Lifestyle
Public domain contest challenges filmmakers to remix Betty Boop, Nancy Drew and more
Nearly 280 filmmakers entered the Internet Archive’s Public Domain Film Remix Contest this year. Above, a still from King of Jazz. The 1930 film was used as source material in several contest submissions.
Universal Pictures/Internet Archive
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Universal Pictures/Internet Archive
One of the most unusual of the creative treasures to enter the public domain this month is King of Jazz. The plotless, experimental 1930 musical film shot in early Technicolor centers on influential bandleader Paul Whiteman, nicknamed “The King of Jazz.”
In one memorable scene, the portly, mustachioed Whiteman opens a small bag and winks at the camera as miniature musicians file out one after another like a colony of ants and take their places on an ornate, table-top bandstand.
A new video based on clips from King of Jazz has won this year’s Public Domain Film Remix Contest — an annual competition that invites filmmakers from around the world to reimagine often long-forgotten literary classics, films, cartoons, music, and visual art that are now in the public domain. This means creators can use these materials freely, without copyright restrictions. In 2026, works created in 1930 entered the public domain.
Titled Rhapsody, Reimagined, the roughly two-minute video captures the King of Jazz‘s surreal quality: Cookie-cutter rows of musicians, showgirls, office workers and random furniture cascade across the screen as Whiteman’s winking face looks on.
“I wanted to transform the figures and bodies into more dream-like shapes through collage and looping and repetition,” said Seattle-based filmmaker Andrea Hale, who created the piece in collaboration with composer Greg Hardgrave. For video artists, Hale said discovering what’s new in the public domain each January is a thrill. “We’re always looking for things to draw from,” Hale said. “Opening that up to a bigger spread of materials is amazing. That’s the dream.”
A massive repository of content
The Internet Archive, the San Francisco-based nonprofit library behind the contest, digitizes and provides public access to a massive repository of content, including many materials used by contest participants. “These materials have often just been in film canisters for decades,” said digital librarian Brewster Kahle, who founded the Internet Archive in 1996.
This year’s submissions range from a reworking of the 1930 film The Blue Angel starring Betty Boop — another public domain entrant this year — instead of Marlene Dietrich, to an AI-generated take on the 1930 Nancy Drew book The Mystery at Lilac Inn.
Kahle said the Internet Archive received nearly 280 entries this time around, the highest number since the competition launched six years ago. “Things are not just musty, old archival documentation of the past,” Kahle said. “People are bringing them to life in new and different ways, without fear of being sued.”
The public domain in the era of AI
Lawsuits have become a growing concern for artists and copyright holders, especially with the rise of generative AI. Recent years have seen a surge in online video takedowns and copyright infringement disputes.
Media companies are trying to address the problem through deals with tech firms, such as Disney and OpenAI’s plan, announced late last year, to introduce a service allowing users to create short videos based on copyrighted characters, including Cinderella and Darth Vader.
“On the one hand, these licensing agreements seem quite a clean solution to thorny legal questions,” said Jennifer Jenkins, director of the Center for the Study of the Public Domain at Duke Law School. “But what’s exciting about the public domain is that material, after a long, robust 95-year copyright term, is just simply free for anyone — without a team of lawyers, without a licensing agreement, without having to work for Disney or OpenAI — to just put online,” Jenkins said.
Jenkins also pointed out an interesting twist for people who create new works using materials from the public domain. “You actually get a copyright in your remix,” she said. “Just like Disney has copyrights in all of its remakes of wonderful public domain works like Snow White or Cinderella.” (The Brothers Grimm popularized these two characters in their 19th century collection Grimm’s Fairy Tales. But their roots are much deeper, going back to European folklore collections of the 1600s and beyond.)
However, this only applies to works created by humans — U.S. copyright law currently doesn’t recognize works authored by AI. And Jenkins further cautioned that creators only get a copyright in their new creative contributions to the remix, and not the underlying material.
This year’s Public Domain Film Remix Contest winner Andrea Hale said she’s using a Creative Commons license for Rhapsody, Reimagined. This means the filmmaker retains the copyright to her work but grants permissions that allow other people to freely use, share, and build upon it. “I’m keeping with the spirit of the public domain,” Hale said.
