b'needs. However, the main problem of the play tends to be that, despite hisdisability, he can do anything, a feature to make neurotypicals feel good about themselves rather than about Christopher. This is called inspiration porn: a term highlighted by Stella Young; the purpose of these images is to inspire you, tomotivate you, so we can look at them and think well, however bad my life is, it could be worse, (Young, 2014). It is a subtle form of ableism where non- disabled people objectify disabled people by assuming they cannot do something and are then inspired by the person doingsomething completely normal. The problem, other than objectifying a person, is the assumption that disabled people are less than or less capable than others. Laura Chapman, a facilitator, writer and researcher, describes this as ableist prejudice, inspiration porn which puts the onus on the disabled individual to overcome discrimination and inequality (Oates, 2023). This stereotype is problematic for several reasons. First, it suggests that autistic people must be exceptionally talented to be valued. This places pressure on autistic individuals to perform or prove themselves in ways that neurotypical people are not expected to. Second, it marginalises those whose strengths are not easily measurable or who need higher levels of support. The result is a damaging binary: either autistic people are exceptional, or they are seen as a burden.Reviewers often describe Christopher using infantilising or reductive language. One calls him a neurodiverse child, despite the character being fifteen, an age usually referred to as adolescence. Others focus on his traits as irrational or frustrating rather than trying to understand them as logical responses to an over-whelming world. The framing often positions Christopher as someone to be pitied, tolerated, or overcome, rather than as a person with a valid neurodivergent per-spective. It becomes clear that representation without inclusion often results in stereotype-driven narratives and misunderstandings. Ultimately, inclusion is not just a moral or political imperativeit is an artistic one. When disabled people are truly included in the creative process, theatrebecomes richer, more diverse, and more reflective of the society it aims torepresent. This shift requires moving beyond tokenism or symbolic representation and towards structural changes in who holds creative power, how performances are made, and who they are made for. Where autistic traits are frequently misrep-resented or viewed through a deficit-based lens, what is missing is the voice of theKuppers, P. (2017). Theatre and Disability. Bloomsbury Publishing.autistic community.Oates, C. (2023). Ableism and inspiration pornTackling disabity-discrimination.Management in Education, 67(3). doi:https://doi.org/10.1177/08920206231202966.Siebers, T. (2008). Disability theory. Ann Arbor, Michigan: University ofMichigan Press.Young, S. (2014). Im not your inspiration, thank you very much. TED.Available at: https://www.youtube.com/watch?v=8K9Gg164Bsw.30 31'