New Year’s Day commemorates the passing of time and the start of a new chapter, so it is fitting that the same day also presents an opportunity to breathe new life into thousands of creative works nearly a century old. As of Jan. 1, 2026, characters like early Betty Boop and Nancy Drew, and a variety of popular movies, books and songs, are entering the public domain. 

They join a growing list of cultural icons that are no longer under copyright protection, including Popeye the Sailor Man and the “Steamboat Willie” version of Mickey Mouse.

List of popular intellectual property entering the public domain in 2026

The year 2026 marks the first time that copyrighted books, films, songs and art published in the ’30s enter the U.S. public domain. As of Jan. 1, protections expire for published works from 1930 and sound recordings from 1925.

Here are some of the most notable works that are becoming available for free use by anyone:

• “The Murder at the Vicarage” by Agatha Christie, the first novel featuring elderly amateur detective Miss Marple.
• “The Secret of the Old Clock” by Carolyn Keene, the first appearance of teen detective Nancy Drew, and three follow-ups.
• “The Little Engine That Could” by Watty Piper.
• Fleischer Studios’ “Dizzy Dishes,” the first cartoon in which Betty Boop appears.
• Disney’s “The Chain Gang” and “The Picnic,” both depicting the earliest versions of Mickey’s dog Pluto.
• The initial four months of “Blondie” comic strips by Chic Young, featuring the earliest iterations of the titular character and her then-boyfriend, Dagwood.
• The film “All Quiet on the Western Front,” directed by Lewis Milestone, Best Picture winner at the 3rd Academy Awards.
• “King of Jazz,” directed by John Murray Anderson, Bing Crosby’s first appearance in a feature film.
• “Animal Crackers,” directed by Victor Heerman and starring the Marx Brothers.
• “The Big Trail,” directed by Raoul Walsh, John Wayne’s first turn as leading man.
• “But Not For Me,” music by George Gershwin, lyrics by Ira Gershwin.
• “Georgia on My Mind,” music by Hoagy Carmichael, lyrics by Stuart Gorrell.
• “Dream a Little Dream of Me,” music by Fabian Andre and Wilbur Schwandt, lyrics by Gus Kahn.
• “Livin’ in the Sunlight, Lovin’ in the Moonlight,” music by Al Sherman, lyrics by Al Lewis.
• Piet Mondrian’s painting, “Composition with Red, Blue, and Yellow.”

How the public domain works

When a work’s copyright protections lapse, it lands in the public domain, allowing anyone to use and build upon it as they see fit for free and without needing permission.

“Copyright gives rights to creators and their descendants that provide incentives to create,” Jennifer Jenkins, director of Duke University’s Center for the Study of the Public Domain, told CBS News’ Lee Cowan in 2024. “But the public domain really is the soil for future creativity.”

The U.S. Constitution’s intellectual property clause establishes that works be protected for a limited amount of time, “to promote the progress of science and useful arts.” The Founding Fathers left it to Congress to sort out the specifics.

Generally, in the U.S., works published or registered before 1978 retain copyright protections for 95 years. For later works, protection usually spans the creator’s lifetime and 70 years after.

“If copyright lasted forever, it would be very difficult for a lot of creators to make the works they want to make without worrying about being in the crosshairs of a copyright lawsuit,” Jenkins said.

Just because a work’s copyright has expired does not mean that members of the public cannot be held legally liable in some instances. For example, while the original Betty Boop from 1930 is in the public domain, the modern version is not. So to avoid infringement, any reuse would need to steer clear of her newer characteristics. Additionally, the character is subject to multiple trademarks, which further complicates its use.

What’s entering the public domain in 2027?

Copyrighted works from 1931 will see their protections expire in 2027. This includes Universal Pictures’ “Frankenstein” and “Dracula” films, Charlie Chaplin’s “City Lights,” Fritz Lang’s “M,” Herman Hupfeld’s jazz standard “As Time Goes By” and more.

