take it.” Clinton pulled the picture off the shelf; it was actually the cover of a book called Polar Dance: Born of the North Wind.

“No, sir,” Tyler said, “I couldn’t possibly accept this.”

He must have sounded overly formal, but I was relieved to watch Tyler’s training take hold. At home, he had begun to greet me and Lori by saying stiffly, in his unusually deep voice, “And how was your day?”

Clinton pooh-poohed Tyler’s objections and led us to a table with three overstuffed chairs. Tyler sat rigid at first, but after 45 minutes, his hands were folded calmly in his lap and his knees were crossed—mirroring Clinton’s posture—as he and the former president excitedly shared their passion for Theodore Roosevelt.

“He had asthma and all that when he was a kid, but when he grew up, he became famous for being really tough,” Tyler said. “I actually heard once that a guy insulted him, so he punched him.”

“Have you guys been out to Sagamore Hill yet, Tyler?”

“Yes.”

“Did you love it?”

“It was awesome,” Tyler said. “All those trophies everywhere.”

“Neat. I’m a hu-u-ge Theodore Roosevelt fan,” Clinton said, stretching out his vowel.

He pulled out a 1919 edition of Roosevelt’s letters to Roosevelt’s children, signed it, and gave it to Tyler. “I read in the notes my staff gave me that you were a big Roosevelt fan, and the moment in history when he was president … was the moment in history that most closely approximates the period I served …” And off he went. If you’ve spent time around Clinton, you’ve heard this: Roosevelt was the bridge to the 20th century, just as Clinton’s presidency was the bridge to the 21st.

Clinton’s monologue lasted ten minutes, and Clinton didn’t notice that Tyler was bored. Suddenly, I thought: If even Clinton could miss social cues, why worry so much about my son?

“Nice guy,” Tyler said later. “He talked a lot about himself and his stuff.”

“Like you, son?”

“Yep.”

A Visit with George W. Bush

For our last trip, Tyler and I went to George W. Bush’s Dallas office. The ex-president had his feet propped on a desk and a coffee cup marked “POTUS” in his hands.

“Do you like school?” Bush asked.

“Pretty good,” Tyler replied.

“Favorite subject?”

“American studies.”

“Do you like to read?”

“Yeah. I read all the time. I don’t have a favorite topic.”

“Fiction? Nonfiction? Sports?”

“I don’t know much about sports.”

“Mysteries?”

“I really don’t like mysteries.”

“Most 14-year-olds don’t like to read,” Bush said, stretching for a compliment.

Worried that the conversation was going nowhere, I reminded Tyler to say what Clinton had told us.

“Oh, yeah,” he said. “Bill Clinton sends his best.”

Bush smiled. “We’ve been friends,” he said. “We’ve shared experiences. We’re like brothers.”

I nervously changed the subject to sports. Bush engaged with me but turned back to Tyler.

“So, Tyler, at 14 this is probably an unfair question to ask, but do you have any idea what you’d like to be when you get older?”

“Maybe a comedian.”

“Maybe a what?” Bush said, a bit surprised.

“A comedian.”

“Well,” Bush replied, “I’m a pretty objective audience. You might want to try a couple of your lines out on me.”

“Nah,” Tyler demurred. “I don’t have any material.”

“Ah, interesting,” Bush said. “I’ve met a lot of people. You know how many people ever said, ‘I think I’d like to make people laugh’? You’re the only guy. That’s awesome.”

Bush had connected. With an impish smile, he told Tyler about the time that rocker and humanitarian Bono was scheduled to visit the White House. Bush’s aides worried about their boss. Bush told us, “[Chief of Staff] Josh Bolten said, ‘Now, you know who Bono is, don’t you?’ I said, ‘Yeah, he’s married to Cher.’ ”

“Get it?” Bush asked Tyler. “Bone-oh. Bahn-oh.”

Afterward, I asked Tyler about the Bono joke. He replied, “Sounds like something goofy you would say.”

For me, the exchange was an eye-opener. Rather than being thrown by Tyler’s idiosyncrasies, Bush rolled with them. He responded to every clipped answer with another question. Bush, a man who famously doesn’t suffer fools or breaches of propriety, gave my son the benefit of the doubt. I realized that people were more perceptive of and less judgmental toward Tyler than I was.

Tyler Teaches Me

Thanks to the team—doctors, therapists, teachers—that Lori put together, our son is learning to connect and belong, and we know he will be a happy, thriving adult. Rather than sweat over his Asperger’s, I see how much I’d miss if he wasn’t an Aspie—his humor, his bluntness, his unaffected obsessions with everything from video games to family.

In the spring of 2014, my father died. Mom decided to rent a boat and scatter Dad’s ashes in the Detroit River. After my mother, my siblings, and our families had boarded the boat, we filled the 30-minute ride with awkward conversation. How’s the job? How about those Tigers?

My sister, Raquel, lost her composure, dashing below to find a bathroom. She almost ran into Tyler at the bottom of the stairs. He recognized her distress and said, “I don’t know what to say to make you feel better, but I can give you a hug.”

That was exactly what she needed. “He hugged me so tight. And kept hugging me,” Raquel told me later. “It meant the world to me.”

At the appointed spot, the boat stopped. Raquel poured Dad’s ashes over the side, while Mom stood alone behind her. My brothers made eye contact with me. What should we do?

Rather than step forward to comfort Mom, I stepped back. It was not my finest hour. But Tyler exceeded my expectations, walking over to hold his grandmother tightly. He whispered to her, “Everyone thinks I’m comforting you, but really I need comforting.”

Finally, I know what perfect is. It’s a child blessed with the grace to show goodness, even on the worst of days. No, Tyler is not my idealized son. He is my ideal one.

Originally appeared in National Journal (November 29, 2013), Copyright © 2013 by National Journal Group, Inc. reprinted with permission by The Atlantic Monthly Group, theatlantic.com, and adapted from Love That Boy by Ron Fournier, Copyright © 2016 by Ron Fournier, Published by Harmony Books, an imprint of Penguin Random House LLC.