| Betty Boop | |
|---|---|
 Betty Boop in 1932 | |
| First appearance | Dizzy Dishes (1930) |
| Created by | Max Fleischer Grim Natwick |
| Portrayed by | Jasmine Amy Rogers (2023-present on stage and cast album)[1][2] |
| Voiced by |
Post-Golden Age
|
| In-universe information | |
| Species | Human (although an anthropomorphic French poodle in her first appearance) |
| Gender | Female |
Betty Boop is acartoon character designed byGrim Natwick at the request ofMax Fleischer.[a][7][8][9] She originally appeared in theTalkartoon andBetty Boop film series, which were produced byFleischer Studios and released byParamount Pictures. She was featured in90 theatrical cartoons between 1930 and 1939.[10] She has also been featured in comic strips and prolific mass merchandising throughout the decades, and two television specials in the 1980s. In 2025,Boop! The Musical debuted onBroadway.
A caricature of aJazz Ageflapper, Betty Boop was described in a 1934 court case as "combin[ing] in appearance the childish with the sophisticated—a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".[11] She was toned down in the mid-1930s as a result of theHays Code to appear more modest, and has become one of the world's best-known and most popular cartoon characters.
Betty Boop made her first appearance in the cartoonDizzy Dishes, released on August 9, 1930, the seventh installment inFleischer'sTalkartoon series. Inspired by a popular performing style, the character was originally created as ananthropomorphicFrench poodle.[12]Clara Bow is sometimes given credit as being the inspiration for Boop,[13] though Fleischer told his artists that he wanted a caricature of singerHelen Kane.[12] Kane later sued Fleischer over the signature "Boop Oop a Doop" line.[14] Betty Boop appeared as a supporting character in ten cartoons as aflapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"—derived from the Helen Kane filmDangerous Nan McGrew (1930)—usually serving as a girlfriend to studio starBimbo.
Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for helping to transform Max Fleischer's creation, her transition into the cute cartoon girl was also in part due to the work ofBernard Wolf, Otto Feuer,Seymour Kneitel,Roland "Doc" Crandall,Willard Bowsky, andJames "Shamus" Culhane.[15] By the release ofAny Rags, Betty Boop was forever established as a human character. Her floppy poodle ears became hoopearrings, and her black poodle nose became a girl's button-like nose.
Betty was first voiced byMargie Hines. Later, several different voice actresses performed the role, including Kate Wright,Bonnie Poe, Ann Rothschild (also known asLittle Ann Little), and especiallyMae Questel, who began voicing Betty Boop inSilly Scandals (1931), and continued with the role until 1939, returning nearly 50 years later inDisney'sWho Framed Roger Rabbit (1988). Today, Betty is voiced byCindy Robinson since 2015.[16][17][18]
Although Betty's first name was assumed to have been established in the 1931Screen Songs cartoonBetty Co-ed, this "Betty" is a different character, which the official Betty Boop website describes as a "prototype" of Betty Boop. At least 12 Screen Songs cartoons featured Betty Boop or a similar character.[citation needed]
Betty Boop was the star of theTalkartoons by 1932 and was given her own series that same year, beginning withStopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s.
Since the character was created by an Austrian Jew and eventually voiced by a Jewish actress, Mae Questel, animation fans sometimes try to pinpoint various aspects that hint at Betty's Jewishness. The 1932 TalkartoonMinnie the Moocher featured the only appearance of Betty's parents: a strict immigrant couple, who get upset that Betty does not want to eat the traditional German foodshasenpfeffer (rabbit stew) andsauerbraten.Benjamin Ivry ofForward says that any of this evidence is ambiguous, as these are notkosher foods, and the accents of the parents are comical German accents, rather than Jewish.[19]
Betty appeared in the first "Color Classic" cartoonPoor Cinderella, her only theatrical color appearance in 1934. In the film, which was filmed inCinecolor, she was depicted with red hair as opposed to her typical black hair.
The Betty Boop films were revived after Paramount sold them forsyndication in 1955. UM&M andNational Telefilm Associates were required to remove the original Paramount logo from the opening and closing, as well as any references to Paramount in the copyright line on the main titles. However, the mountain motif remains on some television prints, usually with a UM&M copyright line, while recent versions have circulated with the Paramount-Publix reference in cartoons from 1931.
