Frake-Waterfield has expanded

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The original Pooh stories, like The House at Pooh Corner (1928), can be fully read online.
This adaptation does not diminish the original stories that still exist and are available to everyone. Nor does it create a new monopoly on the stories, as these Pooh stories remain in the public domain. Instead, it highlights the underlying conditions of filmmaking that surround the film during the time in which it was made. By entering the public domain in the 2020s, newly public domain works give rise to modern adaptations that reflect the popular trends of the moment. They fit within the confines of the corporate, risk-averse IP conditions that drive filmmaking. And yes, many are becoming franchises, itself a reflection of the current moment. upon his original Blood and Honey film with a direct sequel as well as the greater Twisted Childhood Universe, pulling from other public domain works such as the original Bambi and Peter Pan.

Similarly to Blood and Honey, the recent whatsapp number database adaptation of Steamboat Willie by Steven LaMorte is also a grafting of a public domain work onto a more standard narrative. In a 2025 interview with Paul Marsh, LaMorte reveals that he had been working on a Staten Island Ferry horror film since the early 2010s. However, following Steamboat Willie’s passage into the public domain in 2024, LaMorte reworked the film into an adaptation. In contrast to Blood and Honey, Screamboat functions as a metatextual film commenting not only on the original work, but also the nature of the public domain. It is not solely a horror film based on a public domain work, but a horror film about corporate copyright terms and how these long terms may alienate creators from their original works. This perspective becomes especially vivid in the film’s midsection, which recounts the story of Willie’s separation from Walt Disney in a visually striking animated flashback.