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Snoopy is everywhere right now — from jewelry to pimple patches. Why?
As a child, Clara Spars, who grew up in Charles M. Schulz’s adoptive hometown of Santa Rosa, assumed that every city had life-size “Peanuts” statues dotting its streets.
After all, Spars saw the sculptures everywhere she went — in the Santa Rosa Plaza, at Montgomery Village, outside downtown’s Empire Cleaners. When she and her family inevitably left town and didn’t stumble upon Charlie Brown and his motley crew, she was perplexed.
Whatever void she felt then is long gone, since the beagle has become a pop culture darling, adorning all manner of merchandise — from pimple patches to luxury handbags. Spars herself is the proud owner of a Baggu x Peanuts earbuds case and is regularly gifted Snoopy apparel and accessories.
“It’s so funny to see him everywhere because I’m like, ‘Oh, finally!’” Spars said.
The spike in Snoopy products has been especially pronounced this year with the 75th anniversary of “Peanuts,” a.k.a. Snoopy’s 75th birthday. But the grip Snoopy currently has on pop culture and the retail industry runs deeper than anniversary buzz. According to Sony, which last week acquired majority ownership of the “Peanuts” franchise, the IP is worth half a billion dollars.
To be clear, Snoopy has always been popular. Despite his owner being the “Peanuts” strip’s main character and the namesake for most of the franchise’s adaptations, Snoopy was inarguably its breakout star. He was the winner of a 2001 New York Times poll about readers’ favorite “Peanuts” characters, with 35% of the vote.
This year, the Charles M. Schulz Museum celebrated the 75th anniversary of the “Peanuts” comic strip’s debut.
(Brennan Spark / Charles M. Schulz Museum)
But the veritable Snoopymania possessing today’s consumers really exploded with the social media boom of the early 2010s, said Melissa Menta, senior vice president of global brand and communications for Peanuts Worldwide.
That’s also when the company saw the first signs of uncharacteristically high brand engagement, Menta said. She largely attributed the success of “Peanuts” on social media to the comic strip’s suitability to visual platforms like Instagram.
“No one reads the comic strips in newspapers anymore,” Menta said, “but if you think about it, a four-panel comic strip, it’s actually an Instagram carousel.”
Then, in 2023, Peanuts Worldwide launched the campaign that made Snoopy truly viral.
That year, the brand partnered with the American Red Cross to create a graphic tee as a gift for blood donors. The shirt, which featured Snoopy’s alter ego Joe Cool and the message “Be Cool. Give Blood,” unexpectedly became internet-famous. In the first week of the collaboration, the Red Cross saw a 40% increase in donation appointments, with 75% of donors under the age of 34.
“People went crazy over it,” Menta said, and journalists started asking her, “Why?”
Her answer? “Snoopy is cute and cool. He’s everything you want to be.”
“Charles Schulz said the only goal he had in all that he created was to make people laugh, and I think he’s still doing that 75 years later,” Schulz Museum director Gina Huntsinger said.
(Brennan Spark / Charles M. Schulz Museum)
The Red Cross collaboration was so popular that Peanuts Worldwide brought it back this year, releasing four new shirt designs. Again, the Snoopy fandom — plus some Woodstock enthusiasts — responded, with 250,000 blood donation appointments made nationwide in the month after the collection’s launch.
In addition to the Red Cross partnership, Peanuts Worldwide this year has rolled out collaborations with all kinds of retailers, from luxury brands like Coach and Kith to mass-market powerhouses like Krispy Kreme and Starbucks. Menta said licensed product volume is greater than ever, estimating that the brand currently has more than 1,200 licensees in “almost every territory around the world,” which is approximately four times the number it had 40 years ago.
Then again, at that time, Schulz enjoyed and regularly executed veto power when it came to product proposals, and licensing rules were laid out in what former Times staff writer Carla Lazzareschi called the “Bible.”
“The five-pound, 12-inch-by-18-inch binder given every new licensee establishes accepted poses for each character and painstakingly details their personalities,” Lazzareschi wrote in a 1987 Times story. “Snoopy, for example, is said to be an ‘extrovert beagle with a Walter Mitty complex.’ The guidelines cover even such matters as Snoopy’s grip on a tennis racquet.”
