Classic comic characters like Popeye and Tintin will gain public domain status in the United States starting January 1, 2025. This means these beloved figures, who first appeared in 1929, can be utilized and reimagined freely without paying royalties to copyright holders. This year’s release is not as monumental as last year’s inclusion of Mickey Mouse but still consists of an impressive range of works whose copyrights are set to expire after 95 years.
Jennifer Jenkins, director at Duke’s Center for the Study of the Public Domain, highlighted the extensive treasure trove of artistic creations in this year’s batch. “A dozen new Mickey cartoons — he speaks for the first time and dons the familiar white gloves,” she stated. Additionally, the collection boasts significant works from literary giants like William Faulkner and Ernest Hemingway, as well as classic films from renowned directors such as Alfred Hitchcock, Cecil B. DeMille, and John Ford. Iconic music from artists like Fats Waller, Cole Porter, and George Gershwin will also become accessible, showcasing an exciting shift in cultural resources.
Focusing on the comic characters, Popeye, known for his muscular forearms and unique speech pattern, was created by E.C. Segar in 1929, debuting in the newspaper comic strip “Thimble Theater.” His iconic phrase, “’Ja think I’m a cowboy?” marked his first entry into the world of comics, and what was intended as a temporary character quickly transformed into a permanent feature, leading to the strip being renamed “Popeye.” However, similar to Mickey Mouse and Winnie the Pooh previously, only the original rendition of Popeye will be available for reuse. Notably, Popeye’s famed spinach, which contributed to his super-strength, was introduced later and could prompt potential legal complications. Moreover, animated shorts showcasing his mumbly voice, which debuted in 1933, remain under copyright, along with Robert Altman’s 1980 film featuring Robin Williams and Shelley Duvall.
Tintin, the intrepid young reporter from the series created by Belgian artist Hergé, will also enter the public domain. Though the 2011 film adaptation directed by Steven Spielberg received mixed reviews, the original comic series was exceptionally popular across Europe, particularly during the 20th century. Tintin first appeared in 1929 and became a regular feature in a Belgian newspaper. His character design, characterized by simplistic features and a distinct hairstyle, gained more vibrant colors over time, coming after the assumption of color printing, adding potential complexities in legal ownership.
On the literary front, a notable array of American classics will become available. Works like William Faulkner’s “The Sound and the Fury,” which employs a challenged yet innovative stream-of-consciousness technique, will join Ernest Hemingway’s landmark “A Farewell to Arms” in the public domain. Faulkner’s work, which portrays the decline of a Southern family, helped earn him a Nobel Prize, while Hemingway’s tale of love during the First World War solidified his position in the literary canon.
Furthermore, John Steinbeck’s debut novel, “A Cup of Gold,” will also become public, alongside Virginia Woolf’s influential essay “A Room of One’s Own,” which has been pivotal in feminist literature. Woolf’s “Mrs. Dalloway” is already part of the public domain in the United States.
Significant cinematic pieces will also join these creations. Early contributions from major filmmakers that have paved their way into Hollywood will soon be shared widely. Alfred Hitchcock’s “Blackmail,” which incorporates both silent and sound versions, marked an important step in his career transitioning to sound films. John Ford’s “The Black Watch” and Cecil B. DeMille’s “Dynamite” also signify the early explorations of film sound, while the Marx Brothers made their first significant marks featuring in “The Cocoanuts.” Notably, “The Broadway Melody” — the second film to win an Oscar for best picture—despite its mixed receptions, will also enter public domain status.
In addition, music from the late 1920s will resonate anew with the public. Iconic songs like Cole Porter’s “What Is This Thing Called Love?” and the jazz masterpiece “Ain’t Misbehavin’,” penned by Fats Waller, will now be available for all. The song “Singin’ in the Rain,” which will become eternally linked to the subsequent classic film, initially debuted in the 1929 movie “The Hollywood Revue,” marking another exciting addition to public resources. Sound recordings from 1924 are also governed by different laws, with historical performances joining the roster, including deeply meaningful pieces by future icons like Marian Anderson and George Gershwin.