document_title: Ice dancing

question_text: when did ice dancing debut in the olympics

text: Ice dancing

text: Competition segments[edit]

text: Until the end of the 2009–10 season, competitions included one or more compulsory dances (CD), an original dance (OD), and the free dance (FD). Following the 2009–10 season, the ISU congress voted to change the format of ice dance events to make them more like pairs and singles skating. Thus, the new short dance was introduced at the start of the 2010–11 season. The OD and CD were last performed in the 2009–10 season and were replaced by the short dance in the 2010–11 season.

text: There are two segments in ice dance competitions: the short dance (SD) and the free dance (FD). The SD and FD scores are added together to give the combined total score for the competitors. The FD is the most heavily weighted in the scoring and is used as a tiebreaker.

text: Compulsory dances[edit]

text: In compulsory dances, all dance teams in a competition perform the same standard steps and holds to music of a specified tempo. One or more compulsory dances were skated as the first phase of competitions in ice dancing, but they are also popular as a form of recreational or social dance among skaters. The patterns for most dances either cover one-half or one full circuit of the rink. The International Skating Union (ISU) would publish the compulsory dances that were to be performed prior to each season, and CDs were later drawn for specific events.

text: The compulsory dance was discontinued in all ISU competitions after the 2009–2010 season. The 2010 World Championships were the last event to include a CD (the Golden Waltz), and Italians Federica Faiella / Massimo Scali were the last dance team to perform a CD in competition.[1]

text: Original dance[edit]

text: The original dance was the second of three parts in ice dancing competitions. For the original dance, the ISU would designate a rhythm or set of rhythms each year that all dancers must perform to, or a specific theme, such as folk dance. The competitors were allowed to choose their own music and choreography. The length of the program was shorter than the free dance, and the skaters had to adhere to more rules. The dance was to be choreographed so that the steps did not cross the midline of the rink, with certain exceptions for this rule that took into account required step sequences such as the diagonal footwork sequence. Closed partnering positions and close skating were also important for the original dance.

text: Short dance[edit]

text: The SD became a competition segment in the 2010–11 season. This segment of the competition combines features of the discontinued CDs and ODs; each team performs a required pattern from one of the compulsory dances for about one half of the dance, then performs its own choreography, with some required elements, to a theme or rhythm specified by the ISU. Skaters are free to choose their own music, provided the tempo is appropriate.

text: Free dance[edit]

text: The free dance is a part of an ice dancing competition. It is usually the second and final part of the competition to be contested, after the short dance.

text: In the free dance, teams are free to choose their own rhythms, program themes, and therefore music. Creativity is also strongly encouraged. Since 1998, dancers have been required to include certain elements in their free dances, including step sequences, lifts, dance spins, and multi-rotation turns called twizzles. Senior-level free dances are four minutes long (plus or minus 10 seconds) and usually include multiple music cuts and tempos that help bring variety to the routine. The hand holds and positions are much more open and free than in the compulsory and in the original dance.

text: Competition elements[edit]

text: Lifts in ice dancing differ from those in pair skating in prohibiting the man from extending his hands above his head, but allowing a wider variety of holds. The more change of direction, flexibility, and height in the lift, the greater number of points a team can earn from the judges under the Code of Points scale. Dance lifts differ in many ways from pairs lifts and they have progressively become more athletic and risky.[2][3]

text: Multi-revolution jumps are not permitted but "half" jumps are now allowed. Spins must be performed by both skaters revolving around the same axis, the same as in pair spins.

text: History[edit]

text: Many of the compulsory dances were developed by dancers from Great Britain in the 1930s.[4] Ice dancing joined the World Championships in 1952. 12 of the first 16 World Championships in ice dance were won by British teams. The British style of ice dance originally emphasized upright carriage and strong edges achieved by deep knee bend. Beginning in the 1960s, Eastern European skaters started a trend to dance in more open positions, which allowed for greater speed over the ice, more upper-body involvement, and greater projection towards the audience.[5]

text: Ice dancing, then known as "rhythmic skating," was a demonstration event at the 1968 Winter Olympics at Grenoble, won by the team of Diane Towler and Bernard Ford of Great Britain.[6] It became an official medal event eight years later in 1976 at Innsbruck, with the first title won by Lyudmila Pakhomova / Aleksandr Gorshkov.[7]

text: In the 1970s, top Soviet dancers began to develop a more theatrical style of ice dancing incorporating elements of ballet and often based on narrative program themes.[8] The Russian style of dance emphasized extended line and speed, rather than difficult rhythmic footwork.[9] In some cases, elaborate choreography for the upper body was used to camouflage fundamental deficiencies of skating technique.[10]

text: At the Sarajevo 1984 Winter Olympics, Great Britain's Jayne Torvill / Christopher Dean won the Olympic gold medal with a free dance to Ravel's Bolero.[11] The pair became the highest scoring figure skaters of all time (for a single programme) receiving twelve perfect 6.0s and six 5.9s which included artistic impression scores of 6.0 from every judge.[11][12]

text: By the early 1990s, all the top dance teams were performing dances in the theatrical, rather than ballroom, style.[13][14] Deciding to attempt to restrain theatricality, the International Skating Union pushed ice dancing to return to its ballroom roots by adding more restrictions on music and dance holds. In June 1993, the ISU decreed that free dance music must have a rhythmic beat and a melody and be arranged and orchestrated for use on the dance floor.[15] Amid complaints that ice dance had become too boring, these restrictions were removed and replaced with requirements that dancers include specified technical elements in the original dance and free dance. Step sequences in face-to-face holds, no-touching step sequences, dance lifts, dance spins, and twizzles became required elements.[16]

text: In 1990, the original set pattern (OSP) was replaced by the original dance (OD). For many years, competitions included two compulsory dances (CD) but this was reduced to one by 2003.

text: Skaters from the Four Continents have become more competitive since the 2000s. Tanith Belbin / Ben Agosto took silver in the 2006 Winter Olympics.[17] At the 2010 Winter Olympics, Tessa Virtue / Scott Moir of Canada took gold, ending Europe's 34 year streak.[18] They were the youngest skaters (aged 20 and 22 years of age, respectively) to win the Olympic ice dancing title and the first former World Junior champions to do so.

text: After the 2009–10 season, the ISU reduced the number of competition segments from three to two by merging the compulsory and original dances into the short dance (SD). Compulsory dances were renamed pattern dances.

text: Since the Winter Olympics typically takes place in February, it is customary for ice dancing to be held on Valentine's Day.

text: Equipment[edit]

text: Ice dancers' blades are about an inch shorter in the rear than those used by skaters in other disciplines, to accommodate the intricate footwork and close partnering in dance. However, this is not always the case. They also possess a smaller pick to allow for better edge-work. The most common colors for boots are black for men and white for women.

text: Rules and regulations[edit]

text: Partnerships composed of skaters of different nationalities are not allowed to compete under two flags; they are required to choose one country and obtain the other country's permission.

text: Ice dancers are required to skate to music with a definite beat. Prior to the 2014–15 season, ice dancing was the only figure skating discipline that allowed music with words in competition.

text: Skaters are generally free to select their own attire, with a few restrictions. Partners are not required to have matching costumes.[19] In competition, females may wear a dress, typically with matching attached briefs, and since 2004, they may also choose trousers. They may wear opaque flesh-colored leggings or tights under dresses and skirts, which may extend to cover their skates. Men must wear trousers – they are not allowed to wear tights. Skaters and family members may design their own costumes or turn to professional designers.[19][20] According to current ISU regulations, costumes in competition "must be modest, dignified and appropriate for athletic competition – not garish or theatrical in design. Clothing may, however, reflect the character of the music chosen."[21] Although the use of flesh-colored fabric means the costumes are often less revealing than they may appear, there have been repeated attempts to ban clothing that gives the impression of "excessive nudity" or that is otherwise inappropriate for athletic competition.[22] In general, accessories or props are not permitted in competition.[21] The ISU allowed an exception for the original dance in the 2007–08 season but never since.

text: Recreational[edit]

text: Recreational ice dancers perform pattern dances (or set pattern dances). The pattern, steps, tempo, and hold are defined, and the style described. The dances are graded in order of difficulty, with the simplest being the Pre-Preliminary Dutch Waltz. In the 1970s there were only two 'introductory' dances, then known as the 'Foxtrot Movement' (now the Preliminary Foxtrot), and the 'Preliminary Waltz' (now known as the British Waltz). About ten new dances were later introduced, most drawing on the steps of the established dances, and these provide a graduated progression towards the established dances.[23]

text: The ice surface may be used by up to a dozen recreational duos at the same time, unlike competitive ice dancing, where it is used by one duo at a time.

text: Historical results[edit]

text: See:

text:
List of figure skating competitions
List of national championships in figure skating


document_title: Moonstruck

question_text: who won oscar for her role in moonstruck

root

text: Moonstruck

text: Plot[edit]

text: Thirty-seven-year-old Loretta Castorini (Cher), an Italian-American widow, is a bookkeeper in Brooklyn Heights, New York, where she lives with her family: her father Cosmo (Vincent Gardenia) a successful plumber; her mother Rose (Olympia Dukakis); and her paternal grandfather (Feodor Chaliapin Jr.). Her boyfriend Johnny Cammareri (Danny Aiello) proposes to her before leaving for Sicily to be with his dying mother; she accepts, but is insistent that they carefully follow tradition as she believes her first marriage was cursed by her failure to do so, resulting in her husband's death. Johnny asks Loretta to invite his estranged younger brother Ronny (Nicolas Cage) to the wedding. Loretta returns home and informs her parents of the engagement. Cosmo dislikes Johnny and is reluctant to commit to paying for the "real" wedding Loretta insists on, while Rose is pleased that Loretta likes Johnny but does not love him; she believes that one can easily be driven crazy by a partner whom one loves.

