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'Steamboat Willie' is now in the public domain. What does that mean for Mickey Mouse?

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'Steamboat Willie' is now in the public domain. What does that mean for Mickey Mouse?

The original 1928 script for Disney’s Steamboat Willie, the first cartoon to star Mickey Mouse.

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The original 1928 script for Disney’s Steamboat Willie, the first cartoon to star Mickey Mouse.

Robyn Beck/AFP via Getty Images

An early Walt Disney movie featuring the first appearance of Mickey Mouse is among the copyrighted works from 1928 moving into the public domain on Jan. 1, 2024.

But the cartoon creature who stars in the animated short Steamboat Willie isn’t a lot like the Mickey we know today. He’s more rascally and rough. His roots in the blackface minstrel shows of the time are more apparent.

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And he’s not exactly cuddly. For much of the movie, Mickey amuses himself by forcing barnyard animals into being unwilling musical instruments.

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“You know, he’s evolved so much and become more 3D and colorful,” observes Ryan Harmon, a former Disney Imagineer, of the character today. He remembers anxious talk, when he worked at the company in the 1990s, about the beloved icon eventually entering the public domain.

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But that’s not happening, says Kembrew McLeod, a communications professor and intellectual property scholar at the University of Iowa.

“What is going into the public domain is this particular appearance in this particular film,” he says.

That means people can creatively reuse only the Mickey Mouse from Steamboat Willie. Not the Mickey Mouse in the 1940 movie Fantasia. Nor the one on Mickey Mouse Clubhouse, a kids’ show that aired on the Disney Channel for a decade starting in 2006.

New versions of Mickey Mouse remain under copyright. Copyright applies to creative characters, movies, books, plays, songs and more. And as it happens, Mickey Mouse is also trademarked.

“Trademark law is entirely about protecting brands, logos and names — like Mickey Mouse as a logo, or the name Mickey Mouse,” McLeod says.

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“And of course, trademark law has no end,” adds Harvard Law School professor Ruth Okediji. Disney and other corporations, she says, use trademarks to extend control over intellectual property.” As long as the mark remains distinctive in the supply of goods and services, the owner of the trademark gets to protect that trademark.”

Jennifer Jenkins, director of the Duke Center for the Study of the Public Domain, made this conveniently mouse-shaped explanation of what you can and can’t do with the Steamboat Willie version of Mickey Mouse as of Jan. 1, 2024. Find out more here.

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Jennifer Jenkins and Sean Dudley


Jennifer Jenkins, director of the Duke Center for the Study of the Public Domain, made this conveniently mouse-shaped explanation of what you can and can’t do with the Steamboat Willie version of Mickey Mouse as of Jan. 1, 2024. Find out more here.

Jennifer Jenkins and Sean Dudley

“It’s something copyright scholars like myself have been concerned about,” she continues. “This effective undermining of the public domain by allowing trademark law to effectively extend the life of a copyrighted work. And it’s my hope that either Congress or the courts will restore the full balance between the protection of creativity and the protection of the public domain, which is also the protection of creativity.”

Now, people should still be able to do things like incorporate clips of Steamboat Willie in an art project, or maybe sell a T-shirt reproducing a frame from the movie. But Okediji cautions if those things infringe on the trademark, or threaten to dilute the trademark because of the way it’s used, then Disney can use the law to assert its ownership.

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This could keep people from making, for example, a Mickey Mouse slasher movie. Which someone actually did when Winnie the Pooh went into the public domain last year.

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“You also can’t just call your restaurant Mickey Mouse on January 1st,” Okediji chuckles. “You can’t say, ‘I’m the Mickey Mouse restaurant.’ That would be a clear trademark violation.”

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The Walt Disney Company has earned a reputation for aggressive litigiousness over such matters. In 1989, it threatened to sue, for example three Florida daycares for painting Disney characters in a mural on its walls.

But more recently, McLeod says, the company has turned its focus from copyright and trademark related lawsuits to curbing online piracy. It’s possible, he says, an old cartoon from 1928 may not be all that valuable in 2024. The company even made Steamboat Willie available on YouTube for free back in 2009.

“Here is the irony,” McCleod says. “Steamboat Willie is based on a popular film at the time.”

Steamboat Bill, Jr. was a Buster Keaton hit that came out earlier that year. Steamboat Willie is a play on its name.

“Mickey Mouse made an appearance in a film for the first time that very much relied on another copyrighted work that helped propel its popularity,” McLeod continues. “When you’re referring to something that’s popular, most likely it’s going to create wider audiences and audiences who are recognizing that that particular reference.”

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As enshrined in the Constitution, he says, copyright was originally intended to protect creators for fewer than 30 years. While copyright extensions may enrich corporations, they impoverish the cultural conversations that rely on relevancy, innovation and creativity to drive artistic and technological progress.

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

Millie Bobby Brown in the final season of Stranger Things.

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After five seasons and almost ten years, the saga of Netflix’s Stranger Things has reached its end. In a two-hour finale, we found out what happened to our heroes (including Millie Bobby Brown and Finn Wolfhard) when they set out to battle the forces of evil. The final season had new faces and new revelations, along with moments of friendship and conflict among the folks we’ve known and loved since the night Will Byers (Noah Schnapp) first disappeared. But did it stick the landing?

To access bonus episodes and sponsor-free listening for Pop Culture Happy Hour, subscribe to Pop Culture Happy Hour+ at plus.npr.org/happy.

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JasonMartin Says Adin Ross Disrespecting Doechii Stops in 2026

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JasonMartin Says Adin Ross Disrespecting Doechii Stops in 2026

JasonMartin
Adin Ross Disrespecting Doechii …
Will Not Be Tolerated!!!