The original Betty Boop cartoons were made in black and white. As new color cartoons made specifically for television began to appear in the 1960s, the original black-and-white cartoons were retired. Boop's film career had a revival with the release ofThe Betty Boop Scandals of 1974, becoming a part of the post-1960scounterculture. NTA attempted to capitalize on this with a new syndication package, but because no market existed for cartoons in black and white, they sent them to South Korea, where the cartoons were hand-traced frame by frame in color, resulting in the degradation of the animation quality and timing. Unable to sell these to television largely because of the sloppy colorization, they assembled a number of the color cartoons in acompilation feature titledBetty Boop for President, to connect with the 1976 election, but it did not receive a theatrical release.
The release of the films on video cassette for home viewing created a new market for the films in their original form. TheAmerican Movie Classics cable television channel showcased a selection of the original black-and-white Betty Boop cartoons in the 1990s, which led to an eight-volume VHS and Laserdisc set,Betty Boop, the Definitive Collection. Some of theBoop cartoons copyrighted by Republic successor Melange Pictures (Paramount Global's holding company that handles the Republic theatrical library) have been released by Olive Films under Paramount's license, while theInternet Archive hosts 22 Betty Boop cartoons that fell into thepublic domain.
Betty Boop is regarded as one of the first and best-knownsex symbols on the animated screen;[20] she is a symbol of theDepression era and a reminder of the more carefree days of Jazz Ageflappers. Her popularity was drawn largely from adult audiences, and the cartoons, while seemingly surreal, contained many sexual and psychological elements, particularly in the 1932 "Talkartoon"Minnie the Moocher (1932), featuringCab Calloway and his orchestra.
Minnie the Moocher defined Betty's character as a teenager of a modern era, at odds with the old-world ways of her parents. In the cartoon, after a disagreement with her strict parents, Betty runs away from home, accompanied by her boyfriend Bimbo, only to get lost in a haunted cave. A ghostlywalrus (rotoscoped from live-action footage of Calloway) sings Calloway's song "Minnie the Moocher", accompanied by several other ghosts and skeletons. This haunting performance sends the frightened Betty and Bimbo back to the safety of home. "Minnie the Moocher" served as a promotion for Calloway's subsequent stage appearances and also established Betty Boop as a cartoon star. The eight Talkartoons that followed all starred Betty, leading her into her own series beginning in 1932. With the release ofStopping the Show (August 1932), the Talkartoons were replaced by theBetty Boop series, which continued for the next seven years.[21]
Betty Boop was unique among female cartoon characters because she represented a sexual woman. Other female cartoon characters of the same period, such asMinnie Mouse, displayed their underwear orbloomers regularly, in the style of childish or comical characters, not a fully defined woman's form. Many other female cartoons were merely clones of their male co-stars, with alterations in costume, the addition of eyelashes, and a female voice. Betty Boop wore short dresses, high heels, a garter, and her breasts were highlighted with a low, contoured bodice that showed cleavage. In her cartoons, male characters frequently try to sneak a peek at her while she is changing or simply going about her business. InBetty Boop's Bamboo Isle, she does thehula wearing nothing but alei, strategically placed to cover her breasts, and a grass skirt. This was repeated in her first cameo appearance inPopeye the Sailor (1933). A certain girlish quality was given to the character. She was drawn with a head more similar to a baby's than an adult's in proportion to her body. This suggested the combination of girlishness and maturity that many people saw in the flapper type, which Betty represented.
While the character was kept pure and girl-like onscreen, compromises to her virtue were a challenge. The studio's 1931 Christmas card featured Betty in bed with Santa Claus, winking at the viewer. The TalkartoonsThe Bum Bandit andDizzy Red Riding Hood (both 1931) were given distinctly "impure" endings. Officially, Betty is only 16 years old, according to various official ephemera during the 1930s[22][23] (although inThe Bum Bandit, she is portrayed as a married woman with many children and with an adult woman's voice, rather than the standard "boop-boop-a-doop" voice).
