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Popeye, Tintin and more will enter the public domain in the new year
An enlarged cartoon of Tintin pictured on display at Paris’ Pompidou Cultural Center in 2006. The Belgian cub reporter is among the characters and works entering the public domain in 2025.
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Jacques Brinon/AP
Jan. 1 marks the dawn of a new era for Popeye and Tintin. It’s the day the nonagenarian cartoon characters officially enter the U.S. public domain along with a treasure trove of other iconic works.
The copyrights of thousands of films, songs and books expire in 2025, making them instantly available for people to use, share and adapt. The list includes classics like Virginia Woolf’s book A Room of One’s Own, the Fats Waller song “Ain’t Misbehavin’” and the Marx Brothers’ first feature film, The Cocoanuts.
The main thing they have in common is their age — under U.S. copyright law, their terms all expire after 95 years. All of the works entering the public domain next year are from 1929, except for sound recordings, which (because they are covered by a different law) come from 1924.
“Copyright’s awesome … but the fact that rights eventually expire, that’s a good thing, too, because that’s the wellspring for creativity,” says Jennifer Jenkins, the director of Duke’s Center for the Study of the Public Domain, which spends months poring over records to compile the most famous examples.
Once in the public domain, these works become fodder for remakes, spinoffs and other adaptations.
That explains the recent wave of horror films starring Mickey Mouse and Winnie the Pooh, characters that entered the public domain in 2024 and 2023 respectively. The trend seems poised to continue: Jenkins says there are already three Popeye slasher flicks in the works.
“They’re capitalizing on the incongruity of this comic book character in a different genre and they get a lot of buzz,” she adds. “[But] when I sit back and look at the universe of remakes of public domain characters or works … the things that we still talk about that stand the test of time don’t tend to be these buzzworthy, kind of ew, grossed-out features.”
More enduring examples include West Side Story drawn from Shakespeare’s Romeo & Juliet, screen adaptations of Jane Austen’s Emma, Percival Everett’s 2024 book James (a retelling of Huckleberry Finn) and Wicked, the musical-turned-movie prequel to L. Frank Baum’s Wizard of Oz.
But these artifacts don’t only become fodder for big-name directors and authors — they’re available for anyone who wants to use them, from artists to high school orchestra directors.
Jenkins says she gets “adorable emails” from people who are drawing their own little Winnie the Pooh cartoons, and parents whose kids are talented musicians, eager to finally be able to perform certain compositions publicly and post them online.
In other words, the impact of public domain works extends far beyond the box office and Billboard charts.
“I’m excited about those things that not everybody’s going to notice — people really re-discovering some of these older works and engaging with them and appreciating them and making them their own,” she adds.
Here’s a look at some of the works that are just days away from the public domain:
Characters
A helium-filled Popeye balloon participates in the 33rd Macy’s Thanksgiving Day Parade in New York in 1959, three decades after his comic strip debut.
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Tintin the brave cub reporter — and his dog, Snowy — will enter the public domain in the U.S. well before they will in the European Union, where they are copyrighted until 2054. That’s because EU copyright terms extend 70 years past creators’ deaths, and Belgian cartoonist Hergé died in 1983.
Closer to home there’s E.C. Segar’s Popeye, who made his debut in a January 1929 Thimble Theatre cartoon strip. He sports his signature pipe, sailor outfit, anchor tattoo and sense of humor, responding when asked if he’s a sailor: “Ja think I’m a cowboy?”
He could have a whole new set of adventures starting in 2025. But there’s a catch: Popeye didn’t start deriving his strength from spinach until 1932.
As Jenkins explains, many cartoon characters develop over time and have been in copyrighted works year after year, meaning certain aspects of them may come into the public domain in different years. So only the original 1929 versions of Popeye and Tintin are fair game, at least for now.
“Definitely the Popeye from 1929 and everything that he says, all of his characteristics, his personality, his sarcasm … that’s public domain,” she says. “The spinach, if you want to be on the safe side, you might want to wait.”
Films
The Wild Party, Clara Bow’s first talkie, was released in 1929, making it public domain in 2025.
