Can we go see Mickey? We have Mickey at home! Mickey… at home?

By: Kevin Vu

Nearly 100 years ago, Walt Disney released “Steamboat Willie,” showcasing Mickey Mouse’s first adventure. That mouse would kickstart what is now one of the world’s biggest companies, Disney. Today, Disney does a variety of things: it operates its own streaming services, runs a majority of the world’s most popular theme parks, and releases some of the world’s highest grossing movies. At the center of all that success is Mickey Mouse, who’s been dubbed “the world’s most famous cartoon character.” But Mickey is no longer just Disney’s to parade around, recently Mickey has become part of the public domain. What does being part of the public domain really mean though? This blog will explore and explain Mickey’s complicated history with copyright, what the public domain is, and what being in the public domain means for both Mickey’s future and others similarly situated to him. 

Copyright’s Origins

Copyright law originates from Article I, Section 8, Clause 8 of the United States Constitution which provides that Congress shall have the power “To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.” Copyright is a set of protections from the federal government for originally created works. Copyright disallows others from using the work without the author’s permission, and as was alluded to earlier, protection generally lasts for the author’s lifetime plus 70 years after the author’s death. In 1790, Congress used that power to pass the first Copyright Act which extended protection of works to 14 years, with a renewal period of another 14 years. 

Then, in 1909, a new Copyright Act doubled the length of protection for works from 28 years to 56 years, along with adding protections for motion pictures. “Steamboat Willie” was then released in 1928, and fast-forwarding some years and some minor changes to the Copyright Act, Disney entered the copyright arena in 1998. By that time, Mickey’s copyright was set to expire in 2003. Disney, worried about its copyright for Mickey, successfully lobbied Congress to protect him for 20 more years—extending his copyright expiration date to 2024. But that was the final extension for the mouse, as he is now part of the “public domain,” no longer just the sole property of Disney. 

What’s the Public Domain?

In contrast to copyrighted works, the public domain consists of “creative materials that are not protected by intellectual property laws such as copyright, trademark, or patent laws.” That means that items which were not originally subject to intellectual property protections, like laws for example, are part of the public domain and freely usable by individuals. Creative materials, like Mickey, which were previously protected under laws like copyright may also become part of the public domain once their copyright has expired.

Once something is in the public domain, it is fair game for any one to use. As the United States Supreme Court articulated in Dastar Corp. v. Twentieth Century Fox Film Corp., uncopyrighted materials are not protected under federal law. Further, because Article I, Section 8, Clause 8 vests the power to protect creative endeavors in Congress, states are precluded from passing copyright laws under the Supremacy Clause of the U.S. Constitution. This means that anyone can use works in the public domain without obtaining permission or giving credit to the original author, and no one can ever own that work.

Mickey… at home?

One can immediately see why Mickey’s move to the public domain is problematic for Disney. 20 years ago, it was estimated that Mickey Mouse had made over $5.8 billion for Disney. This explains why Disney was adamant about lobbying Congress for copyright protection extensions, as Mickey going to the public domain could affect his worth. 

Fast-forwarding to today, Mickey has entered the public domain, with one company has already announced that they plan on making a Mickey Mouse horror movie, following in the footsteps of “Winnie-the-Pooh: Blood and Honey,” a Winnie the Pooh slasher movie created when Pooh Bear entered the public domain in 2023. Ultimately, it remains to be seen what else individuals will do with Mickey.

But luckily for Disney, Mickey’s presence in the public domain does not spell the end of their rights to the iconic character. Copyright law makes distinctions between versions of characters meaning only the “Steamboat Willie” version of Mickey is in the public domain and usable by anyone. The red shorts, big-boots, and high-pitched voice of the current Mickey Mouse remains Disney’s property, and is therefore subject to copyright protection. Another thing to note is that Disney’s use of Mickey as a brand or symbol is protected under trademark law. So, while “Steamboat Willie” Mickey is freely usable, individuals should be careful not to confuse that character with his newer versions, and avoid making it seem like Disney endorses their new creative work. As some commentators have noted, Disney is actively seeking to protect its brand and anyone seeking to use Mickey should seek out legal counsel.  

Ultimately, it remains to be seen whether Mickey’s introduction into the public domain will create new, expansive creative works, or if Disney will continue to aggressively fight for the mouse. Whatever the case, Mickey’s move into the public domain is a historic event, and its effects remain untested.

Video Killed the Radio Star… And the Internet Killed Cable

Untitled1By Tyler Quillin

This article began with an interest in the disparity between last year’s SEC Network and Pac12 Network revenue yields. However, research led to an even more disruptive evolution in cable television delivery – the end of cable bundling. As the internet continues to reshape the way we consume content, cable-bundling continues to decline.

Most of us still access cable television via the traditional bundling model, which functions through consumer subscriptions for desired channel lineups. Each of the channels provided by the service provider costs a fee to provide. These are called affiliate fees, which are licensing fees agreed upon between each service provider and the respective network. These affiliate fees are a growing influence on the pricing of service provider lineups in an evolving market where the internet provides the direct access to clients these networks never had before. Before the internet, networks needed cable servicer providers to disseminate their products to consumers, but now consumers can go straight to the source for targeted consumption of their desired programming via streaming subscription models. For example, remember the big splashes Hulu and Netflix made in the mid-2000s by providing streamed content? The Networks began offering content for free via Hulu while cable service providers were paying hefty affiliate fees. The cable service providers were unhappy, and Hulu became a subscription-based service. This marked the beginning of the end. Continue reading

A New Co-Author to Anne Frank’s Diary

Anne FrankBy Binh Vong

One of the most widely-read books of the 20th century, Anne Frank’s diary gives us a glimpse of World War II through the details of the years when the Frank family hid from the Nazis in the attic of a factory in Amsterdam. Anne’s father, Otto Frank, compiled the diary and gave the copyright of the book to Anne Frank Fonds (“the Foundation”), a Swiss foundation. Because Anne Frank died in 1945, under the copyright law of the European Union, the copyright to the book in Europe was originally set to end this upcoming January 1st, 70 years after her death.

In a move to extend the copyright of the book, the Foundation recently announced that Otto Frank co-authored the book, which would extend the copyright of the book to 70 years after Otto Frank’s death in 1980. This gives the Foundation exclusive rights over the book until 2050 in Europe. The copyright to Anne Frank’s diary in the United States does not end until 2047, 95 years after the book was first published in the United States in 1952. Continue reading

Internet Pirates Need Not Fear the ITC—For Now

Untitled1By Mackenzie Olson

Imagine that you are the CEO of an entertainment company such as TimeWarner or Disney, and illegal downloading costs your company millions in lost revenue each year. How do you solve this problem? Do you change your business model? HBO is the creator of Game of Thrones, the most pirated TV show in the world. Some viewers who download the show illegally have explained that they pirate the program because they do not want to pay for a full cable subscription to watch one show. This year, HBO debuted a stand-alone streaming service that does not require a cable subscription. Currently, this may be HBO’s best option for reducing the rate of piracy of its programs in the United States; the US Court of Appeals for the Second Circuit recently ruled that the United States International Trade Commission (ITC) does not have the authority to prosecute foreign websites that contain pirated content in ClearCorrect Operating, LLC v. ITC. Continue reading