Re-Release of E.T. Celebrates Spielberg's Vanity

he world said a collective "huh" March 22^nd when director Steven Spielberg hamfisted his cutesy 2-hour plush toy commercial E.T.: The Extra-Terrestrial back into theaters to commemorate the 20^th anniversary of Spielberg's vanity project.

In the movie, a flawless alien midget is left behind on earth by a superior alien race who have never heard of a head count before departure. The alien befriends foul-mouthed American kids and endorses M&M-style products and Pepsi before faking his own death in an elaborate intergalactic insurance scam and escaping in a flying bike, leaving the evil government agents to wonder: Why didn't he do that much earlier?

The film is a re-telling of the familiar friendly-alien-meets-asshole-humans story. "Re-telling" being Hollywood code for updating old scripts with modern slang and improving the special effects by leaps and bounds.

Spielberg started out in Hollywood making enjoyable adventure movies with low marketing tie-in potential such as Jaws and Close Encounters of the Third Kind. Having invented the summer blockbuster, Spielberg went on to cut himself a slice of the pie with E.T.: The Extra-Terrestrial. He would later perfect action figure merchandising with Jurassic Park, after the dismal failure of his The Color Purple doll line.

To keep his product fresh for a new generation with more hyper-sensitive parents than his own, Spielberg digitally replaced rifles in the arms of federal agents with walkie-talkies. The director also changed the audio for a line spoken by Dee Wallace in which she tells the children not to go out dressed as "terrorists." Since no one in our current generation hates and fears terrorists, Spielberg wisely changed it to "hippies."

Also removed from the film: Scenes in which E.T. tries to eat a cat—better done on Alf; a scene where E.T. and child friend Elliot get hammered; two scenes where Drew Barrymore does a line of coke (interfered with Pepsi tie-in); and instead of building a phone out of household items, E.T. e-mails his alien friends using free webmail at Hotmail.com.

Digitally added into the film: Child actor Henry Thomas is replaced with modern acting wunderkind Haley Joel Osment; David Duchovny and Gillian Anderson from TV's The X-Files have a quick cameo; and E.T. is digitally altered so he's always wearing shorts and a bow tie, so as to dispel questions about his genitalia today's more mature generation will be quick to ask.

"I lacked the vision and technical skills to make the perfect film I wanted to make at the time," said Spielberg in a press conference the media were court-ordered to attend. "Now, thanks to modern technology and 21^st century revisionism, I can do it."

If E.T.: The Extra-Terrestrial proves profitable the second time around, Spielberg has other plans on the table. He reports it recently occurred to him Jaws would have been much more fun if he had replaced the shark with a big, cuddly bear ala TV's Gentle Ben.

Also, said the director, Schindler's List would have been more effective if the Jews had won against the Nazis.

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Sad, sad pity be to the lowly songsmith. Lord knows the songwriters and lyrical artists of our times need all the help they can get, the state of modern lyrics being what it is. For every brilliantly wrought "Pianoman," "American Pie" or "Horse with No Name" we get a half-dozen treacley "Ooh, Baby Babies" and the odd "Rock my Jock" thrown in for good measure. I, for one, have always been happy to lend a helping hand, though I must admit my aid is often of the accidental variety.

For who has never misheard the lyrics to a favorite tune, only to discover later that the song’s true verse is a decided downgrade from what one has been singing internally for years? I have! Or haven’t, if you choose to follow the proper grammar of the previous sentence. Previous to the "I have!" part, that sentence, which was pre-previous, technically speaking.

For example, few non-mouth breathers can honestly deny an overwhelming fondness for American folkstress Carly Simon’s incendiary classic "You’re So Vain," from its impenitrable opening bass meanderings to the deliciously mysterious identity of the song’s protagonist. Could it be Warren Betty? Mick Jagger? Charo? Regardless, this lamentably brief sprinkle of heaven masquerading as a pop song has always intrigued me with its Byzantine lyrics, particularly the line "There were clowns in my coffin," which I always found to be a terrifying and apt metaphor for the feeling of being trapped in a failing relationship. Imagine my surprise when CarlySimon.com recently reprinted the lyrics as "There were clouds in my coffee." Excuse me? Don’t take up my precious listening time just because you’re unhappy with Starbucks’ quality control, missy. Simon: 0, Pickles: 1.

