Movie

E.T. the Extra-Terrestrial

Name: E.T. the Extra-Terrestrial
Released: 1982

1982 • Adventure, Family, Sci-Fi

Woke Score

out of 10

Plot

After a gentle alien becomes stranded on Earth, the being is discovered and befriended by a young boy named Elliott. Bringing the extraterrestrial into his suburban California house, Elliott introduces E.T., as the alien is dubbed, to his brother and his little sister, Gertie, and the children decide to keep its existence a secret. Soon, however, E.T. falls ill, resulting in government intervention and a dire situation for both Elliott and the alien.

Overall Series Review

E.T. the Extra-Terrestrial is a foundational piece of cinema that centers entirely on the innocent, universal themes of friendship, childhood wonder, and the strength of a familial bond. The narrative avoids political or social lecturing, focusing on the intimate emotional connection between a boy and a stranded alien being. The main conflict is not based on social identity or privilege, but on the clash between the children's pure, protective love and the impersonal, intrusive forces of adult government authority and clinical science. The film champions the human heart and spirit over state control and cold materialist analysis. It portrays a relatable single-parent family unit dealing with the consequence of divorce, where the children ultimately band together in a heroic mission of altruism. The themes of sacrifice, belief, and transcendent love are subtly woven into the core story.

Categorical Breakdown

Identity Politics2/10

Characters are not defined by race or intersectional standing; the film centers on a white, suburban family, which is simply the setting for a universal human story. E.T. is judged entirely by his kind soul and his connection to Elliott, which exemplifies a universal meritocracy. No vilification of whiteness or forced diversity exists in the plot.

Oikophobia3/10

The hostility is narrowly directed at the anonymous, invasive government and scientific apparatus, which acts as the antagonist to the family and home. The American suburban home itself is not demonized as fundamentally corrupt, but rather is positioned as the sanctified place that is violated by external forces. The critique targets state overreach and military science rather than Western civilization or ancestors generally.

Feminism3/10

The mother, Mary, is a single parent navigating life after a divorce, but she is portrayed as a loving, albeit distracted, protector of her children. Her role is functional and matriarchal within the broken home. There is no narrative focus on her career being the sole source of fulfillment, nor is there any instance of a 'Girl Boss' or 'Mary Sue' trope. The older brother, Michael, takes on a protective, masculine role during the crisis.

LGBTQ+1/10

The core of the film’s structure rests on the traditional nuclear family, which is fractured by divorce but remains the central unit. Sexuality is not a factor in the plot, and the narrative contains no centering of alternative sexualities or lecturing on gender ideology.

Anti-Theism1/10

Critics have identified strong Christological parallels in E.T.'s story arc, including his death and resurrection, and his ability to heal with a touch. The emotional power that saves E.T. is rooted in Elliott's pure love and faith, which triumphs over the cold, mechanistic, and ultimately destructive approach of the scientists. The film acknowledges a transcendent moral law of love and belief.