Although licensing has expanded greatly since then, Menta said she and her retail development associates “try hard not to just slap a character onto a T-shirt.” Their goal is to honor Schulz’s storytelling, she added, and with 18,000 “Peanuts” strips in the archive, licensees have plenty of material to pull from.
Rick Vargas, the senior vice president of merchandising and marketing at specialty retailer BoxLunch, said his team regularly returns to the Schulz archives to mine material that could resonate with customers.
“As long as you have a fresh look at what that IP has to offer, there’s always something to find. There’s always a new product to build,” Vargas said.
Indeed, this has been one of BoxLunch’s strongest years in terms of sales of “Peanuts” products, and Snoopy merchandise specifically, the executive said.
BaubleBar co-founder Daniella Yacobovsky said the brand’s “Peanuts” collaboration was one of its most beloved yet.
(BaubleBar)
Daniella Yacobovsky, co-founder of the celebrity-favorite accessory retailer BaubleBar, reported similar high sales for the brand’s recent “Peanuts” collection.
“Especially for people who are consistent BaubleBar fans, every time we introduce new character IP, there is this huge excitement from that fandom that we are bringing their favorite characters to life,” Yacobovsky said.
The bestselling item in the collection, the Peanuts Friends Forever Charm Bracelet, sold out in one day. Plus, customers have reached out with new ideas for products linked to specific “Peanuts” storylines.
More recently, Peanuts Worldwide has focused on marketing to younger costumers in response to unprecedented brand engagement from Gen Z. In November, it launched a collaboration with Starface, whose cult-favorite pimple patches are a staple for teens and young adults. The Snoopy stickers have already sold out on Ulta.com, Starface founder Julie Schott said in an emailed statement, adding that the brand is fielding requests for restocks.
“We know it’s a certified hit when resale on Depop and EBay starts to spike,” Schott said.
The same thing happened in 2023, when a CVS plush of Snoopy in a puffer jacket (possibly the dog’s most internet-famous iteration to date) sold out in-store and started cropping up on EBay — for more than triple the original price.
The culprits were Gen-Zers fawning over how cute cozy Snoopy was, often on social media.
“People who love Snoopy adore Snoopy, whether you grew up with ‘Peanuts’ or connect with Snoopy as a meme and cultural icon today,” said Starface founder Julie Schott.
(Starface World Inc.)
Hannah Guy Casey, senior director of brand and marketing at Peanuts Worldwide, said in 2024, the official Snoopy TikTok account gained 1.1 million followers, and attracted 85.4 million video views and 17.6 million engagements. This year, the account has gained another 1.2 million followers, and racked up 106.5 million video views and 23.2 million engagements.
Guy Casey noted that TikTok is where the brand experiences much of its engagement among Gen Z fans.
Indeed, the platform is a hot spot for fan-created Snoopy content, from memes featuring the puffer jacket to compilations of his most relatable moments. Several Snoopy fan accounts, including one dedicated to a music-loving Snoopy plushie, boast well over half a million followers.
Caryn Iwakiri, a speech and language pathologist at Sunnyvale’s Lakewood Tech EQ Elementary School whose classroom is Snoopy-themed, recently took an impromptu trip to the Charles M. Schulz Museum in Santa Rosa after seeing its welcome center decked out with Snoopy decor on TikTok. Once she arrived, she realized the museum was celebrating the “Peanuts” 75th anniversary.
Last year, the Schulz Museum saw its highest-ever attendance, driven in large part by its increased visibility on social media.
(Brennan Spark / Charles M. Schulz Museum)
It’s a familiar story for Schulz Museum director Gina Huntsinger.
“Last December, we were packed, and I was at the front talking to people, and I just randomly asked this group, ‘Why are you here?’”
It turned out that the friends had traveled from Washington, D.C., and Las Vegas to meet in Santa Rosa and visit the museum after seeing it on TikTok.
According to Stephanie King, marketing director at the Schulz Museum, the establishment is experiencing its highest-ever admissions since opening in 2002. In the 2024–2025 season, the museum increased its attendance by nearly 45% from the previous year.