tag: p

text: The next day, Loretta goes to see Ronny at his bakery. He reveals that he has a wooden prosthetic hand, and he explains that he blames Johnny for the loss of his hand and his own fiancée; Ronny became distracted while talking to Johnny as he cut bread for him, his hand was mangled in the slicer, and his fiancée left him. Loretta insists that they discuss the matter upstairs in his apartment, where she cooks for him and then tells him that she believes he is a "wolf" who cut off his own hand to escape the trap of a bad relationship. Ronny reacts furiously and passionately, kissing Loretta (who responds to his kiss) and then carrying her to his bed where they make love. At the same time, Cosmo is dining with his mistress Mona (Anita Gillette) and giving her jewelry.

text: That evening, Rose's brother Raymond (Louis Guss) and his wife Rita (Julie Bovasso) join Rose and Cosmo for dinner, and they all wonder where Loretta is. Raymond recalls that when he was a boy and Cosmo was courting Rose, he thought that a particularly bright moon one night was somehow brought to the house by Cosmo because of his love for Rose. That night, Loretta remains at Ronny's apartment and sees such a moon; Raymond sees it as well, and it leads him and Rita to make love. The next morning, Loretta tells Ronny they can never see each other again. She slaps him when he claims to be in love with her ("Snap out of it!") and he agrees to never see her again if she will attend the opera (his other great love) with him that night. She agrees. She then goes to church and confesses her infidelity. She unexpectedly sees her mother there, and Rose tells her that Cosmo is having an affair; Loretta is doubtful. Loretta then goes to Raymond and Rita's store to close out the cash register, after which she impulsively goes to the hair salon and buys a glamorous evening gown.

text: Loretta and Ronny (wearing a tuxedo) meet at Lincoln Center, and each is impressed with the other's appearance. Loretta is deeply moved by her first opera, Puccini's La bohème. But as they leave, Loretta sees Cosmo and Mona, and she confronts her father. He sees that she is with Ronny, and he suggests that they simply agree that they didn't see each other at all, but Loretta is conflicted. Loretta then intends to return home alone, but Ronny leads her back to his apartment where he passionately and desperately persuades her into another tryst. The same night, Rose dines alone at a restaurant and sees a college professor, Perry (John Mahoney), being dramatically dumped by a female student, a similar scene having played out with a different girl the night Johnny proposed to Loretta. Rose invites Perry to dine with her, asks him why men pursue women, and then shares with him her belief that men pursue women because they fear death. Perry walks Rose home and tries to convince her to invite him in; she refuses "because I'm married. Because I know who I am." Later, Johnny unexpectedly returns from Sicily after his mother's "miraculous" recovery and goes to Loretta's house; Rose explains that she's not there and then asks him why men chase women. He tells her it may be because they fear death, with which Rose agrees. After this exchange he leaves, planning to return in the morning to see Loretta.

text: In the morning, Loretta returns home in a reverie but is then distressed to learn from Rose that Johnny will be there soon. Ronny then arrives, and Rose notes their matching "love bites" and invites him for breakfast over Loretta's objections. Cosmo and his father emerge from upstairs, and the older man cajoles Cosmo into agreeing to pay for Loretta's wedding. Rose then confronts Cosmo and, after he acknowledges in response to her questioning that she has been a good wife, demands that he end his affair; he is upset but agrees and, after insistence from Rose, also agrees to go to confession, and they then affirm their love for each other. Raymond and Rita also arrive, concerned and seemingly reluctantly suspicious, to find out why Loretta didn't make the previous day's bank deposit; they are relieved to learn that she merely forgot and still has the money. When Johnny finally arrives, he breaks off the engagement, superstitiously believing that their marriage would cause his mother's death. Loretta, momentarily offended by his breaking the engagement, chastises Johnny for breaking his promise and throws the engagement ring at him. Seizing the moment, Ronny borrows the ring and asks Loretta to marry him; she accepts. To Rose's chagrin, Loretta declares that she loves Ronny. The family toasts the couple with champagne and a befuddled Johnny joins in at the grandfather's urging, as he will now be part of the family after all.

text: Cast[edit]

text:
Cher as Loretta Castorini
Nicolas Cage as Ronny Cammareri
Olympia Dukakis as Rose Castorini
Vincent Gardenia as Cosmo Castorini
Danny Aiello as Johnny Cammareri
Julie Bovasso as Rita Cappomaggi
Louis Guss as Raymond Cappomaggi
John Mahoney as Perry
Feodor Chaliapin, Jr. as Grandpa Castorini
Anita Gillette as Mona

tag: ul

text: Critical and commercial reception[edit]

text: Moonstruck was a major critical and commercial success. The film generated 93% on Rotten Tomatoes with this consensus:

text: Led by energetic performances from Nicolas Cage and Cher, Moonstruck is an exuberantly funny tribute to love and one of the decade's most appealing comedies.

text: According to Time:

text: John Patrick Shanley's witty, shapely script puts an octet of New Yorkers under a lunar-tuney spell one romantic night. Cher shines brightest of all.

text: According to Roger Ebert, who later added the film among his "Great Movies" list:

text: Reviews of the movie tend to make it sound like a madcap ethnic comedy, and that it is. But there is something more here, a certain bittersweet yearning that comes across as ineffably romantic, and a certain magical quality.[4]

text: According to Gene Siskel, writing for the Chicago Tribune:

text: Our Flick of the Week is Moonstruck, which is being sold as a romance but actually is one of the funniest pictures to come out in quite some time. [...] You will not easily forget this incredibly robust family, created by writer John Patrick Shanley and directed by Norman Jewison, who makes a comeback with this uproarious film.[5]

text: It appeared on both critics' Top 10 lists for 1987.[6]

text: On its wide release, the film opened at #3 and spent 20 nonconsecutive weeks in the top 10 and finally grossed $80,640,528[2] on a budget of $15 million. Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.[7]

text: Awards and honors[edit]

text:
Awards

Award
Category
Name
Outcome

Academy Awards
Best Actress
Cher
Won

Best Supporting Actress
Olympia Dukakis
Won

Original Screenplay
John Patrick Shanley
Won

Best Picture
Norman Jewison, Patrick Palmer
Nominated

Best Supporting Actor
Vincent Gardenia
Nominated

Best Director
Norman Jewison
Nominated

Berlin Film Festival
Silver Bear for Best Director
Norman Jewison
Won[8]

British Academy Film Awards
Best Actress
Cher
Nominated

Best Supporting Actress
Olympia Dukakis
Nominated

BAFTA Award for Best Film Music
Dick Hyman
Nominated

BAFTA Award for Best Original Screenplay
John Patrick Shanley
Nominated

Golden Globe Awards
Best Actress
Cher
Won

Best Supporting Actress
Olympia Dukakis
Won

Best Picture - Musical or Comedy

Nominated

Best Actor - Motion Picture Musical or Comedy
Nicolas Cage
Nominated

Best Screenplay
John Patrick Shanley
Nominated

Writers Guild of America
Best Original Screenplay
John Patrick Shanley
Won

tag: table

text: In June 2008, AFI revealed its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Moonstruck was acknowledged as the eighth best film in the romantic comedy genre.[9][10] The film is also number 72 on Bravo's "100 Funniest Movies," and number 41 on AFI's 100 Years... 100 Laughs.

text: The film is recognized by American Film Institute in these lists:

text:
1998: AFI's 100 Years...100 Movies – Nominated[11]
2000: AFI's 100 Years...100 Laughs – #41[12]
2002: AFI's 100 Years...100 Passions – #17[13]
2004: AFI's 100 Years...100 Songs:

"That's Amore" – Nominated[14]

2005: AFI's 100 Years...100 Movie Quotes:

Loretta Castorini: "Snap out of it!" – #96[15]

2007: AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated[16]
2008: AFI's 10 Top 10:

#8 Romantic Comedy Film[17]

text: Influential film critic Roger Ebert entered the film to his "Great Movies" collection in June 2003.[18]

text: Soundtrack[edit]

text:
Song
Artist
Notes

That's Amore
Dean Martin
Harry Warren, Jack Brooks

Canzone Per Loretta/Addio, Mulberry Street
Jack Zaza (mandolin)
Dick Hyman

Mr. Moon

Dick Hyman

It Must Be Him
Vikki Carr
Gilbert Bécaud, Mack David, Maurice Vidalin

Old Man Mazurka
Dominic Cortese (accordion)
Dick Hyman

Lament for Johnny's Mama

Dick Hyman

Che gelida manina
Ed Bickert (guitar)
Giacomo Puccini

Donde lieta uscì
Renata Tebaldi
Giacomo Puccini

Canzone Per Loretta

Dick Hyman

O soave fanciulla
Carlo Bergonzi, Renata Tebaldi
Giacomo Puccini

Musetta's Waltz
Moe Koffman (alto saxophone)
Giacomo Puccini

Musetta's Entrance
Nora Shulman (flute)
Giacomo Puccini

La bohème (instrumental excerpts)

