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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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Robyn Beck/AFP via Getty Images


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.

Jennifer Jenkins and Sean Dudley


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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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Judy Blume says she’s done writing: ’50 years is enough!’

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Judy Blume says she’s done writing: ’50 years is enough!’

Scott Simon talks with author Judy Blume at the Santa Fe International Literary Festival in May.

Tira Howard Photography./Courtesy Santa Fe International Literary Festival


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Tira Howard Photography./Courtesy Santa Fe International Literary Festival

Judy Blume is the legendary writer of books for young adults including Are You There God It’s Me Margaret, Deenie, Tiger Eyes, Tales of a Fourth Grade Nothing and Blubber.

Her last book, 2015’s In The Unlikely Event, was published more than a decade ago. Blume now spends her time reading children’s books behind the counter at her bookstore in Key West, Florida. Though she says she is done writing, her books remain beloved; her readers numerous and devoted.

Judy Blume spoke with NPR’s Scott Simon at the Santa Fe International Literary Festival in May. Here are excerpts from that conversation, edited in parts for clarity and length.

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Scott Simon: How did you begin to write? What do you think made you a writer?

Judy Blume: I was a reader. And, you know, I meet so many kids and they say, “I want to be a writer when I grow up, but I don’t like to read.” And I say, “You know what? Forget being a writer.” Because I think every writer — that I know anyway — grew up a reader. And certainly that was true for me.

Simon: What was the spark that set it in motion from reading to writing, do you think?

Blume: I was married young. I had two kids young. And I was desperate for a creative outlet. I loved taking care of babies, but I needed something else and it could have been anything.

Simon: I have read that at one point in your life you made felt art pieces?

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Scott Simon with Judy Blume in Santa Fe in May.

Tira Howard Photography/Courtesy Santa Fe International Literary Festival


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Blume: Oh God, my first career. You know, I stopped because the Elmer’s glue — I’m an allergic person — started to give me funny things on the tips of my fingers. I made $300 selling those. And I bought myself a small electric typewriter. And the rest is history.

But I always had stories inside my head — when I was 9 years old. I bounced a rubber ball against the side of my house for hours. But really what was going on were stories. Fabulous stories, very melodramatic. I never told anybody. I never asked a friend, “Hey, do you have stories inside your head all the time?” Because I thought they’d think I was weird, which I might have been. So the stories were always there.

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James Burrows, director of classic shows ‘Cheers’ and ‘Friends,’ dies at 85

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James Burrows, director of classic shows ‘Cheers’ and ‘Friends,’ dies at 85

Director James Burrows attends the “Will & Grace” start of production kick off event and ribbon cutting ceremony at Universal City Plaza on August 2, 2017 in Universal City, California.

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LOS ANGELES — James Burrows, who helped create volumes of laughter as director of more than a thousand episodes of such classic television comedies as “Cheers,” “Taxi,” “Friends” and “Will and Grace,” died Friday. He was 85.

His family confirmed his death in a statement to People, saying he “passed away peacefully today surrounded by his family.” No location or cause of death was provided.

Burrows spent his career behind the camera specializing in situation comedies. Few viewers recognized him or knew his name, other than to see it flash quickly on the screen in the opening credits. But they knew his work.

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Burrows got his start in television relatively late at age 35 in 1974, directing episodes of “The Mary Tyler Moore Show,” “The Bob Newhart Show,” and “Laverne & Shirley.”

He co-created “Cheers,” directing 243 of the 273 episodes, as well as all 246 episodes of “Will and Grace.”

He also helmed multiple episodes of such hits as “Frasier,” “Friends” and “Mike & Molly,” and the pilots of “Two and a Half Men” and “The Big Bang Theory.”

“When I direct a television show, I try to reach that sweet spot where the best script meets the best performance and the best chemistry between performers,” Burrows wrote in his 2022 memoir “Directed by James Burrows.” “Hitting that exact moment, where these factors land in combination, results in the sweetest and most enduring laugh.”

His family said, “Burrows understood that great comedy was never simply about laughter. It was about humanity, connection, and truth. That understanding became the foundation of a career that forever changed television.

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“But beyond his remarkable achievements, Burrows will be remembered for something even greater: his kindness, generosity, and unwavering belief in the people around him. He possessed a rare ability to make everyone better and was known for remembering every person he met by name, making colleagues at every level feel seen, valued, and appreciated,” the family statement said.

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Beer, with a twist? SoCal dads find solidarity through an unexpected activity

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Beer, with a twist? SoCal dads find solidarity through an unexpected activity

For a few minutes, the atmosphere inside Captain Fatty’s Brewery in Santa Barbara County was quiet, different from the usual Friday night clamor.

On this late May evening, the 15 men gathered there were contemplating tackling something few had previously had the courage or skill to take on. Austin Nieves, a recent transplant to the area and the man who had brought this brave group together, broke the strained silence by handing out beers.

Within minutes, the men, who ranged in age from 30 to 60, began chatting among themselves.

Then they started braiding hair.

The May 22 event — Goleta’s version of the viral U.K.-inspired “Pints and Ponytails” night — was sold out. The idea is to have expert hairstylists train uninitiated or intimidated fathers on how to comb and braid their kids’ hair, using salon-type head mannequins but in a setting for bros.

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“When the first guys got there, they were stiff,” said Nieves, a Pasadena native who moved to Santa Barbara in April 2025. “Then after that first beer, they went from sitting around the edge of the bar to jumping right into learning and giving it a shot.”

Dads group members Dan Ucko, left, and Eric Schalla participate in the hairstyling event at Captain Fatty’s Brewery in Goleta.