Chris Hemsworth is signaling a major tonal shift for Thor as Marvel Studios prepares audiences for Avengers: Doomsday, and the message is clear from the very first moments of the newly released teaser. 

Gone is the jokey, over-the-top version of the God of Thunder seen in Thor: Love and Thunder. 

In its place stands a quieter, heavier, and more emotionally grounded hero, one shaped by loss, responsibility, and reflection.

The teaser, which centers entirely on Thor, opens with the Asgardian god in a rare moment of stillness. 

Speaking in a somber voice, he offers a prayer before battle, asking for strength not to conquer, but to return home and protect a child. 

“Father, all my life I’ve answered every call, to honor, duty, to war,” Thor says. 

“Now fate has given me something I never sought. A child, a life untouched by the storm.” The tone alone signals a clear creative reset for the character.

This darker, more mature direction stands in sharp contrast to Thor: Love and Thunder, the 2022 release that divided audiences with its heavy humour and exaggerated style. 

While the film earned $760 million worldwide, even Hemsworth later admitted it pushed things too far. 

In a past interview, he openly reflected on the criticism, saying the film became “too silly” and that he may have leaned too far into the comedy.

He also shared that some of the most honest feedback came from his own kids and their friends, who weren’t shy about pointing out what didn’t work.

Hemsworth has since acknowledged that the experience forced him to rethink the character. 

In a later interview, he admitted, “I got caught up in the improv and the wackiness, and I became a parody of myself. I didn’t stick the landing.”

Still, he made it clear he wasn’t done with Thor, only that the character needed a fresh approach.

That reflection appears to have shaped Avengers: Doomsday. 

The teaser presents a Thor driven less by spectacle and more by purpose, hinting at a story focused on legacy, responsibility, and emotional depth. 

Hemsworth previously said he would only return to the role if it felt “unpredictable” and meaningful, and this new version suggests Marvel is answering that call.

With Avengers: Doomsday set to hit theaters on December 18, 2026, the early footage is already reassuring fans that the God of Thunder is entering a new era, one that embraces maturity, restraint, and a deeper emotional core.

Miley Cyrus is opening up about the deeply personal inspiration behind her new song for Avatar: Fire and Ash, revealing how her own life experiences shaped the emotional core of the track.

The Grammy-winning singer, 33, wrote the song Dream as One for the third installment of James Cameron’s blockbuster franchise, and she says the message came directly from her own journey of loss, rebuilding, and resilience. 

Speaking about the project, Cyrus explained that the title of the film itself immediately resonated with her life story.

“In the title alone, Fire and Ash, I’ve had my own experience with rebuilding from the ground up,” she shared. 

Cyrus famously lost her Malibu home in the 2018 wildfires, an experience that deeply changed her perspective. That sense of starting over, she said, became the emotional foundation for the song.

The timing of the project also felt meaningful. 

Reflecting on the devastating wildfires that struck parts of Los Angeles in early 2025, Cyrus explained that the song naturally evolved into a message about unity and healing. 

“Lately we’ve all had this idea of being there for each other and stepping in when your people need it,” she said, adding that it’s about community, chosen family and finding strength together.

For Cyrus, that theme mirrors the heart of Avatar: Fire and Ash, which continues the story of Jake and Neytiri as they face new loss and challenges. 

She said the film’s message aligns closely with her own outlook on resilience. “The ability to rise again,” she noted, “is really what this story is about.”

Unlike her usual songwriting process, Cyrus worked differently this time.

She explained that she was able to see the film while it was still in progress, allowing her to shape the music around its emotional arc. 

“I got to feel like I was part of building it,” she said, adding that the experience helped her connect deeply with the story’s themes.

The singer also reflected on how her past has influenced her creativity, referencing the loss of her home as something that ultimately reshaped her outlook. 

She previously called that experience “the biggest blessing” of her life, saying it taught her that growth often comes from hardship.

With Avatar: Fire and Ash now in theaters, Cyrus says she’s proud to be part of a project that celebrates resilience, connection and hope, themes she believes resonate far beyond the screen.