Likewise, Ray Parker Jr.’s scabrous "I hate Mexicans!" sung during the staggering middle eight of his unforgettable theme for Ghostbusters long made this groovy classic one of my own all-time faves. Imagine my flabbergast when, during the trial over Parker’s justified "sampling" of the Huey Lewis and the News potboiler "I Want a New Drug," word came out that Parker Jr. was supposedly singing "I hear it likes the girls" instead! Shame on you, Ray Parker. And your son.

Granted, there is room for argument in any of these lyrical corrections. Some might find the originative message of Neil Young’s "Keep on Rockin’ in the Free World" preferable to the "Keep on Rocking at Marine World" I grew up with, as is their wont. I can’t be asked to understand the psychology of individuals who hate dolphins.

But who, tell me who, wouldn’t rightly prefer the jarring, surrealistic imagery of Elton John’s classic lyric "Hold me closer, Tony Danza," to some grotesquely undernourishing tripe about a midget doing the foxtrot? I fancy these as citizenry I’d care not to suffer.

Now, I truly am loathe to utter a singular unkind word about 80’s tunesmith Kim Carnes, a woman who has been rightly described, without exaggeration, as God. So I’ll just say a few words about her most preeminent of hit songs, "Bette Davis Eyes." I’ll not hesitate to admit I may have been somewhat guilty of lackadaisical listening habits or a minor Sudafed addiction when I decided that the chorus of this song read as "She’s Got 30 Days to Die," but regardless, the urgency and drama of my lyric is something I find it difficult to surrender, regardless of the fact I most certainly have been subverting the original intent of Carnes’ epic coloratura.

Drug use not my own has to be at blame for the Paul McCartney lyric "The magical mystery toad is coming to take you away," regardless of what any of the album’s erroneous liner notes say about some kind of "mystery tour." In the midst of an album chock-full of talking walruses and proudly singing, self-actualized Eggmen, a lyric about some boring bus tour really is vastly implausible.

And with all due respect to Jesus, and regardless of what the church says, I stand by my earlier stated claims that the entire religious experience would be improved with a recognition of my superior lyrics to "Cheese is Coming."

Lastly, I leave you all fondly with the immortal lyrics of one Louis Armstrong:

"I sees guys of blue, clowns of white. The bright plastic day, the dogs say goodnight. And I think to myself what I won: Der Fuehrer World..."

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Dr. Joyce Pickles, M.D.P.S.T., received her degree in psychology from U.S. Zoological College in Burnt Harbor, Maine. She remains hilariously ignorant of the commune’s status within the U.S. as an enemy combatant, as well as our status as the Worst Website Under $5*.

*Time magazine, 2005

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In the army, I was a journalist. It beat having to pick up a gun and shoot at Germans, especially since I always had trouble telling Germans and French apart, and I wasn't really that good and differentiating the Germans and the English either. Some used a rifle, but my weapon was a pencil—you hit a man in the jugular just right, he'll wish you would have shot him instead.

It's no myth that the pen is mightier than the sword, even when you're not using it like a sword. A pen took down some of the mightiest men in the world, like Richard M. Nixon and Gary Condit. No president was ever taken down by a sword. Sure, more than one was taken down by a bullet, but the quote don't say anything about a gun.

I didn't know if I would have it in me to do what the army had to do. I thought you must really have to love war to put yourself in danger like they did. The army jumped off the boat and ran charging into German machine gun fire, or into minefields which blew up and maimed them, which is sometimes worse than getting killed. Some of them parachuted down in the midst of enemy fire to fight. If you think it sucks to have to jump out of a plane, try shooting at the enemy after you've somehow managed to get on the ground in one piece. But for me, there was a worry even bigger—if I had to, if it meant the difference between my life or the lives of my unit, could I kill another man? I was never so sure I could, so I chose the pen over the sword.

Sometimes the pen has to write about the sword, or the gun, and when you're an army journalist for The Stars and Stripes in wartime you don't have much choice. I was sent to interview commander of Allied Forces, Gen. Dwight Eisenhower, later of "I Like Ike" fame. He was very philosophical, for a bald guy. He took one look at me with one of those special kinds of eyes, the kind that sums you up and gets you right in one look.

"Many people think the soldier loves war," he told a young Sampson L. Hartwig, which was me at the time, "but the soldier hates war most of all. It is the soldier who has to walk, eyes open, into battle on a daily basis. It is the soldier who has to put himself in harm's way. It is the soldier who has to die to ensure the freedom and safety of his country, and even worse, it is the soldier who has to aim his weapon, fire, and kill for his country. Yes, the soldier hates war more than anyone else."

And back then, it was true. That was before they invented hippies.

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