child: large head, spindly limbs, a lean torso. Is it male or female or neuter? We don't know. What its form basically conveys is a kind of ethereal innocence, and it is difficult to associate either great evil or great power with it; yet a feeling of eeriness is there because of the resemblance to a sickly human child." Ray first found out about E.T. from his friend, British science fiction writer Arthur C. Clarke, who was familiar with The Alien and believed it was plagiarized by E.T. Clarke called Ray and encouraged him to take legal action against E.T. No such 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". In 1984, a federal appeals court ruled against playwright Lisa Litchfield, who sued Spielberg for $750 million, claiming he used her one-act musical play Lokey from Maldemar as the basis for E.T. She lost the case, with the court 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." Themes Spielberg drew the story of the film from his parents' divorce. 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." References to Spielberg's 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. Michael picking on Elliott echoes Spielberg's teasing of his younger sisters, and Michael's evolution from tormentor to protector reflects how Spielberg had to take care of his sisters after their father left. Critics have focused on the parallels between E.T.'s life and Elliott, who is "alienated" by the loss of his father. 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." E.T. is the first and last letter of Elliott's name. At the film's heart is the theme of growing up. Critic Henry Sheehan described the film as a retelling of