Giacomo Puccini

(In Loretta's Bedroom) Gettin' Ready
Moe Koffman (alto saxophone)
Dick Hyman

Brooklyn Heights Stroll

Dick Hyman

Beautiful Signorina

Dick Hyman

Moonglow

Eddie DeLange, Will Hudson, Irving Mills

Canzone Per Loretta
Dominic Cortese (accordion)
Dick Hyman

Gioventù mia, tu non sei morta (La bohème, act 2)
Carlo Bergonzi, Cesare Siepi, Ettore Bastianini, Fernando Corena, Gianna D'Angelo, Renata Tebaldi, Renato Cesari
Giacomo Puccini

text: Soundtrack references: [19][20]


document_title: Robin Scherbatsky

question_text: where does robin live in how i met your mother

text: Robin Scherbatsky

text: Development[edit]

text: Show creators Carter Bays and Craig Thomas always intended for Robin Scherbatsky not to be the mother of Ted Mosby's children, stating that the show is about how "Ted meets the perfect woman, and it’s [still] not his final love story." In various interviews, Bays and Thomas said that "a pretty famous actress"[1] turned down the role of Robin; they revealed in February 2014 that Jennifer Love Hewitt had turned down the part.[2] They then cast Cobie Smulders, an unknown. Bays and Thomas later said: "Thank God we did for a million reasons... when Ted’s seeing her for the first time, America’s seeing her for the first time — the intriguingness of that propelled the show going forward and kept the show alive."[1]

text: Early life[edit]

text: Robin Charles Scherbatsky Jr. was born on July 23, 1980 to a Canadian father, Robin Charles Scherbatsky Sr. (Ray Wise) and an English mother, Genevieve Scherbatsky (Tracey Ullman) in Vancouver, British Columbia. She has a teenage sister named Katie (Lucy Hale).[3] She has a difficult relationship with her father, who raised her as if she were a boy.[4]

text: Robin had a minor career as a bubblegum pop singer under the stage name of Robin Sparkles, with one hit single, "Let's Go to the Mall." After an accompanying music video[5] and the ensuing year-long mall tour, she developed a serious aversion to shopping malls that lasted for years. Robin followed "Let's Go to the Mall" with the "artistic follow-up" "Sandcastles in the Sand", which tanked.

text: As Robin Sparkles, she also appeared on the Canadian educational children's show Space Teens with Alan Thicke and Jessica Glitter (Nicole Scherzinger), about two teen girls traveling through space in a curling stone–shaped spaceship who "solve mysteries using math". The aforementioned show was heavy with unintentional sexual innuendo, such as the song "Two Beavers Are Better Than One".[6]  Robin attempted to shift from teen pop to grunge by adopting a new stage name, "Robin Daggers", and penning a track entitled "P.S. I Love You", a dark, angry love song about her infatuation with Paul Shaffer (in an episode parodying Alanis Morissette and her single You Oughta Know)  Robin performed the song at the 84th Grey Cup, effectively ending her career in music.[7] As an adult, Robin is embarrassed by her teenage stardom.[8]

text: Character history[edit]

text: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (May 2014) (Learn how and when to remove this template message)

text: After moving to New York City in April 2005,[9] Robin became a news anchor for a New York cable news channel, Metro News 1, and later became a host of her own early-morning talk show.

text: Robin lives in the Park Slope area of Brooklyn.[10] In September 2005 she meets Ted Mosby, the show's main character, and they are immediately attracted to each other. They go on a date in which Ted steals a blue French Horn for her, but Ted spoils his chances with her by impulsively saying he is in love with her. They resolve to be friends, but their relationship is complicated by lingering romantic feelings.[11] Robin is reluctant to date Ted because he wants to get married and settle down,[9] but they become a couple anyway at the end of season one.[12] They break up at the end of season two after realizing that they want different things.[13] While it is difficult at first to remain in each other's lives, they eventually become close, trusted friends. At the end of the fifth season, she moves back in to Ted's apartment after her boyfriend Don (Benjamin Koldyke) breaks up with her and moves to Chicago.[14]

text: Although she is a reporter for "fluff news pieces" at the end of news segments at the time of first meeting Ted, over the series she works her way up to be lead news anchor at Metro News 1. She briefly takes a prominent anchoring position in Japan, only to return to New York and, with help from Barney, host her own talk show.

text: Robin is also an avid gun enthusiast, shown in multiple episodes brandishing a Desert Eagle, as well as having a subscription to Guns & Ammo.

text: She has dual citizenship in Canada and the United States.[15]

text: When an old boyfriend humiliates her, Barney comforts her, and they have sex.[16] This initially causes friction between her and Ted, but he ultimately accepts it. Barney and Robin have what they believe is a no-strings-attached sexual relationship for a few months, but they become an official couple after some aggressive prodding from Lily.[17] They soon realize that they don't work as a couple, however, and break up.[18] They remain friends, but it is implied Robin never truly lets Barney go. Despite spending most of "Challenge Accepted" plotting with Barney to find a way to prevent Ted from pursuing a meaningless relationship and rekindling her relationship with him in the process, she also pressures Barney into approaching Nora (Nazanin Boniadi), a woman he likes. However, when Barney asks Nora for a cup of coffee, Robin realizes she may still have feelings for him.

text: In the season 7 premiere episode "The Best Man", Lily confronts Robin about her feelings for Barney, and advises her to tell him. She is about to do so when Barney pulls her onto the dance floor at a wedding. Whatever tension there is between them is broken when Barney receives a call from Nora. Barney isn't sure what to say to Nora and asks for Robin's help; Robin feeds Barney the words that she had intended to say to him, which he uses to convince Nora to meet him again. In "The Stinson Missile Crisis", Robin assaults a woman setting out to destroy Barney's relationship with Nora and is sent to court-mandated therapy with a therapist named Kevin (Kal Penn). They start dating shortly after. Their relationship is tested when Robin cheats on him with Barney, and she decides to break up with Kevin. She changes her mind when Kevin tells her how much he cares for her, and they stay together. After Kevin proposes to her, Robin thinks she is ready to settle down, but he ultimately takes back his proposal when she says that she is unable and unwilling to have children.[19]

text: In the seventh season, Robin discovers that she is unable to have children. Although she had always believed she did not want to have children, she is devastated by the knowledge that she no longer has the option. She lies to the gang about why she is depressed, saying that she has just found out she can't be an Olympic pole-vaulter. Ted senses that something more serious is going on, however, and surprises her by putting up Christmas decorations in her apartment and comforting her as she cries.[20]

text: In the episode "Tailgate", Robin is put in charge of a New Year's Countdown show on her news station. The host, Sandy Rivers (Alexis Denisof), gets drunk live on the show and Robin is forced to replace him. Just before midnight, she says, "When that ball drops, we all get a fresh start, and, I don't know about you, but I could really use one." In the season finale, it is revealed that she will be the bride at Barney's wedding.[21]

text: Her romantic feelings for Barney resurface in the eighth season when he begins dating Patrice (Ellen D. Williams), a cheerful coworker for whom she has an irrational hatred. When Barney announces that he is going to propose to Patrice, Robin is heartbroken. However, in "The Final Page", Barney reveals that his courtship with Patrice was an elaborate ruse designed to get Robin back; he then proposes. Robin accepts.

text: The final season of the show depicts the 56 hours before her wedding to Barney. On her wedding day, she gets cold feet when she learns that Ted went to great lengths to find a locket she had buried years before; she takes it as a "sign from the universe" that she should be with Ted. Wanting her to be happy, Ted tells her that he no longer loves her in that way. She goes through with the wedding after Barney vows to always be honest with her.[22]

text: The series finale, "Last Forever", reveals that Robin and Barney divorced after three years because her hectic travel schedule prevents them from spending any time together. Robin leaves the group upon realizing that she can't bear to be around Barney, who has resumed his womanizing lifestyle, or Ted, who is now happily involved with Tracy McConnell (Cristin Milioti). She and the gang drift apart over the ensuing years, but she is there for Ted and Tracy's wedding, where she makes her peace with Barney, who has recently had a daughter and is pleased to see that fatherhood has made him a better man.

text: By 2030, Robin is a very successful television news anchor and lives with her dogs in New York. The last scene of the show depicts Robin looking outside her window to see Ted, who is now a widower and wants another chance with her, holding out the blue French horn from their first date. She smiles at him with tears in her eyes.

text: Discography[edit]

text:
"Let's Go to the Mall" (released under the stage name Robin Sparkles)
"Sandcastles in the Sand"
"The Beaver Song"
"P.S. I Love You" (released under the stage name Robin Daggers)

text: In other media[edit]

text: The Robin Sparkles song "Let's Go to the Mall" was included on the video game Just Dance 3.


document_title: I Just Can't Help Believing

question_text: who sang i just can't help believing first

question_tokens: who sang i just ca n 't help believing first

text: I Just Can't Help Believing

text: Other versions[edit]

text:
The first release was as a single by Barry Mann on Capitol Records, reviewed in Billboard Magazine on June 22, 1968.
The song was released by Bobby Vee in 1969 on his 1969 Gates, Grills and Railings LP.
Bobby Doyle released it as a single in 1969 on the Warner Brothers label.
The song was recorded by Leonard Nimoy in his 1969 album The Touch of Leonard Nimoy.
The song was recorded by Elvis Presley in 1970 and released on his album That's the Way It Is. It was released as a single in the UK in November 1971, peaking at number six.  It also reached #12 in Ireland.
David Frizzell's version reached # 36 on the U.S. Billboard Country Singles chart in 1970.
The song was recorded by Filipina singer-actress Nora Aunor, on her 1971 studio album The Song of My Life.
Barry Mann recorded the song again in 2000 on his solo album "Soul & Inspiration".
The song was recorded by the Colombian Marco T Spanish version on his 2004 album Request Songs Canciones de Amor.


document_title: King of Saudi Arabia

question_text: who is the ruling king of saudi arabia

question_tokens: who is the ruling king of saudi arabia

text: King of Saudi Arabia

text: History[edit]

text: King Abdulaziz (known in the West as Ibn Saud) began conquering today's Saudi Arabia in 1902, by restoring his family as emirs of Riyadh. He then proceeded to conquer first the Nejd (1922) and then the Hejaz (1925).

text: Ibn Saud proclaimed his dominions as the Sultanate of Nejd in 1921, shortly before completing the conquest of the region. He was proclaimed king of Hejaz in 1926, and raised Nejd to a kingdom as well in 1927. For the next five-plus years, Ibn Saud administered the two parts of his realm as separate units. In 1932, he formally united his territories into the Kingdom of Saudi Arabia.