Huntsinger said she’s enjoyed watching young visitors experience the museum in new ways.
In the museum’s education room, where visitors typically trace characters from the original Schulz comics or fill out “Peanuts” coloring pages, Gen Z museumgoers are sketching pop culture renditions of Snoopy — Snoopy as rock band Pierce the Veil, Snoopy as pop star Charli XCX.
“When our social media team puts them up [online], there’s these comments among this generation that gets this, and they’re having conversations about it,” Huntsinger said. “It’s dynamic, it’s fun, it’s creative. It makes me feel like there’s hope in the world.”
The Schulz Museum’s “Passport to Peanuts” exhibition emphasizes the comic’s global reach.
(Brennan Spark / Charles M. Schulz Museum)
Laurel Roxas felt similarly when they first discovered “Peanuts” as a kid while playing the “Snoopy vs. the Red Baron” video game on their PlayStation Portable. For Roxas, who is Filipino, it was Snoopy and not the “Peanuts” children who resonated most.
“Nobody was Asian. I was like, ‘Oh, I’m not even in the story,’” they said.
Because Snoopy was so simply drawn, Roxas added, he was easy to project onto. They felt similarly about Hello Kitty; with little identifying features or dialogue of their own, the characters were blank canvases for their own personification.
Roxas visited Snoopy Museum Tokyo with their brother last year. They purchased so much Snoopy merchandise — “everything I could get my hands on” — that they had to buy additional luggage to bring it home.
For some Snoopy enthusiasts, the high volume of Snoopy products borders on oversaturation, threatening to cheapen the spirit of the character.
Growing up, Bella Shingledecker loved the holiday season because it meant that the “Peanuts” animated specials would be back on the air. It was that sense of impermanence, she believes, that made the films special.
Now, when she sees stacks of Snoopy cookie jars or other trend-driven products at big-box stores like T.J. Maxx, it strikes her as a bit sad.
“It just feels very unwanted,” she said. For those who buy such objects, she said she can’t help but wonder, “Will this pass your aesthetic test next year?”
Lina Jeong, for one, isn’t worried that Snoopy’s star will fade.
“[Snoopy is] always able to show what he feels, but it’s never through words, and I think there’s something really poetic in that,” said Lina Jeong.
(Brennan Spark / Charles M. Schulz Museum)
Jeong’s affinity for the whimsical beagle was passed down to her from her parents, who furnished their home with commemorative “Peanuts” coffee table books. But she fell in love with Snoopy the first time she saw “Be My Valentine, Charlie Brown,” which she rewatches every Valentine’s Day.
This past year, she was fresh out of a relationship when the holiday rolled around and she found herself tearing up during scenes of Snoopy making Valentine’s crafts for his friends.
“Maybe I was hyper-emotional from everything that had happened, but I remember being so struck,” that the special celebrated platonic love over romantic love, Jeong said.
It was a great comfort to her at the time, she said, and she knows many others have felt that same solace from “Peanuts” media — especially from its dear dog.
“Snoopy is such a cultural pillar that I feel like fads can’t just wash it off,” she said.
Soon, she added, she plans to move those “Peanuts” coffee table books into her own apartment in L.A.
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Commentary: Exploring the moon while cutting NASA? Why Trump’s 2027 budget misfires
Trump’s budget proposal takes aim at programs that make Americans smarter, healthier and safer. What’s his real agenda?
The oldest, most enduring cliche about government policy is the one about how budgets are political, not fiscal, documents.
The Trump administration’s budget proposal for the 2027-28 fiscal year, unveiled Friday, seems designed to set a new standard for partisan ideology as a spending standard.
You may have seen news coverage of the budget’s top lines, which call for $1.5 trillion in defense spending next year and cuts totaling $73 billion in nondefense spending. But those figures fail to communicate the raw flavor of the budget cuts or how they’re described in the 92-page document.
It’s an extinction-level event for science.
— Casey Dreier, Planetary Society, on budget cuts at NASA
Nor do they provide perspective for the magnitude of the defense increase or the damage that would be wreaked upon crucial social programs.