The gathering was one of several father functions by the Santa Barbara Dads group, which Nieves founded last spring.

May’s papa party offered, along with the suds, a learning experience and camaraderie among fathers, which Nieves believes is much needed.

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“When my wife had our son, she immediately became part of at least five mom groups and classes that offered her help, advice, friendship and training,” Nieves said. “As a first-time father, I really only had my brothers, who had children themselves, to turn to.”

Scientific studies have shown that as fathers have taken a more active role in child rearing, they’ve faced loneliness, doubt and confusion.

Researchers Chris Knoester and David J. Eggebeen wrote in 2006 in the “Journal of Family Issues” that fatherhood leads “to declines in feelings of well-being and participation in social activities” as fathers spend less time with friends.

Clinical psychologists Hillary Halpern and Maureen Perry-Jenkins documented that the transition from single life to fatherhood is often accompanied by a roller coaster of emotions. And researchers from Stockholm’s Karolinska Institute determined in a 2021 study that fathers might require help “during their transition to fatherhood.”

Eric Drachman, of Santa Barbara, center, pays close attention as hair stylist Chi Jou Lin, left, teaches

Eric Drachman, of Santa Barbara, center, pays close attention as hair stylist Chi Jou Lin, left, teaches a group of dads how to style their daughters’ hair.

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A mannequin head sits on a tripod at Captain Fatty's Brewery

A detail of one of the mannequin heads.

One such way to assist men is specifically a fathers group, according to the 2021 study.

Most men “were mostly satisfied with participating in father groups and described that they positively impacted their relationship with their partner and child.”

The increased contact also helped improve “their self-confidence and family equality and decreased their loneliness.”

Nieves agreed that his leisure time and focus changed sharply after the birth of his child, Hudson, now 3 years old, as did his friend group updates.

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“They were talking about all this crazy fun or TV shows and I was talking about my son being able to lift his head,” Nieves said. “That’s when I knew I had to branch out.”

Nieves, then living in Costa Mesa with his wife, Katie, created the Orange County Dads club in October 2023.

Dads learn how to style their daughters' hair on a mannequin.

Scientific studies have shown that as fathers have taken a more active role in child rearing, they’ve faced loneliness, doubt and confusion.

His group of merry men held meetups at coffee shops, beer halls and the zoo, hosted holiday hootenannies and even offered CPR classes.

Its success helped spawn a chapter in the Whittier area.

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Though strictly a fathers club, the group, Nieves said, has grown thanks to wives and partners sharing his social media posts with their husbands.

Mikhail Alfon, founder of Blue Light Media, a social media strategy agency, took his son, Santos, to multiple Orange County meetups.

“This is our first child and obviously life changes a lot,” said Alfon in a social media post. “Finding peers and friends that are in the same stage of life is great.”

That sense of community, however, faced a challenge as Nieves and his family purchased a home in Santa Barbara and moved in April 2025.

Childhood friends Peter Aguilar and Fredy Medel, from left, style a mannequin's hair.

Peter Aguilar, left, and Fredy Medel work on their technique. Medel’s partner, Daniela Fajardo, holding their 1-year-old daughter, Faylani, records the event.

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Within a month, however, he had established a Santa Barbara-based dads group. Their first meetup was in May 2025, and they’ve made a point to gather once a month.

Austin Jones, a Santa Barbara-based real estate agent and investor, found Nieves through Instagram.

“I’m a husband, a dad and businessman, and it ends up being a lot of hats but very little support, at times,” Jones said. “It’s nice to find people in the trenches with you.”

Jones was intrigued by Pints and Ponytails as he’s battled the hair-care needs of his 2 ½-year-old daughter, Noa, and her textured, curly locks.

In a short while, Jones had gained enough confidence in whipping his mannequin’s hair into a ponytail that he vowed to try with his daughter soon.

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“I was only pretty good at putting on a headband before this,” he quipped.

The six mannequin heads and the hour of instruction came courtesy of Santa Barbara cosmetologist Chi Jou “Belle” Lin, who offers area mobile services.

“I saw the social media post and a lot of people reached out to me to teach the class,” Lin said. “I had to help.”

Lin said the mannequins she brought varied in hair length and type, from straight to coily, but also fine in texture, as she tried to replicate young children’s hair.

A pint sits among hairstyling tools.

A pint of beer, hairstyling tools and sprays.

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She also taught the fathers basic hair-care techniques, including shampooing, detangling, checking for lice and how to tie ponytails and braids.

Even if they started out reticent, the fathers became active participants, asking questions about creating a neat French braid, what to do about tangled ponytails and how to deal with frightened children, Lin said.

“I was really impressed with the dads and their skills and the real-life questions,” said the stylist, who has personal experience at home in her 2 ½-year-old daughter, Lotus. “Not all men have the courage to ask questions.”

For Nieves, the secret in gaining new dads and retaining others is simplicity.

“If you open the door, the fathers will follow because everyone can use some help,” Nieves said. “But they just need to know it exists and they’re not alone.”

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Dads cheers one another while attending a Santa Barbara Dads Group event called "Pints & Ponytails."

Dads Gabriel Sandoval, left, Jose Guerrero and David Talavera toast one another at the May 22 Santa Barbara County Dads’ “Pints and Ponytails” event in Goleta.

Days after the Goleta get-together, Santa Barbara dad Eric Drachman became a celebrity at the preschool of his daughter, Noa, who is soon to be 3.

“When the videos of the event were posted, the teachers at the school recognized me,” Drachman said. “They would ask my daughter, ‘Who did your hair?’”

The query that means most, however, is when Noa asks her father to fix her hair.

“She asks occasionally,” he said. “It‘s such a fun dynamic we have.”

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