text: Succession[edit]

text: The kings since Ibn Saud's death have all been his sons, and all likely immediate successors to the reigning King Salman will be from his progeny. Sons of Ibn Saud are considered to have primary claim on the throne of Saudi Arabia. This makes the Saudi monarchy quite distinct from Western monarchies, which usually feature large, clearly defined royal families and orders of succession. The current Crown Prince is the first grandson of Ibn Saud to be in the line of succession.

text: Legal position[edit]

text: Saudi Arabia is ruled by Islamic law (Sharia) and purports to be an Islamic state, but many Muslims see a hereditary monarchy as being a discouraged system of government in Islam.[2]

text: Other functions[edit]

text: The King of Saudi Arabia is also considered the Head of the House of Saud and Prime Minister. The Crown Prince is also the "Deputy Prime Minister". The kings after Faisal have named a "second Deputy Prime Minister" as the subsequent heir after the Crown Prince.

text: Kings of Saudi Arabia (Since 22 September 1932)[edit]

text:
Name
Lifespan
Reign start
Reign end
Notes
Family
Image

Ibn Saud

Ibn Saud
عبد العزيز

(1875-01-15)15 January 1875 –
9 November 1953(1953-11-09) (aged 78)
22 September 1932 (age 57)
9 November 1953
(Died)
Reign established by conquest
Saud

Saud

سعود

(1902-01-12)12 January 1902 –
23 February 1969(1969-02-23) (aged 67)
9 November 1953 (age 51)
2 November 1964
(Deposed)
Son of Ibn Saud and Wadhah bint Muhammad bin 'Aqab
Saud

Faisal

فيصل

(1906-04-14)14 April 1906 –
25 March 1975(1975-03-25) (aged 68)
2 November 1964 (age 57)
25 March 1975
(Assassinated)
Son of Ibn Saud and Tarfa bint Abduallah bin Abdulateef al Sheekh
Saud

Khalid

خالد

(1913-02-13)13 February 1913 –
13 June 1982(1982-06-13) (aged 69)
25 March 1975 (age 62)
13 June 1982
(Died)
Son of Ibn Saud and Al Jawhara bint Musaed bin Jiluwi
Saud

Fahd

فهد

1921 – 1 August 2005 (aged 84)
13 June 1982 (age 61)
1 August 2005
(Died)
Son of Ibn Saud and Hussa bint Ahmed Al Sudairi
Saud

Abdullah

عبد الله

(1924-08-01)1 August 1924 –
23 January 2015(2015-01-23) (aged 90)
1 August 2005 (age 80)
23 January 2015
(Died)
Son of Ibn Saud and Fahda bint Asi Al Shuraim
Saud

Salman

سلمان

(1935-12-31) 31 December 1935 (age 81)
23 January 2015 (age 79)
Incumbent
Son of Ibn Saud and Hussa bint Ahmed Al Sudairi
Saud

text: Current heirs-presumptive[edit]

text:
Crown Prince: Mohammad bin Salman, born (1985-08-31) 31 August 1985 (age 32); son of King Salman and Fahda bint Falah bin Sultan Al Hithalayn.

Deputy Crown Prince: Vacant

text: Timeline[edit]

text: Royal Standard[edit]

text: The Royal Standard consists of a green flag, with an Arabic inscription and a sword featured in white, and with the national emblem embroidered in gold in the lower right canton.

text: The script on the flag is written in the Thuluth script. It is the shahada or Islamic declaration of faith:


document_title: Northern mockingbird

question_text: how many days for mockingbird eggs to hatch

text: Northern mockingbird

text: Taxonomy[edit]

text: Swedish zoologist Carl Linnaeus first described this species in his Systema Naturae in 1758 as Turdus polyglottos.[3] Its current genus name, Mimus is Latin for "mimic" and the specific polyglottos, is from Ancient Greek poluglottos, "harmonious", from polus, "many", and glossa, "tongue",[4] representing its outstanding ability to mimic various sounds.[5] The northern mockingbird is considered to be conspecific with the tropical mockingbird (Mimus gilvus).[6]

text: This species is categorized as the northern mockingbird as the closest living relative to M. gilvus.[7][8]

text: Subspecies[edit]

text: There are three recognized subspecies for the northern mockingbird.[9][10] There have been proposed races from the Bahamas and Haiti placed under the orpheus section.[10]

text:
M. p. polyglottos (Linnaeus, 1758): generally found in the eastern portion of North America ranging from Nova Scotia to Nebraska, to as far south as Texas and Florida.[9][10]
M. p. leucopterus 'Western Mockingbird' (Vigors, 1839): generally found in the western portion of North America ranging from NW Nebraska and Western Texas to the Pacific Coast, and south to Mexico (the Isthmus of Tehuantepec), and Socorro Island.[9][10] Larger than M. p. polyglottos and has a slightly shorter tail, upperparts are more buff and paler, underparts have a stronger buff pigment.[9]
M. p. orpheus (Linnaeus, 1758) from the Bahamas to the Greater Antilles, also the Cayman and Virgin Islands.[10] Similar to M. m. polyglottos except smaller, a paler shade of gray on its back, and underparts with practically little, if any buff at all.[9]

text: Description[edit]

text: The northern mockingbird is a medium-sized mimid that has long legs and tail.[11] Males and females look alike.[12] Its upper parts are colored gray, while its underparts have a white or whitish-gray color.[13] It has parallel wing bars on the half of the wings connected near the white patch giving it a distinctive appearance in flight.[13] The black central rectrices and typical white lateral rectrices are also noticeable in flight.[13] The iris is usually a light green-yellow or a yellow, but there have been instances of an orange color.[9] The bill is black with a brownish black appearance at the base.[9] The juvenile appearance is marked by its streaks on its back, distinguished spots and streaks on its chest, and a gray or grayish-green iris.[9]

text: Northern mockingbirds measure from 20.5 to 28 cm (8.1 to 11.0 in) including a tail almost as long as its body. The wingspan can range from 31–38 cm (12–15 in) and body mass is from 40–58 g (1.4–2.0 oz). Males tend to be slightly larger than females.[14][15] Among standard measurements, the wing chord is 10 to 12 cm (3.9 to 4.7 in), the tail is 10 to 13.4 cm (3.9 to 5.3 in), the culmen is 1.6 to 1.9 cm (0.63 to 0.75 in) and the tarsus is 2.9 to 3.4 cm (1.1 to 1.3 in).[9]

text: The northern mockingbird's lifespan is observed to be up to 8 years, but captive birds can live up to 20 years.[16]

text: Distribution and habitat[edit]

text: The mockingbird's breeding range is from Maritime provinces of Canada westwards to British Columbia, practically the entire Continental United States south of the northern Plains states and Pacific northwest, and the majority of Mexico to eastern Oaxaca and Veracruz.[9] The mockingbird is generally a year-round resident of its range, but the birds that live in the northern portion of its range have been noted further south during the winter season.[13] Sightings of the mockingbird have also been recorded in Hawaii (where it was introduced in the 1920s),[17] southeastern Alaska,[18] and twice as transatlantic vagrants in Britain.[13] The mockingbird is thought to be at least partly migratory in the northern portions of its range, but the migratory behavior is not well understood.[17]

text: In the nineteenth century, the range of the mockingbird expanded northward towards provinces such as Nova Scotia and Ontario and states such as Massachusetts, although the sightings were sporadic. Within the first five decades of the twentieth century, regions that received an influx of mockingbirds were Maine, Vermont, Ohio, Iowa, and New York.[17] In western states such as California, the population was restricted to the lower Sonoran regions but by the 1970s the mockingbirds was residential in most counties.[17] Islands that saw introductions of the mockingbird include Bermuda (in which it failed), Barbados, St. Helena, Socorro Island, the Cayman Islands and Tahiti.[17][19]

text: The mockingbird's habitat varies by location, but it prefers open areas with sparse vegetation. In the eastern regions, suburban and urban areas such as parks, gardens are frequent residential areas. It has an affinity for mowed lawns with shrubs within proximity for shade and nesting.[13][17] In western regions, desert scrub, chaparral are among its preferred habitats When foraging for food, it prefers short grass.[13] This bird does not nest in densely forested areas,[9][20] and generally resides in the same habitats year round.[17]

text: Behavior[edit]

text: Diet[edit]

text: The northern mockingbird is an omnivore. The birds' diet consists of arthropods, earthworms, berries, fruits, seeds, and seldom, lizards.[9] Mockingbirds can drink from puddles, river and lake edges, or dew and rain droplets that amass onto plants.[13] Adult mockingbirds also have been seen drinking sap from the cuts on recently pruned trees.[13] Its diet heavily consists of animal prey during the breeding season, but takes a drastic shift to fruits during the fall and winter.[13] The drive for fruits amid winter has been noted for the geographic expansion of the mockingbird, and in particular, the fruit of Rosa multiflora, a favorite of the birds, is a possible link.[9][13] Mockingbirds also eat garden fruits such as tomatoes, apples, and berries.[21][22]

text: These birds forage on the ground or in vegetation; they also fly down from a perch to capture food.[13] While foraging, they frequently spread their wings in a peculiar two-step motion to display the white patches. There is disagreement among ornithologists over the purpose of this behavior, with hypotheses ranging from deceleration to intimidation of predators or prey.[23][24]

text: Breeding[edit]

text: Both the male and female of the species reach sexual maturity after 1 year of life. The breeding season occurs in the spring and early summer.[11] The males arrive before the beginning of the season to establish their territories. The males use a series of courtship displays to attract the females to their sites.[11] They run around the area either to showcase their territory to the females or to pursue the females. The males also engage in flight to showcase their wings.[11] They sing and call as they perform all of these displays. The species can remain monogamous for many years, but incidents of polygyny and bigamy have been reported to occur during the bird's lifetime.[25][26]

