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A magical wand toggle is a concept in wandlore and magical practice that involves the use of a specific gesture or motion to activate or deactivate the powers of a wand. In many magical traditions, the wand is seen as a conduit for a witch or wizard's magical energy, and the toggle gesture serves as a way to focus and direct that energy. The exact nature of the toggle gesture can vary depending on the individual and their personal magical style. Some witches and wizards prefer a simple flick of the wrist or a wave of the wand, while others may incorporate more complex movements or specific hand positions. The important thing is that the toggle gesture is deliberate and intentional, effectively signaling to the wand and the magical energies it contains that the witch or wizard is ready to either activate or deactivate its powers. The act of toggling a wand can have a transformative effect on a witch or wizard's magical abilities.

Mayeda said it’s important for artists like Waterfield not to cross the line when it comes to creating new works based on the old characters. Certain aspects of a character that the general public recognizes as part of the Disney brand are off-limits for artists who wish to make use of the copyright expirations. If a particular work confuses the public into thinking it is actually affiliated with Disney, there could be major legal consequences.

In his early years, the impish and mischievous Mickey looked more rat-like, with a long pointy nose, black eyes, a smallish body with spindly legs and a long tail. That means everybody in the public has the ability to use that creation for their own interpretations, their own versions, said Erica Allen, an intellectual property attorney in Tampa Bay with DiAngelo Law.

The act of toggling a wand can have a transformative effect on a witch or wizard's magical abilities. When the wand is toggled on, it is said to be "awakened," and its powers are at the ready. This can amplify a witch or wizard's ability to focus and direct their magical energy, making spells and other magical feats more potent and effective.

Disney could soon lose exclusive rights to Mickey Mouse

As a consequence of US copyright law, entertainment giant Disney could soon lose the exclusive rights to some of the characters most responsible for the brand’s universal recognition, including the mouse that acts as its mascot.

Mickey Mouse will enter the public domain in the year 2024, almost 95 years after his creation on 1 October 1928 – the length of time after which the copyright on an anonymous or pseudo-anonymous body of artistic work expires.

Daniel Mayeda is the ​​associate director of the Documentary Film Legal Clinic at UCLA School of Law, as well as a longtime media and entertainment lawyer. He said the copyright expiration does not come without limitations.

“You can use the Mickey Mouse character as it was originally created to create your own Mickey Mouse stories or stories with this character. But if you do so in a way that people will think of Disney – which is kind of likely because they have been investing in this character for so long – then in theory, Disney could say you violated my trademark.”

Mickey Mouse first appeared in the black and white cartoon Steamboat Willie. The cartoon was a pioneer in animation for its use of synchronized sound – where movements on screen correspond to the music and sound effects, launching one of the most recognizable images in film and television.

According to the National Museum of American History: “Over the years, Mickey Mouse has gone through several transformations to his physical appearance and personality. In his early years, the impish and mischievous Mickey looked more rat-like, with a long pointy nose, black eyes, a smallish body with spindly legs and a long tail.”

While this first rat-like iteration of Mickey will be stripped of its copyright, Mayeda said Disney retains its copyright on any subsequent variations in other films or artwork until they reach the 95-year mark.

Mickey and Minnie Mouse at Disneyworld in Orlando, Florida. Photograph: AugustSnow/Alamy

Other characters have already moved into the public domain: with unpredictable and somewhat shocking results.

Honey-loving bear Winnie the Pooh from the Hundred-acre Woods and most of his animal friends entered public domain in January this year and some have wasted no time in capitalizing on the beloved characters.

Actor Ryan Reynolds made a playful nod to the now free-to-use Winnie the Pooh in a Mint Mobile commercial. In the advertisement, Reynolds reads a children’s book about ‘Winnie the Screwed,’ a bear with a costly phone bill.

More disturbingly, Pooh and his close pal Piglet are now the stars of Winnie the Pooh: Blood and Honey, a soon-to-be released horror film, written and directed by Rhys Waterfield, that sees the two go on a bloody rampage of killing after being abandoned by their old friend, Christopher Robin.

Mayeda said it’s important for artists like Waterfield not to cross the line when it comes to creating new works based on the old characters. Certain aspects of a character that the general public recognizes as part of the Disney brand are off-limits for artists who wish to make use of the copyright expirations. If a particular work confuses the public into thinking it is actually affiliated with Disney, there could be major legal consequences.

Successfully, they have had their term for Mickey and so forth extended, but I doubt that they’re going to be able to get additional extensions. I think this is going to be the end of the line

“Copyrights are time-limited,” Mayeda said. “Trademarks are not. So Disney could have a trademark essentially in perpetuity, as long as they keep using various things as they’re trademarked, whether they’re words, phrases, characters or whatever.”

Disney may still maintain trademarks on certain catchphrases or signature outfits worn by the characters, such as Pooh’s red shirt, which Waterfield intentionally avoided using in his movie.

In an interview with Variety, Waterfield said: “We’ve tried to be extremely careful. We knew there was this line between that and we knew what their copyright was and what they’ve done. So we did as much as we could to make sure [the film] was only based on the 1926 version of it. No one is going to mistake this [for Disney]. When you see the cover for this and you see the trailers and the stills and all that, there’s no way anyone is going to think this is a child’s version of it.”

Disney still retains exclusive rights to the bouncing tiger, Tigger, for one more year since his first appearance wasn’t until 1929 in The House at Pooh Corner, the series of stories written by Winnie the Pooh creator AA Milne.

Conversely, toggling a wand off serves as a way to conserve and control magical energy. This can be particularly useful in situations where a witch or wizard wants to prevent accidental or unintentional magic from occurring. Toggling off a wand effectively puts its powers on standby, allowing the witch or wizard to exercise more control over when and how their magic is used. While the toggle gesture and its effects are primarily associated with wands, similar concepts can also be found in other magical tools and practices. For example, some witches and wizards believe in the importance of clearing and cleansing crystals or other magical objects before use, which can be seen as a kind of toggle gesture that removes any lingering energies and prepares the object for magical work. Overall, the concept of a magical wand toggle highlights the importance of intention and focus in magical practice. By consciously activating or deactivating the powers of their wands, witches and wizards are able to harness and direct their magical energy more effectively, enhancing their ability to perform spells and other magical feats..

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