How Sia's Music Sparked a Conversation About Autism Representation in Film

Sia had big plans for “Music.” She wanted it to be a creative look at an autistic girl’s inner world, showing how she might experience life. But the decision to cast Ziegler, who is not autistic, drew immediate criticism. Many wondered why an autistic actress wasn’t chosen for such an important role. Casting a neurotypical actress in a neurodiverse role felt like a missed chance for true inclusion.

This issue reignited a long debate about Hollywood’s casting practices. For years, actors like Dustin Hoffman in “Rain Man” and Leonardo DiCaprio in “What’s Eating Gilbert Grape” have been praised for playing autistic characters. Now, these roles are seen as lacking the depth that autistic actors could provide. Many advocates saw “Music” as a clear example of a trend where neurodiverse talent is overlooked in favor of neurotypical performers.

For the autistic community, this was a step backward. The choice not to cast an autistic actor seemed to ignore a growing demand for authentic representation in media. It felt like a missed opportunity to bring genuine insight to the screen, especially in a time when audiences expect diversity and authenticity.

Perhaps the most controversial part of “Music” is its portrayal of restraint. In the film, Music has a meltdown in a park, and Ebo, played by Leslie Odom Jr., restrains her by holding her face-down with his body weight. This method, known as prone restraint, is widely criticized for being dangerous. Though Ebo’s line, “I’m crushing her with my love,” was meant to sound caring, it instead highlighted how harmful this practice can be.

Prone restraint has caused tragic incidents. Thirteen-year-old Max Benson died after being restrained at school, which led to changes in restraint laws in some states. The scene in “Music” served as a painful reminder of how misunderstood autism can be. The film does not discuss the dangers of restraint or offer alternatives, which may suggest that restraint is an acceptable way to handle meltdowns.

According to autistic advocates, showing restraint as a solution is harmful because it implies that such methods are okay. In reality, restraint often makes things worse, leading to more harm instead of relief. The film’s portrayal of this scene could mislead caregivers or educators into thinking restraint is the right approach, which is a dangerous message.

The backlash to “Music” taught Hollywood an important lesson about representation. Authenticity matters; it means including neurodiverse people in the process from the start. Involving autistic actors, writers, and consultants can add truth to stories and help avoid harmful stereotypes. While “Music” is not the first film criticized for its portrayal of autism, the response to it has set a new standard. Now, audiences expect that stories about neurodiverse people will be told with greater care.

Some shows have done a better job. Programs like “Atypical” and “Everything’s Gonna Be Okay” are praised for their nuanced and respectful portrayals of autistic characters. These productions made sure to include autistic voices and even cast actors on the spectrum. In doing so, they showed that stories about autism can resonate with all audiences when they’re handled thoughtfully and accurately.

The entertainment industry must listen to the voices it aims to represent. Including autistic people in making films and shows about autism isn’t just a courtesy—it’s necessary to ensure these stories are told with respect.