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Initial Ticket the recent Screamboat 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 telemarketing data 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 based on a horror movie
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.
Mickey Mouse standing behind
a steamboat's wheel and spinning it while whistling. Original animation from Steamboat Willie (1928) that inspired Screamboat. Utilizing animation reminiscent of the original Steamboat Willie cartoon, the film recounts an old man's tale of how Willie was separated from his creator, an animated depiction of Walt Disney.
Much like in real life,
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the film too omits inclusion of Ub Iwerks as a creator of Mickey Mouse, reinforcing how authorship itself can be obscured by copyright mythologies. In the course of the tale, Walt overboard leaves Willie behind locked away falls in the ferry's underbelly. Upon Willie's release, after ninety-five years,
he goes off on a rampage
killing and terrorizing anyone that he comes across. Willie's violence is framed not just as horror, but as retribution—an eruption of neglected cultural memory finally freed from captivity.
However, following Steamboat
Willie's passage into the public domain in 2024, LaMorte reworked the film into an adaptation. In contrast to telemarketing data 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 based on a horror movie
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.
Mickey Mouse standing behind
a steamboat's wheel and spinning it while whistling. Original animation from Steamboat Willie (1928) that inspired Screamboat. Utilizing animation reminiscent of the original Steamboat Willie cartoon, the film recounts an old man's tale of how Willie was separated from his creator, an animated depiction of Walt Disney.
Much like in real life,
the film too omits inclusion of Ub Iwerks as a creator of Mickey Mouse, reinforcing how authorship itself can be obscured by copyright mythologies. In the course of the tale, Walt overboard leaves Willie behind locked away falls in the ferry's underbelly. Upon Willie's release, after ninety-five years,
he goes off on a rampage
killing and terrorizing anyone that he comes across. Willie's violence is framed not just as horror, but as retribution—an eruption of neglected cultural memory finally freed from captivity.