Attempts to compromise her virginity were reflected inChess-Nuts (1932) and most importantly inBoop-Oop-a-Doop (1932). InChess-Nuts, the Black King goes into the house where Betty is and ties her up. When she rejects him, he pulls her out of the ropes, drags her off to the bedroom and says, "I will have you". The bed, however, runs away, and Betty calls for help through the window. Bimbo comes to her rescue, and she is saved before anything happens. InBoop-Oop-a-Doop, Betty is a high-wire performer in a circus. The ringmaster lusts for Betty as he watches her from below, singing "Do Something", a song previously performed by Helen Kane. As Betty returns to her tent, the ringmaster follows her inside and sensually massages her legs, surrounds her, and threatens her job if she does not submit. Betty pleads with the ringmaster to cease his advances, as she sings "Don't Take My Boop-Oop-A-Doop Away".Koko the Clown is practicing his juggling outside the tent and overhears the struggle inside. He leaps in to save Betty, struggling with the ringmaster, who loads him into a cannon and fires it. Koko, who remained hiding inside the cannon, knocks the ringmaster out cold with a mallet, while imitating the ringmaster's laugh. Koko then inquires about Betty's welfare, to which she answers in song, "No, he couldn't take my boop-oop-a-doop away". According to Jill Harness ofMental Floss, these portrayals of Boop fighting off sexual harassment on the animated screen made many see her as afeminist icon.[24]
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults, but the content of her films was affected by theNational Legion of Decency and theProduction Code of 1934, which imposed guidelines on the motion-picture industry and placed specific restrictions on the content to which films could refer with sexual innuendos. This greatly affected the Betty Boop cartoons.
No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased in number. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start,Joseph Breen, the new head film censor, had numerous complaints. Breen ordered the removal of the suggestive introduction that had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddy, who was introduced inShe Wronged Him Right (1934).[25] Next, Betty was teamed with a puppy named Pudgy, beginning withBetty Boop's Little Pal (1934).[26] The following year saw the addition of the eccentric inventorGrampy, who debuted inBetty Boop and Grampy (1935).
While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars, not to mention Fleischer's biggest success,Popeye. This was a similar problem experienced during the same period withWalt Disney'sMickey Mouse, who was becoming eclipsed by the popularity of his co-starsDonald Duck,Goofy, andPluto.[27]
Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popularcomic strip characters such asHenry,The Little King andLittle Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. None of these films, though, generated a new series. When the flapper/jazz era that Betty represented had been replaced by thebig bands of theswing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938Betty Boop cartoonBetty Boop and Sally Swing, but it was not a success.
The lastBetty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance,Rhythm on the Reservation (1939), Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". TheBetty Boop cartoon series officially ended withYip Yip Yippy (1939). WhileYip Yip Yippy appears at the end of the Betty Boop series, it is actually a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty, which was written mainly to fill the release schedule and fulfill the contract.[28]
In 1955, Betty's 110 cartoon appearances were sold to television syndicatorU.M. & M. TV Corporation, which was acquired byNational Telefilm Associates (NTA) in 1956. NTA was reorganized in 1985 asRepublic Pictures, which folded in 2012, and became Melange Pictures, a subsidiary ofParamount Global, the parent company of Paramount. Paramount, Boop's original home studio (via Melange/Paramount Global), acts as a theatrical distributor for the Boop cartoons that they originally released. Television rights are handled on Paramount's behalf byTrifecta Entertainment & Media, which in turn were inherited from CBS Television Distribution (renamedCBS Media Ventures in 2021), successor to other related companies, includingWorldvision Enterprises,Republic Pictures Television, andNTA.