Lifestyle
Can you say no to a friend’s wedding? : It’s Been a Minute
Can you say no to a friend’s wedding?
Getty Images/Getty images
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Getty Images/Getty images
Are we spending too much on other people’s weddings?
Going to a friend’s weddings can be so fun and meaningful… but it can also really hurt your wallet. A survey by LendingTree found that 31% of people who had been to a wedding in the past five years had accrued debt to attend. So what’s driving up the cost of weddings for guests? And what makes it so hard to say no to these expenses?
Brittany breaks it down with Allyson Rees, senior analyst at trend forecasting firm WGSN, and Annie Joy Williams, assistant editor at The Atlantic.
This episode was produced by Liam McBain, with additional support from Corey Antonio Rose. It was edited by Neena Pathak. Our Supervising Producer is Cher Vincent. Our Executive Producer is Barton Girdwood. Our VP of Programming is Yolanda Sangweni.
Lifestyle
Is it safe to eat from your garden after the Boyle Heights warehouse fire?
After the eight-day-long fire in a 500,000-square-foot Boyle Heights warehouse, eastern Los Angeles residents are contending with putrid smells, soot and potentially hazardous airborne chemicals after heavy plumes of smoke spread throughout the city. But those who grow food in nearby neighborhoods may also be wondering: How will the fires affect the plants and produce in my garden?
The Boyle Heights warehouse, owned by Lineage — a global temperature-controlled storage facility operator — housed 85 million pounds of frozen food and other products. In the days since the fire, local emergency visits for smoke inhalation and throat pain spiked while agencies still scramble to measure the amount of PM 2.5 — harmful fine particles — and heavy metals, like lead and arsenic, in the air.
According to researchers, any toxic airborne chemicals would likely stem from the charred foam insulation, metal exterior, burned solar panels and any lithium batteries that might have been present inside the warehouse.
After a fire, heavy metal particles can spread through ash and smoke over gardens and inhibit growth, said Olukayode Jegede, an agricultural toxicologist and assistant professor at UC Davis. Since the warehouse fire is so recent and cleanup has just begun, Jegede said the precise impact on gardens can’t be measured until comprehensive soil tests are conducted in the area.
While the L.A. city government hasn’t announced plans for soil testing, the Contaminant Level Evaluation and Analysis for Neighborhoods project at USC is offering free contaminant testing for Boyle Heights and East L.A. residents. Residents can collect soil samples and deliver them to Boyle Heights City Hall and other locations for an evaluation of lead, arsenic, chromium and mercury levels.
The good news is produce, plants and roots can still be preserved. According to Jegede, many of the soil tests conducted last year in the Altadena area after the Eaton fire showed that gardens and poultry were not as contaminated as one might expect.
“Quite a number of the soils we tested [in Altadena] were not really contaminated,” Jegede said. “We weren’t seeing many soils with concerning elevated levels of metal, so gardeners should not be too alarmed when these things happen.”
Nevertheless, there are several measures that gardeners can take to keep themselves, their children, plants and produce safe from potentially harmful contaminants stemming from the fire. Researchers, gardening experts and horticulturists offered some guidance on the handling, recultivation and cleanup that can keep you and your garden in good health.
How do I remove ash and contaminants from my garden?
Altadena horticulturist Leigh Adams said Boyle Heights plants and produce already live in a difficult environment, surrounded by industrial warehouses that spread contaminants daily.
“That area has been used industrially for 100 years, and the soil is impacted by many, many, many things,” Adams said. “Low-income neighborhoods and gardens usually don’t have a lot of resistance against dominant manufacturing.”
This means that the contamination of gardens in eastern L.A. won’t be as catastrophic as compared with those in Altadena, a more suburban environment, Adams said. But fallen ash still poses major health risks if ingested or inhaled.
An advisory from University of California Agricultural and Natural Resources last year recommended suiting up in an N95/KN95 mask, long sleeves, pants, close-toed shoes and gloves before attempting to deal with ash in the garden to limit exposure to potentially toxic contaminants. The advisory added that individuals should make sure all of this gear is cleaned thoroughly before bringing it back inside.
Once in the proper gear, Adams recommends removing the top two inches of topsoil from gardens, where the highest concentration of contaminants will settle after a fire. Using a plastic bag to collect the soil and disposing of it in the garbage — not green yard waste bins — will help to reduce the spread of airborne chemicals.