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Similarly, the original Steamboat Willie version of Mickey Mouse arrived in the public domain with much fanfare in 2024. In 2025, a dozen more Mickey animations will follow suit — including The Karnival Kid, in which he speaks for the first time.
“His very first words are ‘Hot dogs! Hot dogs!’ — so I guess that’s kind of cute,” Jenkins says. “And then he didn’t wear the white gloves in 1928, but next year, in 2025, we get the version of Mickey Mouse with the signature white gloves in the public domain.”
Sound is a big theme across the films making their public domain debut next year, since 1929 marked the end of the silent film era and the dawn of the sound film age.
The list includes the first sound films from major directors like Alfred Hitchcock (Blackmail), John Ford (The Black Watch) and Cecil B. DeMille (Dynamite), as well as Clara Bow’s first talkie, The Wild Party, and The Broadway Melody, the first sound film to win an Academy Award for Best Picture.
Other notables include Walt Disney’s The Skeleton Dance (the first of the Silly Symphony shorts); King Vidor’s Hallelujah, the first major studio film with an all-Black cast; and Alan Crosland’s On With the Show, the first all-talking, all-color, feature-length film.
Books
From left: Ernest Hemingway in 1950, William Faulkner in 1950, and John Steinbeck in 1962.
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Among the many literary works entering the public domain next year are two of the most acclaimed books about World War I: Ernest Hemingway’s A Farewell to Arms, and the first English translation of Erich Maria Remarque’s All Quiet on the Western Front — both authors served in the war themselves.
The list includes several detective mysteries: Red Harvest and The Maltese Falcon by Dashiell Hammett, Ellery Queen’s The Roman Hat Mystery, and Seven Dials Mystery by Agatha Christie.
There are also some literary debuts, including John Steinbeck’s first novel, Cup of Gold, and Richard Hughes’ first novel A High Wind in Jamaica.
Musical compositions
George Gershwin’s “An American in Paris” is among the musical compositions entering the public domain in 2025.
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The latest crop of compositions spans the era’s jazz standards, show tunes, pop music and more.
They include: Arthur Freed’s Singin’ in the Rain (which was featured in the film The Hollywood Revue of 1929, also entering public domain), George Gershwin’s An American in Paris, Maurice Ravel’s Bolero, Jack Yellen’s Happy Days Are Here Again (the campaign song for FDR’s 1932 presidential run), Cole Porter’s What Is This Thing Called Love? and Tiptoe Through the Tulips (the Joseph Burke version, not the 1968 Tiny Tim one).
“But if you felt like singing like Tiny Tim for some reason, and you could, you can record your own version of Tiptoe Through the Tulips next year because that song’s going to be public domain,” Jenkins says.
The Center for the Study of Public Domain specifies that musical compositions refer to “the music and lyrics that you might see on a piece of sheet music, not the recordings of those songs.” Those are covered by a separate copyright.
Sound recordings
Marian Anderson became the first Black singer to perform at the Metropolitan Opera House in New York in 1955. One of her early recordings from 1924 will enter the public domain next year.
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Under the 2018 Music Modernization Act, sound recordings are protected by copyright for 100 years. It’s the particular recordings that eventually enter the public domain, not the song’s music or lyrics or later recordings from those artists.
These are some of the 1924 performances that will become available for legal reuse in January: Marian Anderson’s “Nobody Knows the Trouble I’ve Seen,” George Gershwin’s “Rhapsody in Blue,” Jelly Roll Morton’s “Shreveport Stomp,” “Deep Blue Sea Blues” by Clara Smith, and “Everybody Loves My Baby (But My Baby Don’t Love Nobody But Me)” recorded by Louis Armstrong and Clarence Williams’ Blue Five.
The U.S. Supreme Court
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The U.S. Supreme Court refused Friday to allow Virginia to use a new congressional map that favored Democrats in all but one of the state’s U.S. House seats. The map was a key part of Democrats’ effort to counter the Republican redistricting wave set off by President Trump.
The new map was drawn by Democrats and approved by Virginia voters in an April referendum. But on May 8, the Supreme Court of Virginia in a 4-to-3 vote declared the referendum, and by extension the new map, null and void because lawmakers failed to follow the proper procedures to get the issue on the ballot, violating the state constitution.