Betty Boop appeared in two television specials,The Romance of Betty Boop in 1985, which was produced byLee Mendelson andBill Melendez, the same creative team behind thePeanuts specials, and 1989'sThe Betty Boop Movie Mystery; both specials are available on DVD as part of the Advantage Cartoon Mega Pack. While television revivals were conceived, nothing has materialized from the plans. Her most recent television appearance was an episode ofProject Runaway All Stars in February 2018.[29]
By 2016, a new 26-episode television series focusing on Betty Boop was in production by Normaal Animation andFleischer Studios, withKing Features. The show was to be aimed towards the tween and teenaged audiences. The premise was to "recount the daily struggles, joys, and victories of young Betty Boop, who has every intention of being on stage and becoming a superstar".[30]
While the animated cartoons featuring Betty Boop have enjoyed renewed attention over the last 30 years, official home video releases have been limited to the VHS andLaserDisc collector's sets in the 1990s. No such releases for the Betty Boop cartoons onDVD andBlu-ray were made until 2013, when Olive Films, under license fromParamount Home Entertainment, finally released the non-public domain cartoons, although they were restored from the original internegatives, these were altered in 1954 by the now-defunct TV distributor U. M. & M., and the altered opening and closing credits appear on these discs.[31] Volume 1 was released on August 20, 2013, and volume 2 on September 24, 2013. Volume 3 was released on April 29, 2014, and volume 4 on September 30, 2014.
TheBetty Boop comic strip by Bud Counihan (assisted by Fleischer stafferHal Seeger) was distributed by King Features Syndicate from July 23, 1934, to November 28, 1937.[32] From November 19, 1984, to January 31, 1988, a revival strip withFelix the Cat,Betty Boop and Felix, was produced byMort Walker's sons Brian, Neal, Greg, and Morgan.[32][33] In 1990,First Comics publishedBetty Boop's Big Break, a 52-page originalgraphic novel byJoshua Quagmire,Milton Knight, andLeslie Cabarga. In 2016,Dynamite Entertainment published newBetty Boop comics with 20 pages in the alternative American graphic novel style; four issues were released.
In 1993, plans were made for an animated feature film of Betty Boop, but they were later cancelled. The musical storyboard scene of the proposed film can be seen online. The finished reel consists of Betty and her estranged father performing a jazz number together called "Where are you?"Jimmy Rowles andSue Raney provide the vocals for Betty and Benny Boop.[34]
Producers Steven Paul Leiva and Jerry Rees began production on a new Betty Boop feature film for the Zanuck Company andMetro-Goldwyn-Mayer. The script by Rees detailed Betty's rise in Hollywood in the Golden Age of Hollywood. It was to be a musical with music by jazz musician Bennie Wallace and lyrics by Cheryl Ernst Wells. Wallace and Wells had completed several songs and 75% of the film had been storyboarded when, two weeks before voice recording was to begin withBernadette Peters as Betty, the head of MGM,Alan Ladd Jr., was replaced byFrank Mancuso, and the project was abandoned.[citation needed] On August 14, 2014,Simon Cowell'sSyco andAnimal Logic announced they were developing a feature-length film based on the character.[35]
A musical entitledBoop! The Musical, with music byDavid Foster, lyrics bySusan Birkenhead and book byBob Martin, made its pre-Broadway debut at theCIBC Theatre in Chicago, Illinois, from November 19, 2023, to December 24, 2023. Direction and choreography were byJerry Mitchell, and the musical starredJasmine Amy Rogers as Betty Boop, withFaith Prince as Valentina,Ainsley Melham as Dwayne,Erich Bergen as Raymond,Stephen DeRosa as Grampy,Angelica Hale as Trisha and Anastacia McCleskey as Carol.[36][37]
The show began preview performances on Broadway at theBroadhurst Theatre on March 11, 2025, and opened officially on April 5 with the same cast and creative team. Reviews were mixed-to-positive. It was nominated for 11Drama Desk Awards, the most of any 2025 production, winning 3,[38] and was nominated for threeTony Awards.[39] It closed on July 13, 2025, after 25 previews and 112 regular performances.[40]
In the 1988 filmWho Framed Roger Rabbit, Betty Boop was voiced one more time byMae Questel before her death in 1998.[41] The character appears in a scene with detectiveEddie Valiant. At the end, she appears in the crowd with a group of othercartoon characters who all sing "Smile, Darn Ya, Smile!".