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

A firefighter works as homes burn during the Eaton fire in the Altadena area of Los Angeles County, Calif., on Jan. 7, 2025.

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On New Year’s Eve 2024, journalist Jacob Soboroff was sitting around a campfire with a friend when he made an offhand comment that would come back to haunt him: The last thing he wanted to do in the new year, Soboroff said, was cover a story that would require donning a fire-safe yellow suit.

Just one week later, Soboroff was dressed in the yellow suit, reporting live from a street corner in Los Angeles as fire tore through the Pacific Palisades, the community where he was raised.

“This was a place that I could navigate with my eyes closed,” Soboroff says of the neighborhood. “Every hallmark of my childhood I was watching carbonize in front of me. … There were firefighters there and first responders and other journalists there, but it was an extremely lonely, isolating experience to be standing there as everything I knew burned down around me in real time.”

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In his new book, Firestorm: The Great Los Angeles Fires and America’s New Age of Disaster, Soboroff offers a minute-by-minute account of the catastrophe, told through the voices of firefighters, evacuees, scientists and political leaders. He says covering the wildfires was the most important assignment he’s ever undertaken.

“The experience of doing this is something that I don’t wish on anybody, but in a way I wish everybody could experience,” he says. “It’s given me insane reverence for our colleagues in the local news community here, who, I think, definitionally were exercising a public service in the street-level journalism that they were doing and are still doing. … It was actually beautiful to watch because they are as much a first responder on a frontline as anybody else.”

Interview highlights

Firestorm, by Ben Soboroff

On the experience of reporting from the fires

You’re choking with the smoke. And I almost feel guilty describing it from my vantage point because the firefighters would say things to me like: “My eyeballs were burning. We were laying flat on our stomach in the middle of the concrete street because it was so hot, it was the only way that we could open the hoses full bore and try to save anything that we could.” …

I could feel the heat on the back of my neck as we stood in front of these houses that I remember as the houses that cars and people would line up in front of for the annual Fourth of July parade or the road race that we would run through town. Trees were on fire behind us — we were at risk of structures falling at any given minute. It was pretty surreal because this is a place I had spent so much time as a child and going back to as an adult. … I had no choice but to just open my mouth and say what I saw to the millions of people that were watching us around the country.

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On undocumented immigrants being central to rebuilding the city

These types of massive both humanitarian and natural disasters give us X-ray vision for a time into sort of the fissures that are underneath the surface in our society. And Los Angeles, in addition to being one of the most unequal cities between the rich and the poor, has more undocumented people than virtually any other city in the United States of America. Governor Newsom knew that with the policies of the incoming administration, some of the very people that would be responsible for the cleanup and the rebuilding of Los Angeles may end up in the crosshairs of national immigration policy. And I think that that was an understatement. …

Pablo Alvarado in the National Day Laborer Organizing Network said to me that often the first people into a disaster — the second responders after the first — are the day laborers. They went to Florida after Hurricane Andrew, to New Orleans after Katrina, and they’d be ready to go in Los Angeles. And I went out and I cleaned up Altadena and Pasadena with some of them in real time.

And only months later did this wide-scale immigration enforcement campaign begin … on the streets of LA as sort of the Petri dish, the guinea pig for expanding this across the country. And it’s not an exaggeration to say that the parking lots of Home Depots, where workers [were] looking to get involved in the rebuilding of Los Angeles, has been ground zero for that enforcement campaign.

On efforts to rebuild

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The pace is slow and it’s sort of a hopscotch of development. And I think for people who do come back, for people who can afford to come back, it’s going to be a long road ahead. You’re going to have half the houses on your street under construction for years to come. And for people that do inhabit those homes, it’s going to an isolating experience. But there’s an effort underway to rebuild. …

There’s also a lot of for-sale signs. And that’s the sad reality of this, is that there are people who, whether it’s that they can’t afford to come back … or that they just can’t stomach it, I think, sadly, a lot people are not going to be returning to their homes.

On what the Palisades and Altadena look like today

They both look like very big construction sites in a way. There are still some facades, some ruins of the more historic buildings in the Palisades. … But mostly it’s just empty lots. And in Altadena, the same thing. If you drive by the hardware store, the outside is still there. But it’s a patchwork of empty lots. Homes now under construction. And lots and lots of workers. … There are still a handful of people who are living in both the Palisades and in Altadena, but for the most part, these are communities where you’ve got workers going in during the day and coming out at night. …

We have designed this community to be one that’s in the crosshairs of a fire just like the one we experienced and that we will certainly, certainly experience again, because nobody’s packing it up and leaving Los Angeles. People may not return to their communities after they’ve lost their homes, but the ship has sailed on living in the wildland urban interface in the second largest city in the country.

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On seeing this story, personally, as his “most important assignment”

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

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Jason Frank Rothenberg/HarperCollins

I don’t think I realized at the time how badly I needed the connections that I made in the wake of the fire, both with the people who have lost homes and the firefighters, first responders who were out there, but also honestly with my own family, my immediate family, my wife and my kids, my mom and my dad and my siblings and myself. I think that this was a really hard year in LA, and I think in the wake of the fire, I was experiencing some level of despair as well. Then the ICE raids happened here and sort of turned our city upside down. And this book for me was just this amazing cathartic blessing of an opportunity to find community with people I don’t think I ever would have otherwise spent time with, and to reconnect with people who I hadn’t seen or heard from in forever.

Anna Bauman and Nico Wisler produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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