text: The northern mockingbird pairs hatch about 2 to 4 broods a year.[11] In one breeding season, the northern mockingbird lays an average of 4 eggs. They hatch after about 11 to 14 days of incubation. After about 10 to 15 days of life, the offspring become independent.[11]

text: Both the male and female are involved in the nest building.[27] The male does most of the work, while the female perches on the shrub or tree where the nest is being built to watch for predators. The nest is built approximately three to ten feet above the ground.[27] The outer part of the nest is composed of twigs, while the inner part is lined with grasses, dead leaves, moss, or artificial fibers. The eggs are a light blue or greenish color and speckled with dots.[14] The female lays three to five eggs, and she incubates them for nearly two weeks. Once the eggs are hatched, both the male and female will feed the chicks.[27]

text: The birds aggressively defend their nests and surrounding areas against other birds and animals.[27] When a predator is persistent, mockingbirds from neighboring territories may be summoned by distinct calls to join the defense. Other birds may gather to watch as the mockingbirds harass the intruder. In addition to harassing domestic cats and dogs that they consider a threat,[11] mockingbirds will at times target humans. The birds are unafraid and will attack much larger birds, even hawks. One incident in Tulsa, Oklahoma involving a postal carrier resulted in the distribution of a warning letter to residents.[28]

text: Sexual selection[edit]

text: Northern mockingbirds are famous for their song repertoires. Studies have shown that males sing songs at the beginning of breeding season to attract females.[29] Unmated males sing songs in more directions and sing more bouts than mated males. In addition, unmated males perform more flight displays than mated males.[13] The mockingbirds usually nest several times during one breeding season.[30] Depending on the stage of breeding and the mating status, a male mockingbird will vary his song production. The unmated male keeps close track of this change. He sings in one direction when he perceives a chance to lure a female from the nest of the mated male.[29] Unmated males are also more likely to use elevated perches to extend his songs to a further range.[29] Though the mockingbirds are socially monogamous, mated males have been known to sing to attract additional mates.[25]

text: An observational study by Logan demonstrates that the female is continuously evaluating the quality of the male and his territory.[31] The assessment is usually triggered by the arrival of a new male in a neighboring territory at the beginning of a new breeding season. In those cases, the mated female is constantly seen flying over both the original and the new male’s territory, evaluating the qualities of both territories and exchanging calls with both males.[31] The social mate displays aggressive behaviors towards the female, while the new male shows less aggression and sings softer songs.[31] At the same time, both the mated male and the new male will fly over other territories to attract other females as well. Divorce, mate switching and extra-pair matings do occur in northern mockingbirds.[13][31]

text: Sex allocation[edit]

text: Northern mockingbirds adjust the sex ratio of their offspring according to the food availability and population density. Male offspring usually require more parental investment. There is therefore a bias for bearing the costlier sex at the beginning of a breeding season when the food is abundant.[32] Local resource competition predicts that the parents have to share the resources with offspring that remain at the natal site after maturation. In passerine birds, like the northern mockingbird, females are more likely to disperse than males.[33] Hence, it is adaptive to produce more dispersive sex than philopatric sex when the population density is high and the competition for local resources is intense. Since northern mockingbirds are abundant in urban environments, it is possible that the pollution and contamination in cities might affect sexual hormones and therefore play a role in offspring sex ratio.[34]

text: Mating[edit]

text: Northern mockingbirds are socially monogamous. The two sexes look alike except that males are a little larger in size than females. Mutual mate choice is exhibited in northern mockingbirds.[35] Both males and females prefer mates that are more aggressive towards intruders, and so exhibit greater parental investment. However, males are more defensive of their nests than females. In a population where male breeding adults outnumber female breeding adults, females have more freedom in choosing their mates.[35] In these cases, these female breeders have the option of changing mates within a breeding season if the first male does not provide a high level of parental care, which includes feeding and nest defense.[36] High nesting success is associated with highly aggressive males attacking intruders in the territory, and so these males are preferred by females.[36]

text: Parental care[edit]

text: Northern mockingbirds are altricial, meaning that, when hatched, they are born relatively immobile and defenseless and therefore require nourishment for a certain duration from their parents. The young have a survival bottleneck at the nestling stage because there are higher levels of nestling predation than egg predation. The levels of belligerence exhibited by parents therefore increase once eggs hatch but there is no increase during the egg stage.[35]

text: A recent study shows that both food availability and temperature affect the parental incubation of the eggs in northern mockingbirds. Increasing food availability provides the females with more time to care for the nest and perform self-maintenance. Increasing temperature, however, reduces the time the females spend at the nest and there is increased energy cost to cool the eggs. The incubation behavior is a trade-off among various environmental factors.[37]

text: Mockingbird nests are also often parasitized by cowbirds. The parents are found to reject parasitic eggs at an intermediate rate.[38] A recent study has shown that foreign eggs are more likely to be rejected from a nest later in the breeding season than from earlier in a breeding season. Early nesting hosts may not have learned the pattern and coloration of their first clutch yet, so are less likely to reject foreign eggs. There is also a seasonal threshold in terms of the overlap between the breeding seasons of the northern mockingbirds and their parasites. If the breeding season of the parasites starts later, there is less likelihood of parasitism. Hence, it pays the hosts to have relatively lower sensitivity to parasitic eggs.[39]

text: Song and calls[edit]

text: Although many species of bird imitate the vocalizations of other birds, the northern mockingbird is the best known in North America for doing so. Among the species and vocalizations imitated are Carolina wren, northern cardinal, tufted titmouse, eastern towhee, house sparrow, wood thrush and eastern bluebird songs, calls of the northern flicker and great crested flycatcher, jeers and pumphandles of the blue jay, and alarm, chups, and chirrs of the American robin.[40][41] It imitates not only birds, but also other animals such as cats, dogs, frogs, crickets and sounds from artificial items such as unoiled wheels and even car alarms. As convincing as these imitations may be to humans, they often fail to fool other birds, such as the Florida scrub-jay.[42]

text: The northern mockingbird's mimicry is likely to serve as a form of sexual selection through which competition between males and female choice influence a bird's song repertoire size.[42] A 2013 study attempted to determine model selection in vocal mimics, and the data suggested that mimicry in the mockingbird resulted from the bird being genetically predisposed to learning vocalizations with acoustic characteristics such as an enlarged auditory template.[40]

text: Both male and female mockingbirds sing, with the latter being generally quieter and less vocal. Male commencement of singing is in late January to February and continues into the summer and the establishing of territory into the fall. Frequency in female singing is more sporadic, as it sings less often in the summer and fall, and only sings when the male is away from the territory.[13] The mockingbird also possesses a large song repertoire that ranges from 43 to 203 song types and the size varies by region. Repertoire sizes ranged from 14 to 150 types in Texas, and two studies of mockingbirds in Florida rounded estimates to 134 and 200, approximately.[13] It continually expands its repertoire during its life,[13] though it pales in comparison to mimids such as the brown thrasher.[43]

text: There are four recognized calls for the mockingbird: the nest relief call, hew call, chat or chatburst, and the begging call.[13] The hew call is mainly used by both sexes for potential nest predators, conspecific chasing, and various interactions between mates. The differences between chats and chatbursts are frequency of use, as chats are year-round, and chatbursts occur in the fall.[13] Another difference is that chatbursts appear to be used in territorial defense in the fall, and the chats are used by either sex when disturbed.[13] The nest relief and begging calls are only used by the males.[13]

text: Ontogeny[edit]

text: A laboratory observation of 38 mockingbird nestlings and fledglings (thirty-five and three, respectively) recorded the behavioral development of young mockingbirds. Notable milestones included the eyes opening, soft vocalizations, begging, and preening began within the first six days of life. Variation in begging and more compact movements such as perching, fear crouching, and stretching appeared by the ninth day. Wing-flashing, bathing, flight, and leaving the nest happened within seventeen days (nest leaving occurred within 11 to 13 days). Improvements of flight, walking and self-feeding took place within forty days. Agonistic behavior increased during the juvenile stages, to the extent of one of two siblings living in the same area was likely killed by the other.[44]

text: Predation and threats[edit]

text: Adult mockingbirds can fall victim to birds of prey such as the great horned owl, screech owl and sharp-shinned hawk, though their tenacious behavior makes them less likely to being captured. Scrub-jays also have killed and eaten mockingbirds. Snakes rarely capture incubating females. Fledgelings have been prey to domestic cats, red-tailed hawks, and crows. Eggs and nestlings are consumed by blue jays, fish crows and American crows, red-tailed hawks, swallow-tailed kites, snakes, squirrels, and cats. Blowfly larvae and Haemoproteus have been found in Florida and Arizona populations, respectively.[17]

text: Winter storms limit the expansion of mockingbirds in its range. The storms have played a role in the declining of the Ohio populations (where it has since recovered), Michigan, Minnesota and likely in Quebec. Dry seasons also affect the mockingbird populations in Arizona.[17]

text: Intelligence[edit]

text: In a paper published in 2009, researchers found that mockingbirds were able to recall an individual human who, earlier in the study, had approached and threatened the mockingbirds' nest. Researchers had one participant stand near a mockingbird nest and touch it, while others avoided the nest. Later, the mockingbirds recognized the intruder and exhibited defensive behavior, while ignoring the other individuals.[45]

text: Adaptation to urban habitats[edit]

text: The northern mockingbird is a species that is found in both urban and rural habitats. There are now more northern mockingbirds living in urban habitats than non-urban environments, so they are consequently known as an urban-positive species.[46] Biologists have long questioned how northern mockingbirds adapt to a novel environment in cities, and whether they fall into the typical ecological traps that are common for urban-dwelling birds.[46] A comparative study between an urban dwelling population and a rural dwelling one shows that the apparent survival is higher for individuals in the urban habitats. Lower food availability and travel costs may account for the higher mortality rate in rural habitats.[47] Urban birds are more likely to return to the nest where they had successfully bred the previous year and avoid those where breeding success was low. One explanation for this phenomenon is that urban environments are more predictable than non-urban ones, as the site fidelity among urban birds prevents them from ecological traps.[47] Mockingbirds are also able to utilize artificial lighting in order to feed nestlings in urban areas such as residential neighborhoods into the night in contrast to those that do not nest near those areas.[48] The adaptation of mockingbirds in urban habitats has led it to become more susceptible to lead poisoning in Baltimore and Washington, D.C. populations.[17]

text: In culture[edit]

text: It also features in the title and central metaphor of the novel To Kill a Mockingbird, by Harper Lee. In that novel, mockingbirds are portrayed as innocent and generous, and two of the major characters, Atticus Finch and Miss Maudie, say it is a sin to kill a mockingbird because "they don't do one thing for us but make music for us to enjoy. They don't eat up people's gardens, don't nest in corncribs, they don't do one thing but sing their hearts out for us."[49]

text: "Hush, Little Baby" is a traditional lullaby, thought to have been written in the Southern United States, its key first lines, "Hush, little baby, don't say a word, Mama's gonna buy you a mockingbird. And if that mockingbird don't sing, Mama's gonna buy you a diamond ring."