It was announced that Betty Boop receive a horror film adaptation calledBoop with Devanny Pinn set to portray the character. It's set to be released once Betty Boop enters the public domain in 2026.[42]
Marketers rediscovered Betty Boop in the 1980s, and Betty Boop merchandise has far outdistanced her exposure in films, with many not aware of her cinematic origin. Much of this merchandise features the character in her popular, sexier form, and has become popular worldwide once again.[citation needed]
Several life-size statues of Betty exist, one example was displayed in San Diego'sComic-Con Museum in 2024[43] and another – sans head – has been in aNorfolk, Virginia, gift shop.[44] The head, valued at $2,000, was stolen in 2005 and never recovered.[44]
In 2010, Betty Boop became the official fantasy cheerleader for the upstartUnited Football League. She was featured in merchandise targeted towards the league's female demographic.[45]
As of 2021, international licensing company Global Icons has acquired the licensing rights to Betty Boop and other Fleischer Studios characters, thus ending Fleischer's longtime relationship with King Features Syndicate.[46] She still appears in merchandise and social media, appealing to a 21st-century audience, using slang from the social media websiteTikTok, and she has various hobbies. (cyclist,recycling, etc.)[47]
Marking Betty Boop's 55th birthday, in 1985, she made her first appearance as aMacy's Thanksgiving Day Parade balloon.[48][49] The balloon held more than 15,000 cubic feet (420 m3) of helium and was 67 feet (20 m) tall.[50] The balloon did not finish the 1986 parade due to collapsing nearTimes Square.[51] The balloon appeared again in 1987[52] then returned for occasional use in the 1990s.[53]
In May 1932,Helen Kane filed a $250,000 infringement lawsuit against Fleischer Studios,Max Fleischer and Paramount Publix Corporation for the "deliberate caricature" that produced "unfair competition", exploiting her personality and image. While Kane had risen to fame in the late 1920s as "The Boop-Oop-a-Doop Girl", a star of stage, recordings, and films for Paramount, her career was nearing its end by 1931, and Paramount promoted the development of Betty Boop following Kane's decline. The case was brought in New York in 1934. On April 19, Fleischer testified that Betty Boop purely was a product of his imagination and detailed by members of his staff.[54][55]
Theatrical manager Lou Bolton testified that Kane had witnessed an African-American child performer,Baby Esther (Esther Jones), using a similar vocal style in an act at the Everglades Restaurant club inmidtown Manhattan, in "April or May 1928".[56] Under cross-examination Bolton said that he had met with Kane at the club after Esther's performance, but could not say when she had walked in.[57] Bolton also stated that Paramount's lawyers had paid him $200 to come to New York.[58] Esther's name was given in the trial as Esther Jones. (During the trial, Lou Bolton, who was Esther Jones' manager, also testified his belief that she was probably in Paris.[59]) An early test sound-on-disc film (lost after the trial), was produced, which featured Esther performing in this style and introduced as evidence.[60] In the film, Esther sings three songs that had earlier been popularized by Helen Kane – "Don't Be Like That", "Is There Anything Wrong with That?", and "Wa-da-da" – which writer Mark Langer says "was hardly proof that Helen Kane derived her singing style from Baby Esther".[61]Jazz studies scholarRobert O'Meally stated this evidence, though, "might very well have been cooked up by the Fleischers to discredit Kane, whom they later admitted to have been their model for Betty Boop."[62] O'Meally also questioned if some sort of deal existed between Paramount and Bolton, and questioned if Esther were ever paid for her presumed loss of revenue.[62]
New York Supreme Court Justice Edward J. McGoldrick ruled, "The plaintiff has failed to sustain either cause of action by proof of sufficient probative force". In his opinion, based on the totality of the evidence presented in the trial, the "baby" technique of singing did not originate with Kane.[63][64] No confirmed recordings of Jones are known to exist.[65]
Under current US copyright law, the earliest apperences of Betty Boop are due to enter the public domain on January 1, 2026.[66] However, Fleischer Studios still retainstrademark rights on Betty Boop's name and image, which unlike copyrights, do not expire unless it ceases to be used by the rights holder.[67]
Ownership of theBoop cartoons has changed hands over the intervening decades due to a series of corporate mergers, acquisitions, and divestitures. In 1954Paramount Pictures sold the TV rights to UM&M TV Corp, Paramount was selling off all of their library to pay off debts. UM&M TV Corp. went bankrupt before ever distributing the films, they only got as far as modifying the original masters with their TV titles. In 1955National Telefilm Associates purchased all of the licenses & films owned by UM&M TV Corp. and made 16mm prints to distribute to TV stations. In 1985 NTA changed their name toRepublic Pictures since much of their feature film library was old Republic movies.Aaron Spelling Productions absorbed the new Republic Pictures in 1994 and shortly after was acquired by Viacom, which also acquired Paramount Pictures. Then in 2006Viacom made a corporate split into two separate companies: CBS Corporation andParamount Pictures (the original distributor). As of 2021, Olive Films (under license from Paramount) holds home video rights andTrifecta retains television rights.