The defense request, for instance, would be a 42% increase over the current year, but it might be better judged as what Todd Harrison of the pro-business American Enterprise Institute describes unhappily as “the highest level of funding for defense in US history, surpassing even the peak funding during World War II.”
Adjusted to today’s dollars, Harrison calculates, the World War II peak was a bit lower than $1.2 trillion.
The administration minimizes the overall budgetary effect of its spending plans by projecting average growth in gross national product at 3% annually over the next decade.
That’s an ambitious goal, to say the least. Over the last 25 years — that is, in this century — U.S. economic growth has reached or exceeded 3% in only three years, including a pandemic-era surge to 6.1% in 2021. Last year it was only 2.1%.
On the other side of the ledger, the nondefense budget would be cut by 10%. But programs the White House has specifically targeted for being contrary to its ideology would suffer far more devastating cuts. Some scientific programs, such those concerned with global warming or the social and economic implications of science, technology and healthcare policies would be slashed by more than 50%.
NASA may be enjoying a moment just now, as its Artemis II spacecraft rounded the far side of the moon Monday, preparatory to heading back to Earth in the first moonshot since Apollo 17 last landed men on the lunar surface in December 1972.
But Trump proposes slashing the agency’s budget by $5.6 billion, or 23%. It gets worse: Trump would cut NASA’s science division by $34 billion, or 47%, canceling more than 40 projects, of which about 20 are currently underway.
“It’s an extinction-level event for science,” Casey Dreier, chief of space policy at the Planetary Society, told Nature.
Among the programs facing extinction is NASA’s Office of Science, Technology, Engineering, and Mathematics Engagement, which aimed to interest minority students in those so-called STEM disciplines.
“NASA will inspire the next generation of explorers through exciting, ambitious space missions,” the budget says, “not through subsidizing woke STEM programming and research that prioritizes some groups of students over others.”
The budget leaves unclear how those “exciting, ambitious space missions” will come to pass, since it also cuts $297 million from NASA’s annual spending on space technology.
The proposed cuts to science programs more generally would be devastating. The National Science Foundation, one of the most important scientific grant-making agencies in the world, would lose $4.8 billion, or 55% of its funding.
The language the budget uses to rationalize such cuts speaks volumes about the drivers of its draconian cuts in nondefense spending: It’s an expression of Trumpian culture war hobby horses such as hostility to diversity, equity and inclusion (DEI) initiatives. The term “woke” or its derivatives appear 32 times in the budget document — as many times as it appears in Project 2025, the far-right roadmap for a second Trump term published by the Heritage Foundation in 2023.
The $8.5 billion in proposed budget cuts to K-12 spending would include the elimination of the $70-million Teacher Quality Partnership, which the budget describes as a program to “train teachers … on divisive ideologies.”
Among those, the budget says, are “inappropriate and divisive topics such as Critical Race Theory, diversity, equity, and inclusion, social justice activism,” and “anti-racism.” Nothing in the document explains why any of those things are considered bad; the terms are merely shibboleths that Trump’s core audience is expected to accept as gospel.
Services for transgender individuals would take a major hit from the budget: Among the $204.5 million in Treasury Department funding for community development initiatives on the chopping block would be support for “gender extremism,” such as for clinics that provide “‘gender-affirming hormone therapy’ and other services to young patients.”
As I’ve reported, Trump has bought heavily into conservative attacks on gender-affirming care, including by spouting claims that I labeled in 2024 as “deranged and despicable,” such as that schoolchildren are being kidnapped by school administrators and subjected to surgery against their will.
Perhaps the most concentrated assault in the proposed budget, as my colleague Hayley Smith reported, is the one aimed at research, development, and construction of renewable energy sources. The budget plan contains no fewer than 20 references to what it calls the “green new scam.”
This is an infantile reference to what’s typically known as the “Green New Deal,” a raft of policies incorporating a transition from fossil fuels such as oil, gas and coal to renewables as well as the concept of “environmental justice,” meaning efforts to ensure that the transition doesn’t overly burden disadvantaged communities.