Virginia Democrats and the state’s attorney general then appealed to the U.S. Supreme Court, seeking to put into effect the map approved by the voters, which yields four more likely Democratic congressional seats. In their emergency application, they argued the Virginia Supreme Court was “deeply mistaken” in its decision on “critical issues of federal law with profound practical importance to the Nation.” Further, they asserted the decision “overrode the will of the people” by ordering Virginia to “conduct its election with the congressional districts that the people rejected.”
Republican legislators countered that it would be improper for the U.S. Supreme Court to wade into a purely state law controversy — especially since the Democrats had not raised any federal claims in the lower court.
Ultimately, the U.S. Supreme Court sided with Republicans without explanation leaving in place the state court ruling that voided the Democratic-friendly maps.
The court’s decision not to intervene was its latest in emergency requests for intervention on redistricting issues. In December, the high court OK’d Texas using a gerrymandered map that could help the GOP win five more seats in the U.S. House. In February, the court allowed California to use a voter-approved, Democratic-friendly map, adopted to offset Texas’s map. Then in March, the U.S. Supreme Court blocked the redrawing of a New York map expected to flip a Republican congressional district Democratic.
And perhaps most importantly, in April, the high court ruled that a Louisiana congressional map was a racial gerrymander and must be redrawn. That decision immediately set off a flurry of redistricting efforts, particularly in the South, where Republican legislators immediately began redrawing congressional maps to eliminate long established majority Black and Hispanic districts.
An explosion and fire drew a large emergency response on Friday to a lumber mill in the Midcoast region of Maine, officials said.
The State Police and fire marshal’s investigators responded to Robbins Lumber in Searsmont, about 72 miles northeast of Portland, said Shannon Moss, a spokeswoman for the Maine Department of Public Safety.
Mike Larrivee, the director of the Waldo County Regional Communications Center, said the number of victims was unknown, cautioning that “the information we’re getting from the scene is very vague.”
“We’ve sent every resource in the county to that area, plus surrounding counties,” he said.
Footage from the scene shared by WABI-TV showed flames burning through the roof of a large structure as heavy, dark smoke billowed skyward.
The Associated Press reported that at least five people were injured, and that county officials were considering the incident a “mass casualty event.”
Catherine Robbins-Halsted, an owner and vice president at Robbins Lumber, told reporters at the scene that all of the company’s employees had been accounted for.
Gov. Janet T. Mills of Maine said on social media that she had been briefed on the situation and urged people to avoid the area.
“I ask Maine people to join me in keeping all those affected in their thoughts,” she said.
Representative Jared Golden, Democrat of Maine, said on social media that he was aware of the fire and explosion.
“As my team and I seek out more information, I am praying for the safety and well-being of first responders and everyone else on-site,” he said.
This is a developing story. Check back for updates.
Crime scene tape surrounds a bicycle in front of St. Lukes Episcopal Church in Atlanta on May 14, 2026. (SKYFOX 5)
ATLANTA – The woman stabbed to death on the Beltline has been identified as 23-year-old Alyssa Paige, according to the Fulton County Medical Examiner.
The backstory:
Paige was killed by a 21-year-old man Thursday afternoon while she was on the Beltline. Officials confirmed to FOX 5 that the stabbing happened near the 1700 block of Flagler Avenue NE.
Atlanta Police Chief Darin Schierbaum said the department was alerted around 12:10 p.m. that a woman had been stabbed just north of the Montgomery Ferry Drive overpass. She was rushed to Grady Memorial Hospital where she later died. Another person was also stabbed during the incident, but their condition remains unknown.
According to officers, the man responsible attacked a U.S. Postal worker prior to the stabbing before getting away on a bike. He then used that bike to flee the scene of the stabbing as well.
The suspect was arrested near St. Luke’s Episcopal Church on Peachtree Street in Midtown around 5:25 p.m.
What we don’t know:
While officials haven’t released an official motive, they noted the man may have been suffering a mental health crisis.
The Source: Information in this article came from the Fulton County Medical Examiner’s Office and previous FOX 5 reporting.
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