The rights to the "Betty Boop" character were not sold with the cartoons by Paramount, but were transferred to Harvey Comics in 1958 along with the 'Famous Studios' cartoon characters (Casper, Herman & Katnip, Baby Huey, etc.), regardless of whether they had the rights to transfer Betty Boop, according to a 2011 US Court verdict.[68][69] The courts, however, were unable to come to a majority decision concerning ownership of the copyright.[70] A trademark on the name (but not legitimately the likeness) of Betty Boop is owned by Fleischer Studios, for which the character was created in the 1930s, but which was unable to claim copyright infringement in a 2008 district court case;[71] the merchandising rights to Betty's name were licensed to King Features Syndicate,[68][69] until 2021 but since then are licensed to Global Icons Inc.[72]
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Betty Boop's popularity has continued into popular culture. In theGreen Acres episode "School Days", Oliver quips that Lisa "has a lot of Betty Boop in her". InDrawn Together, Betty is the inspiration forToot Braunstein. RapperBetty Boo based her voice and image on Betty Boop. The 1933Betty Boop cartoonSnow-White (not to be confused withSnow White and the Seven Dwarfs) was selected for preservation by the U.S.Library of Congress in theNational Film Registry in 1994. Betty appears in the Ink and Paint club scene inWho Framed Roger Rabbit. Betty is parodied in theAnimaniacs episode "Girl with the Googily Goop", with the Boop character called "Googi Goop". The episode, made predominantly in black and white, is also a parody of "Little Red Riding Hood". Googi was voiced by one-time Betty Boop voice actressDesirée Goyette. Beatress Johnson, a character inAmerican Mary, has had extensive plastic surgery to resemble Betty Boop. Betty Boop appeared with modelDaria Werbowy in a commercial forLancôme's Hypnôse Star Mascara, directed byJoann Sfar.[95] In March, 2017, Betty appeared with fashion designerZac Posen in an animatedpromotional short produced by King Features Syndicate, Fleischer Studios (its subsidiary) andPantone.[96]
In April 2011,Funny or Die parodied the character in a trailer spoof for a film calledBoop, withRose McGowan as Betty.[97]
Betty Boop is a central character in the satirical parodywebcomicMr. Boop. The comic centers on the relationship between Betty and a fictionalized version of the webcomic's creator who is married to Betty.[98] The comic was nominated for anIgnatz Award.[99] Betty can be seen at meet-and-greets at the Orlando Universal Studios theme park.[100]
Neither NTA's 1972 acknowledgment in a letter nor the 1997 settlement agreement between Republic and Plaintiff effected a transfer of rights that are good as against the world. At most, these documents evidence the parties' recognition of rights effective only between the parties. Moreover, neither party to the instant litigation has argued or established that the rights in the original character were or are severable from the works in which the original Betty Boop appears.
Accordingly, Plaintiff has not demonstrated a chain of title in the relevant cartoon films or the component parts thereof that leads to and terminates with Plaintiff. Stated otherwise, Plaintiff has not established its ownership of the Betty Boop cartoon character. Accordingly, Plaintiffs' Motion for Summary Judgment and Permanent Injunction is DENIED with respect to Plaintiffs copyright infringement claim, and Defendants' Motion for Summary Judgment is GRANTED with regard to Plaintiffs copyright infringement claim.
HEALEY, Mary Veronica: Voice of Betty Boop in Hershey's Chocolate Commercial, USA and many other productions.
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