Gardeners with raised beds are advised to remove approximately six inches of soil, because excess ash can raise the pH level and prevent nutrients from soaking into the soil bed.
After this, watering the garden gently but plentifully will help to promote soil health and get rid of most of the ash present on plant leaves and stems. Adams said replacing the top two inches of soil with store-bought mulch or straw will help to contain any remaining ash and prevent it from spreading any further.
Experts say to avoid using leaf blowers if ash is present in the garden because they can send particles airborne. Doing so will increase the likelihood of heavy metal particles, which can carry lung irritants and carcinogens, being spread and inhaled.
A Boyle Heights resident keep a watchful eye on the fire at the 5,000-square-foot commercial building, which stores 85 million pounds of frozen food.
(Genaro Molina / Los Angeles Times)
Is it safe for me to eat produce from my garden?
Several studies, including one from the UC Cooperative Extension of Sonoma County, have shown that consuming produce in a fire-affected area poses minimal health risks.
Jegede said most root vegetables like potatoes and carrots, along with any fruit that has an outer layer, can be washed to remove potential contaminants, even if they were covered in ash. Peeling the outer layer of your produce can also help to reduce potential risks, he said.
Lettuce and other leafy foods with multiple layers pose a higher risk of contamination, but with a vigorous wash and peeling the outer layers, even the greens can be saved. The County of Los Angeles Department of Public Health recommends soaking leafy produce and fuzzy fruits like peaches in a 10% white vinegar and 90% water mixture.
Jegede said if the leaves or fruit are too delicate to wash or ash is still visible, it would be best to dispose of the produce.
How can I tell if my soil is contaminated?
After ridding your garden of visible ash, you might wonder how to tell if your plants will still thrive in the soil.
At-home soil tests that measure for alkaline, fertility and pH levels are widely available and can be purchased for $15 to $100 (for more detailed results) online. But Jegede said these tests can’t tell the full story of soil health.
Comprehensive soil testing is “something you can’t do properly at home,” Jegede said. “In labs, we are testing for metals like lithium and zinc, stuff that an at-home test will not show … If it comes to the point that you’re worried about your soil, I would just send it out to a lab.”
Wallace Laboratories in El Segundo, Babcock Laboratories in Riverside, Waypoint Analytical in Anaheim and other labs offer more detailed soil tests that measure heavy metal particles in addition to other fertility factors. Prices at Wallace Laboratories can range from $115 to $295 for a complete compost test.
The soil below two inches should be unharmed, Adams said, so long as new compost is set and plants are watered plentifully, which will promote natural biological cycles.
“What you’re doing is capping the soil, so that moisture stays in there, and instead of being dirt, it’s a living system called soil,” Adams said. “The more carbon we can get into our soil, the better.”
What can I do to help my soil recover?
For the last 12 years, Adams has been working with Metabolic Studio, a Los Angeles-based art and research hub focused on environmentalism, on methods for bioremediation, the practice of using additional fungi, plants and compost to decontaminate ash and break down contaminants.
Adams said straw, mushrooms, corn, rye and sunflowers are great bioremediators that can help to repair damage to soils. She said certain samples she’s worked on with Metabolic Studio have gone from testing at high heavy metal levels to nearly contaminant-free.
But for a more immediate fix, wash your produce, water your plants and have a little patience during ash cleanups. Your garden should look better in no time, Adams and Jegede said.
Lifestyle
Why Gen Z is movie-maxxing : Pop Culture Happy Hour
Inde Navarrette and Michael Johnston in Obsession.
Focus Features
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Focus Features
Two big horror films, Obsession and Backrooms, just smashed all box office expectations. So much of their success has been driven by Gen Z, which is now the biggest moviegoing demographic. But what makes a movie a Gen Z movie? Today we’re bringing you an episode of NPR’s It’s Been a Minute. Host Brittany Luse talks about this trend with Sam Adams and Reanna Cruz.
If you want to hear more about these movies, check out these episodes:
In ‘Obsession,’ love hurts. It really, really, really hurts.
‘Backrooms’ brings YouTube horror to the big screen
Zendaya brings ‘The Drama,’ we bring the spoilers
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