text: The song of the northern mockingbird inspired many classic American folk songs of the mid-19th century, such as "Listen to the Mocking Bird".[50]

text: Mockin' Bird Hill is a popular song best known through recordings by Patti Page, Donna Fargo, and by Les Paul and Mary Ford in 1951.

text: Thomas Jefferson, the third President of the United States, had a pet mockingbird named "Dick".[51][52]

text: State bird[edit]

text: The northern mockingbird is the state bird of Arkansas, Florida, Mississippi, Tennessee and Texas,[53] and formerly the state bird of South Carolina.


document_title: E.T. the Extra-Terrestrial

question_text: which actress helped create the voice of et

text: E.T. the Extra-Terrestrial

text: Plot[edit]

text: While visiting Earth in a California forest at night, a group of alien botanists land in a spacecraft. When government agents appear on the scene, the aliens flee in their spaceship, leaving one of their own behind in their haste. At a suburban home in the San Fernando Valley, a ten-year-old boy named Elliott is spending time with his brother, Michael, and his friends. As he returns from picking up a pizza, he discovers that something is hiding in their tool shed. The alien promptly flees upon being discovered. Despite his family's disbelief, Elliott leaves Reese's Pieces candy to lure the alien to his house. Before going to sleep, Elliott realizes it is imitating his movements. He feigns illness the next morning to stay home from school and play with it. Later that day, Michael and their five-year-old sister, Gertie, meet it. They decide to keep it hidden from their mother, Mary. When they ask it about its origin, it levitates several balls to represent its planetary system and then demonstrates its powers by reviving dead chrysanthemums.

text: At school the next day, Elliott begins to experience a psychic connection with the alien, including exhibiting signs of intoxication (because it is at his home, drinking beer), and he begins freeing all the frogs in his biology class. As the alien watches John Wayne kiss Maureen O'Hara in The Quiet Man on television, Elliott then kisses a girl he likes in the same manner and he is sent to the principal's office.

text: The alien learns to speak English by repeating what Gertie says as she watches Sesame Street and, at Elliott's urging, dubs itself "E.T." E.T. reads a comic strip where Buck Rogers, stranded, calls for help by building a makeshift communication device and is inspired to try it himself. E.T. receives Elliott's help in building a device to "phone home" by using a Speak & Spell toy. Michael notices that E.T.'s health is declining and that Elliott is referring to himself as "we".

text: On Halloween, Michael and Elliott dress E.T. as a ghost so they can sneak him out of the house. That night, Elliott and E.T. head through the forest, where they make a successful call home. The next day, Elliott wakes up in the field, only to find E.T. gone. Elliott returns home to his distressed family. Michael searches for and finds E.T. dying next to a culvert, being investigated by a raccoon. Michael takes E.T. home to Elliott, who is also dying. Mary becomes frightened when she discovers her son's illness and the dying alien, just as government agents invade the house. Scientists set up a hospital at the house, questioning Michael, Mary and Gertie while treating Elliott and E.T. Their connection disappears and E.T. then appears to die while Elliott recovers. A grief-stricken Elliott is left alone with the motionless E.T. when he notices a dead chrysanthemum, the plant E.T. had previously revived, coming back to life. E.T. reanimates and reveals that his people are returning. Elliott and Michael steal a van that E.T. had been loaded into and a chase ensues, with Michael's friends joining them as they attempt to evade the authorities by bicycles. Suddenly facing a police roadblock, they escape as E.T. uses telekinesis to lift them into the air and toward the forest, like he had done for Elliott before.

text: Standing near the spaceship, E.T.'s heart glows as he prepares to return home. Mary, Gertie, and "Keys", a friendly government agent, show up. E.T. says goodbye to Michael and Gertie, as she presents him with the chrysanthemum that he had revived. Before boarding the spaceship, he tells Elliott "I'll be right here", pointing his glowing finger to Elliott's forehead. He then picks up the chrysanthemum, boards the spaceship, and it takes off, leaving a rainbow in the sky as everyone watches it leave.

text: Cast[edit]

text:
Dee Wallace as Mary
Henry Thomas as Elliott
Peter Coyote as "Keys"
Robert MacNaughton as Michael
Drew Barrymore as Gertie
Pat Welsh as the voice of E.T.
K. C. Martel as Greg
Sean Frye as Steve
C. Thomas Howell as Tyler
Erika Eleniak as the girl Elliott kisses

text: Production[edit]

text: Development[edit]

text: After his parents' divorce in 1960, Spielberg filled the void with an imaginary alien companion. He said that the imaginary alien was "a friend who could be the brother [he] never had and a father that [he] didn't feel [he] had anymore".[7] During 1978, he announced he would shoot a film entitled Growing Up, which he would film in 28 days. The project was set aside because of delays on 1941, but the concept of making a small autobiographical film about childhood would stay with him.[8] He also thought about a follow-up to Close Encounters of the Third Kind, and began to develop a darker project he had planned with John Sayles called Night Skies in which malevolent aliens terrorize a family.[8]

text: Filming Raiders of the Lost Ark in Tunisia left Spielberg bored, and memories of his childhood creation resurfaced.[9] He told screenwriter Melissa Mathison about Night Skies, and developed a subplot from the failed project, in which Buddy, the only friendly alien, befriends an autistic child. His abandonment on Earth in the script's final scene inspired the E.T. concept.[9] She wrote a first draft titled E.T. and Me in eight weeks,[9] which he considered perfect.[10] The script went through two more drafts, which deleted an "Eddie Haskell"–esque friend of Elliott. The chase sequence was also created, and he also suggested having the scene where E.T. got drunk.[8]

text: In early summer 1981, while Raiders of the Lost Ark was being promoted, Columbia Pictures met with Spielberg to discuss the script, after having to develop Night Skies with the director as the intended sequel to Close Encounters of the Third Kind. However, the head of Columbia Pictures' marketing and research development, Marvin Atonowsky, concluded that it had a limited commercial potential, believing that it would appeal to mostly young kids.[11] The President of Columbia's worldwide productions, John Veitch, also felt that the script was not good or scary enough to draw enough crowd. On the advice of Atonowsky and Veitch, Columbia Pictures CEO Frank Price passed on the project, calling it "a wimpy Walt Disney movie" and thus putting it in a turnaround, so Spielberg approached the more receptive Sid Sheinberg, president of MCA, the then-parent company of Universal Studios.[12][11] Spielberg told Sheinberg to acquire the E.T. script from Columbia Pictures, which he did for $1 million and struck a deal with Price in which Columbia would retain 5% of the film's net profits. Veitch later recalled that "I think [in 1982] we made more on that picture than we did on any of our films."[11]

text: Pre-production[edit]

text: Carlo Rambaldi, who designed the aliens for Close Encounters of the Third Kind, was hired to design the animatronics of E.T. Rambaldi's own painting Women of Delta led him to give the creature a unique, extendable neck.[10] Its face was inspired by those of Carl Sandburg, Albert Einstein and Ernest Hemingway.[13] Producer Kathleen Kennedy visited the Jules Stein Eye Institute to study real and glass eyes. She hired Institute staffers to create E.T.'s eyes, which she felt were particularly important in engaging the audience.[14] Four heads were created for filming, one as the main animatronic and the others for facial expressions, as well as a costume.[13] Two dwarfs, Tamara De Treaux and Pat Bilon,[8] as well as 12-year-old Matthew DeMeritt, who was born without legs,[15] took turns wearing the costume, depending on what scene was being filmed. DeMeritt actually walked on his hands and played all scenes where he walked awkwardly or fell over. The head was placed above that of the actors, and the actors could see through slits in its chest.[10] Caprice Roth, a professional mime, filled prosthetics to play E.T.'s hands.[14] The puppet was created in three months at the cost of $1.5 million.[16] Spielberg declared it was "something that only a mother could love".[10] Mars, Incorporated refused to allow M&M's to be used in the film, believing E.T. would frighten children. After Mars said "No", The Hershey Company was asked if Reese's Pieces could be used, and it agreed; this product placement resulted in a large increase in Reese's Pieces sales.[17] Science and technology educator Henry Feinberg created E.T.'s communicator device.[18][19]

text: Casting[edit]

