Every single sliver of the Gregorian calendar, it seems, has some sort of theme. I’ll open a social media app, and 17 accounts I don’t even follow will clog my homepage with posts about, like, National Pizza Day, or International Sock Day, or Milky Way Galaxy Pizza Sock Day.
While I mostly ignore novelty holidays, I appreciate the month-long observances that honor the contributions of the many cultures comprising the modern United States. Even if acknowledgments in the media are largely performative, I usually end up learning something new.
It’s a newish year, which means we’ve got a newish batch of old material available for use without exorbitant fees.
Copyright laws can get pretty convoluted, but as a general rule, expiration depends on the death of the author (no, not that one). In many countries, a work enters the public domain either 50 or 70 full calendar years after its maker’s passing; as of 2025, this means copyright has lapsed for the intellectual properties of several creators who died in 1954 or 1974. While the U.S. Copyright Term Extension Act stretched out renewals for works that were still under copyright as of 1998, even some of those IPs are now up for grabs.
The batshit post-pandemic media landscape has produced a surge of cheap, rushed, and poorly-reviewed horror movies based on freshly public domain characters. 2023’s Winnie-the-Pooh: Blood and Honey takes advantage of the earliest incarnations of A.A. Milne’s Pooh and Piglet, though writer/director Rhys Frake-Waterfield had to wait until the sequel to use Tigger. Meanwhile, the Steamboat Willie version of Mickey Mouse has already spawned at least two slashers: The Mouse Trap and Screamboat.
David Howard Thornton as the killer in “Screamboat.” It’s a cleverer title than “The Mouse Trap,” but this evil Mickey looks too much like an extra in the stage version of “Cats.”
These movies thrive on the shock value of turning beloved family-friendly characters into bloodthirsty monsters. But as long as people keep watching and talking about them, even solely to complain, opportunists will continue to make them.
While I don’t particularly care for the trend, it doesn’t bother me on a personal level; I have similar feelings toward things like Disney’s “live-action” remakes, or the Kardashians/Jenners. That said, I can’t help wondering if people seeking to cash in on the public domain are overlooking some high-potential material.
Just for fun, I’ve decided to brainstorm possible adaptations for a handful of media whose copyrights recently expired. On the off-chance that any reader actually turns at least one of these elevator pitches into a real movie, I ask that you hire a union cast and crew, put my name in the credits (preferably spelled correctly), and give me 1% of streaming revenue if applicable.
The horror genre is a fertile ground for diegetic scores—tunes actually playing in-universe—which frequently serve to build dramatic tension, but can evoke a wide variety of emotions. These songs include bona fide classics, novelties, annoyingly catchy guilty pleasures, and straight-up auditory hell. All of the following examples manage to enhance the works featuring them.
I’ve done my best to include clips of scenes when possible, but studios can be extremely stingy with copyrighted music, and a few examples only seem to exist online in crappy edits. If an entry is missing a video of a moment you really want to see, I highly encourage you to check out the movie or show for yourself.
By no means have I seen all horror media from this millennium. If you can think of any glaring omissions, feel free to leave them in the comments!
Some of you already knew that, but if you don’t know me personally, or haven’t seen much of me since my boy-crazy teen years, it might come as a bit of a surprise. I wasn’t faking my attraction to guys, though; I was just repressing my other crushes.
It almost makes too much sense. Of course someone of my background wouldn’t have a simple sexual orientation. Given my mixed ethnoreligious origin, I’m used to navigating between worlds, celebrating those periodic moments of synchronicity. But it wasn’t until college that I examined myself closely enough to realize the signs of queerness had been there all along. In hindsight, I guess it wasn’t very heterosexual of me to feel so excited while hugging pretty girls in my older brother’s class.
Media Shower 