text: Having worked with Cary Guffey on Close Encounters of the Third Kind, Spielberg felt confident in working with a cast composed mostly of child actors.[14] For the role of Elliott, he auditioned hundreds of boys[20] before Jack Fisk suggested Henry Thomas for the role because Henry had played the part of Harry in the film Raggedy Man which Jack Fisk had directed.[21] Thomas, who auditioned in an Indiana Jones costume, did not perform well in the formal testing, but got the filmmakers' attention in an improvised scene.[14] Thoughts of his dead dog inspired his convincing tears.[22] Robert MacNaughton auditioned eight times to play Michael, sometimes with boys auditioning for Elliott. Spielberg felt Drew Barrymore had the right imagination for mischievous Gertie after she impressed him with a story that she led a punk rock band.[10] He enjoyed working with the children, and he later said that the experience made him feel ready to be a father.[23]

text: The major voice work of E.T. for the film was performed by Pat Welsh. She smoked two packs of cigarettes a day, which gave her voice a quality that sound effects creator Ben Burtt liked. She spent nine-and-a-half hours recording her part, and was paid $380 by Burtt for her services.[8] He also recorded 16 other people and various animals to create E.T.'s "voice". These included Spielberg, Debra Winger, his sleeping wife, who had a cold, a burp from his USC film professor, raccoons, otters, and horses.[24][25]

text: Doctors working at the USC Medical Center were recruited to play the ones who try to save E.T. after government agents take over Elliott's house. Spielberg felt that actors in the roles, performing lines of technical medical dialogue, would come across as unnatural.[23] During post-production, he decided to cut a scene featuring Harrison Ford as the principal at Elliott's school. It featured his character reprimanding Elliott for his behavior in biology class and warning of the dangers of underage drinking. He is then taken aback as Elliott's chair rises from the floor, while E.T. is levitating his "phone" equipment up the stairs with Gertie.[10]

text: Filming[edit]

text: The film began shooting in September 1981.[26] The project was filmed under the cover name A Boy's Life, as Spielberg did not want anyone to discover and plagiarize the plot. The actors had to read the script behind closed doors, and everyone on set had to wear an ID card.[14] The shoot began with two days at a high school in Culver City, and the crew spent the next 11 days moving between locations at Northridge and Tujunga.[8] The next 42 days were spent at Culver City's Laird International Studios, for the interiors of Elliott's home. The crew shot at a redwood forest near Crescent City for the production's last six days.[8][9] The exterior Halloween scene and the "flying bicycle" chase scenes were filmed in Porter Ranch.[27] Spielberg shot the film in roughly chronological order to achieve convincingly emotional performances from his cast. In the scene in which Michael first encounters E.T., his appearance caused MacNaughton to jump back and knock down the shelves behind him. The chronological shoot gave the young actors an emotional experience as they bonded with E.T., making the quarantine sequences more moving.[23] Spielberg ensured the puppeteers were kept away from the set to maintain the illusion of a real alien. For the first time in his career, he did not storyboard most of the film, in order to facilitate spontaneity in the performances.[26] The film was shot so adults, except for Dee Wallace, are never seen from the waist up in its first half, as a tribute to Tex Avery's cartoons.[10] The shoot was completed in 61 days, four days ahead of schedule.[9] According to Spielberg, the memorable scene where E.T. disguises himself as a stuffed toy in Elliott's closet was suggested by colleague Robert Zemeckis, after he read a draft of the screenplay that Spielberg had sent him.[28]

text: Music[edit]

text: Longtime Spielberg collaborator John Williams, who composed the film's musical score, described the challenge of creating one that would generate sympathy for such an odd-looking creature. As with their previous collaborations, Spielberg liked every theme Williams composed and had it included. Spielberg loved the music for the final chase so much that he edited the sequence to suit it.[29] Williams took a modernist approach, especially with his use of polytonality, which refers to the sound of two different keys played simultaneously. The Lydian mode can also be used in a polytonal way. Williams combined polytonality and the Lydian mode to express a mystic, dreamlike and heroic quality. His theme—emphasizing coloristic instruments such as the harp, piano, celesta, and other keyboards, as well as percussion—suggests E.T.'s childlike nature and his "machine".[30]

text: Allegations of plagiarism[edit]

text: There were allegations that the film was plagiarized from a 1967 script, The Alien, by Indian Bengali director Satyajit Ray. He stated, "E.T. would not have been possible without my script of The Alien being available throughout the United States in mimeographed copies." Spielberg denied this claim, stating, "I was a kid in high school when his script was circulating in Hollywood."[31] Director and Spielberg's friend, Martin Scorsese, has also alleged the film was influenced by Ray's script.[32] No legal action was taken, as Ray did not want to show himself as having a "vindictive" mindset against Spielberg and acknowledged that he "has made good films and he is a good director."[33]

text: In 1984, a federal appeals court ruled against playwright Lisa Litchfield, who sued Steven Spielberg in a $750 million lawsuit claiming he used her one-act musical play 'Lokey from Maldemar' as the basis for the movie E.T. She lost the case, with the court panel stating "No reasonable jury could conclude that Lokey and E.T. were substantially similar in their ideas and expression." "Any similarities in plot exist only at the general level for which (Ms. Litchfield) cannot claim copyright protection."[34]

text: Themes[edit]

text: Spielberg drew the story of the film from his parents' divorce;[36] Gary Arnold of The Washington Post called it "essentially a spiritual autobiography, a portrait of the filmmaker as a typical suburban kid set apart by an uncommonly fervent, mystical imagination".[37] References to his childhood occur throughout: Elliott fakes illness by holding a thermometer to the bulb in his lamp while covering his face with a heating pad, a trick frequently employed by the young Spielberg.[38] Michael picking on Elliott echoes Spielberg's teasing of his younger sisters,[10] and Michael's evolution from tormentor to protector reflects how Spielberg had to take care of his sisters after their father left.[23]

text: Critics have focused on the parallels between E.T.'s life and Elliott, who is "alienated" by the loss of his father.[39][40] A.O. Scott of The New York Times wrote that while E.T. "is the more obvious and desperate foundling", Elliott "suffers in his own way from the want of a home".[41] E.T. is the first and last letter of Elliott's name.[42] At the film's heart is the theme of growing up. Critic Henry Sheehan described the film as a retelling of Peter Pan from the perspective of a Lost Boy (Elliott): E.T. cannot survive physically on Earth, as Pan could not survive emotionally in Neverland; government scientists take the place of Neverland's pirates.[43] Vincent Canby of The New York Times similarly observed that the film "freely recycles elements from [...] Peter Pan and The Wizard of Oz".[44] Some critics have suggested that Spielberg's portrayal of suburbia is very dark, contrary to popular belief. According to A.O. Scott, "The suburban milieu, with its unsupervised children and unhappy parents, its broken toys and brand-name junk food, could have come out of a Raymond Carver story."[41] Charles Taylor of Salon.com wrote, "Spielberg's movies, despite the way they're often characterized, are not Hollywood idealizations of families and the suburbs. The homes here bear what the cultural critic Karal Ann Marling called 'the marks of hard use'."[36]

text: Other critics found religious parallels between E.T. and Jesus.[45][46] Andrew Nigels described E.T.'s story as "crucifixion by military science" and "resurrection by love and faith".[47] According to Spielberg biographer Joseph McBride, Universal Pictures appealed directly to the Christian market, with a poster reminiscent of Michelangelo's The Creation of Adam and a logo reading "Peace".[9] Spielberg answered that he did not intend the film to be a religious parable, joking, "If I ever went to my mother and said, 'Mom, I've made this movie that's a Christian parable,' what do you think she'd say? She has a Kosher restaurant on Pico and Doheny in Los Angeles."[35]

text: As a substantial body of film criticism has built up around the film, numerous writers have analyzed it in other ways as well. It has been interpreted as a modern fairy tale[48] and in psychoanalytic terms.[40][48] Producer Kathleen Kennedy noted that an important theme of E.T. is tolerance, which would be central to future Spielberg films such as Schindler's List.[10] Having been a loner as a teenager, Spielberg described it as "a minority story".[49] Spielberg's characteristic theme of communication is partnered with the ideal of mutual understanding: he has suggested that the story's central alien-human friendship is an analogy for how real-world adversaries can learn to overcome their differences.[50]

text: Reception[edit]

text: Release and sales[edit]

text: The film was previewed in Houston, Texas, where it received high marks from viewers.[9] It premiered at the 1982 Cannes Film Festival's closing gala,[51][52] and was released in the United States on June 11, 1982. It opened at number one with a gross of $11 million, and stayed at the top of the box office for six weeks; it then fluctuated between the first and second positions until October, before returning to the top spot for the final time in December.[53]

text: In 1983, E.T. surpassed Star Wars as the highest-grossing film of all-time,[54] and by the end of its theatrical run it had grossed $359 million in North America and $619 million worldwide.[3][55] Box Office Mojo estimates that the film sold more than 120 million tickets in the US in its initial theatrical run.[56] Spielberg earned $500,000 a day from his share of the profits,[57][58] while The Hershey Company's profits rose 65% due to its prominent use of Reese's Pieces.[17] The "Official E.T. Fan Club" offered photographs, a newsletter that let readers "relive the film's unforgettable moments [and] favorite scenes", and a phonographic record with "phone home" and other sound clips.[59]

text: The film was re-released in 1985 and 2002, earning another $60 million and $68 million respectively,[60][61] for a worldwide total of $792 million with North America accounting for $435 million.[3] It held the global record until it was surpassed by Jurassic Park—another Spielberg-directed film—in 1993,[62] although it managed to hold on to the domestic record for a further four years, where a Star Wars reissue reclaimed it.[63] It was eventually released on VHS and laserdisc on October 27, 1988; to combat piracy, the tapeguards and tape hubs on the videocassettes were colored green, the tape itself was affixed with a small, holographic sticker of the 1963 Universal logo (much like the holograms on a credit card), and encoded with Macrovision.[22] In North America alone, VHS sales came to $75 million.[64] In 1991, Sears began selling E.T. videocassettes exclusively at their stores as part of a holiday promotion.[65] It was reissued on VHS and Laserdisc again in 1996. The Laserdisc included a 90-minute documentary. Produced and directed by Laurent Bouzereau, it included interviews with Spielberg, producer Kathleen Kennedy, composer John Williams and other cast and crew members. It also included two theatrical trailers, an isolated music score, deleted scenes, and still galleries. The VHS included a 10-minute version of the same documentary from the Laserdisc.[66]

text: Critical response[edit]

text: The film received universal acclaim. Roger Ebert gave the film four stars and wrote, "This is not simply a good movie. It is one of those movies that brush away our cautions and win our hearts."[51] He later added it to his Great Movies list, structuring the essay as a letter to his grandchildren about the first time they watched it.[69] Michael Sragow of Rolling Stone called Spielberg "a space age Jean Renoir.... for the first time, [he] has put his breathtaking technical skills at the service of his deepest feelings".[70] Derek Malcolm of The Guardian wrote that "E.T. is a superlative piece of popular cinema ... a dream of childhood, brilliantly orchestrated to involve not only children but anyone able to remember being one".[71] Leonard Maltin would include it in his list of "100 Must-See Films of the 20th Century" as one of only two movies from the 1980s.[72] George Will was one of the few to pan the film, feeling it spread subversive notions about childhood and science.[73]

text: The film holds a 98% approval rating on Rotten Tomatoes, based on 120 reviews, and an average rating of 9.2/10. The website's critical consensus reads: "Playing as both an exciting sci-fi adventure and a remarkable portrait of childhood, Steven Spielberg's touching tale of a homesick alien remains a piece of movie magic for young and old."[74] On Metacritic, it has a weighted average score of 91/100, based on 30 reviews, indicating "universal acclaim".[75] In addition to the many impressed critics, President Ronald Reagan and First Lady Nancy Reagan were moved by it after a screening at the White House on June 27, 1982.[58] Princess Diana was in tears after watching it.[10] On September 17, 1982, it was screened at the United Nations, and Spielberg received a UN Peace Medal.[76] CinemaScore reported that audiences gave the film a rare "A+" grade.[77]

text: Accolades[edit]

text: The film was nominated for nine Oscars at the 55th Academy Awards, including Best Picture. Gandhi won that award, but its director, Richard Attenborough, declared, "I was certain that not only would E.T. win, but that it should win. It was inventive, powerful, [and] wonderful. I make more mundane movies."[78] It won four Academy Awards: Best Original Score, Best Sound (Robert Knudson, Robert Glass, Don Digirolamo and Gene Cantamessa), Best Sound Effects Editing (Charles L. Campbell and Ben Burtt), and Best Visual Effects (Carlo Rambaldi, Dennis Muren and Kenneth F. Smith).[79]

text: At the 40th Golden Globe Awards, the film won Best Picture in the Drama category and Best Score; it was also nominated for Best Director, Best Screenplay, and Best New Male Star for Henry Thomas. The Los Angeles Film Critics Association awarded the film Best Picture, Best Director, and a "New Generation Award" for Melissa Mathison.[80]

text: The film won Saturn Awards for Best Science Fiction Film, Best Writing, Best Special Effects, Best Music, and Best Poster Art, while Henry Thomas, Robert McNaughton, and Drew Barrymore won Young Artist Awards. In addition to his Golden Globe and Saturn, composer John Williams won two Grammy Awards and a BAFTA for the score. It was also honored abroad: it won the Best Foreign Language Film award at the Blue Ribbon Awards in Japan, Cinema Writers Circle Awards in Spain, César Awards in France, and David di Donatello in Italy.[81]

text: In American Film Institute polls, the film has been voted the 24th greatest film of all time,[82] the 44th most heart-pounding,[83] and the sixth most inspiring.[84] Other AFI polls rated it as having the 14th greatest music score[85] and as the third greatest science-fiction one.[86] The line "E.T. phone home" was ranked 15th on AFI's 100 Years...100 Movie Quotes list,[87] and 48th on Premiere's top movie quote list.[88]

text: In 2005, it topped a Channel 4 poll of the 100 greatest family films,[89] and was also listed by Time as one of the 100 best movies ever made.[90]

text: In 2003, Entertainment Weekly called the film the eighth most "tear-jerking";[91] in 2007, in a survey of both films and television series, the magazine declared it the seventh greatest work of science-fiction media in the past 25 years.[92] The Times also named it as their ninth favorite alien in a film, calling it "one of the best-loved non-humans in popular culture".[93] It is among the top ten in the BFI list of the 50 films you should see by the age of 14. In 1994, it was selected for preservation in the U.S. National Film Registry as being "culturally, historically, or aesthetically significant".[94]

text: In 2011, ABC aired Best in Film: The Greatest Movies of Our Time, revealing the results of a poll of fans conducted by ABC and People magazine: it was selected as the fifth best film of all time and the second best science fiction film.[95]

text: On October 22, 2012, Madame Tussauds unveiled wax likenesses of E.T. at six of its international locations.[96]

text: 20th anniversary version[edit]

text: An extended version of the film, including altered special effects, premiered at the Shrine Auditorium in Los Angeles on March 22, 2002. Certain shots of E.T. had bothered Spielberg since 1982, as he did not have enough time to perfect the animatronics. Computer-generated imagery (CGI), provided by Industrial Light & Magic (ILM), was used to modify several shots, including ones of E.T. running in the opening sequence and being spotted in the cornfield. The spaceship's design was also altered to include more lights. Scenes shot for but not included in the original version were introduced. These included E.T. taking a bath, and Gertie telling Mary that Elliott went to the forest on Halloween. Spielberg did not add the scene featuring Harrison Ford, feeling that would reshape the film too drastically. He became more sensitive about the scene where gun-wielding federal agents confront Elliott and his escaping friends and had them digitally replaced with walkie-talkies.[10]

text: At the premiere, John Williams conducted a live performance of the score.[97] The new release grossed $68 million in total, with $35 million coming from Canada and the United States.[61] The changes to it, particularly the escape scene, were criticized as political correctness. Peter Travers of Rolling Stone wondered, "Remember those guns the feds carried? Thanks to the miracle of digital, they're now brandishing walkie-talkies.... Is this what two decades have done to free speech?"[98] Chris Hewitt of Empire wrote, "The changes are surprisingly low-key...while ILM's CGI E.T. is used sparingly as a complement to Carlo Rambaldi's extraordinary puppet."[99] South Park ridiculed many of the changes in the 2002 episode "Free Hat".[100]

text: The two-disc DVD release which followed in October 22, 2002, contained the original theatrical and 20th Anniversary extended versions of the film. Spielberg personally demanded the release feature both versions.[101] The features on disc one included an introduction with Steven Spielberg, a 20th Anniversary premiere featurette, John Williams' performance at the 2002 premiere and a Space Exploration game. Disc two included a 24-minute documentary about the 20th Anniversary edition changes, a "Reunion" featurette, a trailer, cast and filmmaker bios, production notes, and the still galleries ported from the 1996 LaserDisc set. The two-disc edition, as well as a three-disc collector's edition containing a "making of" book, a certificate of authenticity, a film cell, and special features that were unavailable on the two-disc edition,[102] were placed in moratorium on December 31, 2002. Later, it was re-released on DVD as a single-disc re-issue in 2005, featuring only the 20th Anniversary version.

text: In a June 2011, interview, Spielberg said that in the future

text: There's going to be no more digital enhancements or digital additions to anything based on any film I direct.... When people ask me which E.T. they should look at, I always tell them to look at the original 1982 E.T. If you notice, when we did put out E.T. we put out two E.T.s. We put out the digitally enhanced version with the additional scenes and for no extra money, in the same package, we put out the original '82 version. I always tell people to go back to the '82 version.[103]

text: Other portrayals[edit]

text: Atari, Inc. made a video game based on the film for the Atari 2600. Released in 1982, it was widely considered to be one of the worst video games ever made.[104]

text: William Kotzwinkle, author of the film's novelization, wrote a sequel, E.T.: The Book of the Green Planet, which was published in 1985. In the novel, E.T. returns home to the planet Brodo Asogi, but is subsequently demoted and sent into exile. He then attempts to return to Earth by effectively breaking all of Brodo Asogi's laws.[105]

text: E.T. Adventure, a theme park ride, debuted at Universal Studios Florida in June 7, 1990. The $40 million attraction features the title character saying goodbye to visitors by name.[9]

text: In 1998, E.T. was licensed to appear in television public service announcements produced by the Progressive Corporation. The announcements featured his voice reminding drivers to "buckle up" their seat belts. Traffic signs depicting a stylized E.T. wearing one were installed on selected roads around the United States.[106] The following year, British Telecommunications launched the "Stay in Touch" campaign, with him as the star of various advertisements. The campaign's slogan was "B.T. has E.T.", with "E.T." also taken to mean "extra technology".[107]

text: At Spielberg's suggestion, George Lucas included members of E.T.'s species as background characters in Star Wars: Episode I – The Phantom Menace.[108]

text: E.T. was one of the franchises featured in the 2016 crossover games Lego Dimensions. E.T. appears as one of the playable characters, and a world based off the movie where players can receive side quests from the characters is available.[109][110]

text: Cancelled sequel[edit]

text: In July 1982, during the film's first theatrical run, Steven Spielberg and Melissa Mathison wrote a treatment for a sequel to be titled E.T. II: Nocturnal Fears.[111] It would have shown Elliott and his friends getting kidnapped by evil aliens and follow their attempts to contact E.T. for help. Spielberg decided against pursuing it, feeling it "would do nothing but rob the original of its virginity".[112][113]