Trump has consistently called for more development of fossil sources, including a revival of coal despite its unrelenting and inevitable glide path toward extinction as a component of U.S. energy generation. The budget plan doubles down on this policy, calling renewables R&D a “leftist” ideology. This is tied to policies “opening up more Federal land and waters for oil, gas, and clean coal development,” the document says. (“Clean coal,” which is to say nonpolluting coal, is a myth, as I’ve reported.)
The budget plan pays tribute to another Trump obsession, the supposed evils of wind power. Cuts to the Interior Department budget would “put a stop to disastrous offshore wind energy projects that harm hardworking coastal communities, precious wildlife, and American military readiness.” None of these assertions about wind power is supported by reality.
Some cuts appear to reflect a determination to exact retribution from agencies that have thwarted cherished conservative goals. The National Institutes of Health, a consistent target of conservative budget-cutters, would lose $5.9 billion, or 12.5% of its budget. That would include major cuts to the National Institute of Allergy and Infectious Diseases, which was formerly headed by the respected immunologist Anthony Fauci.
The budget drafters couldn’t resist taking a swipe at Fauci, who has been the target of smears from Republicans who have tried to blame him, absurdly, for the COVID pandemic. The budget document accuses Fauci of steering government funds to the Wuhan (China) Institute of Virology, which it called “the likely source of the COVID-19 pandemic.”
There’s no compelling evidence that a laboratory was a source of the virus, as I’ve documented: The overwhelming weight of scientific judgment is that the virus reached humans from natural zoologic sources. The budget plan resurrects the long-debunked conspiracy theory that Fauci orchestrated a 2020 scientific paper that judged the lab-leak theory to be “improbable.” The budget drafters assert that Fauci (who retired in 2022) “commissioned” the paper, which is simply untrue.
Another theme percolating through the budget plan is the need to protect our wealthiest taxpayers from, well, taxes. The budget would cut $1.4 billion from the budget of the Internal Revenue Service, reversing a restoration of the agency’s enforcement capabilities undertaken during the Biden administration. Trump cut IRS staffing by 20,000, or 27%. The document asserts that the IRS “has been weaponized against the American people, small businesses, and non-profit organizations.”
According to the Yale Budget Lab, every dollar the IRS spends on audits yields more than $7 in returns. Plainly that’s not coming from average Americans, but from the upper crust.
None of this means that the budget proposal isn’t valuable, to an extent. It’s a convenient one-stop window into Trump’s personal fixations: the elimination of “radical gender and racial ideologies that poison the minds of Americans,” the horrors of “the globalist climate agenda,” the “invasion” of violent criminals from abroad, and so on. In other words, there’s nothing new under the Trumpian sun.
Business
Hypersonic aircraft company moves headquarters from Atlanta to El Segundo
Aerospace startup Hermeus is moving its headquarters to El Segundo from Atlanta as it aims to build autonomous hypersonic aircraft for the military, the latest sign of revival in the region’s aerospace and defense sectors.
The company, valued at $1 billion, is opening executive offices and a facility where it will design and build its next prototype, a supersonic plane intended to hit Mach 3 — faster than any modern warplane.
The company’s goal is to eventually develop a hypersonic plane reaching Mach 5, or five times the speed of sound, and Southern California has the engineering talent base to help achieve that, executives said.
“Building a lot of aircraft developmentally very quickly, doing iterative developments, it really doesn’t exist anywhere out in the world other than SpaceX — and we’ve recruited a lot of talent from there over the years,” said co-founder and Chief Executive AJ Piplica, a Georgia Tech alumnus.
“We’re now at a point in the company’s trajectory where we are scaling what the team can do,” he added.
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Elon Musk founded SpaceX in El Segundo 24 years ago and later moved its operations to Hawthorne, where the company still maintains a large campus despite relocating its headquarters to Texas in 2024.
El Segundo and other South Bay cities have witnessed explosive growth in recent years, with scores of startups in aerospace and defense tech — many founded by former SpaceX employees.
Hermeus announced its move Tuesday at the same time it disclosed its latest $350-million funding round, which it said values the company at $1 billion.
The round was led Khosla Ventures, founded by prominent Silicon Valley venture capitalist Vinod Khosla. Other participants included billionaire Peter Thiel‘s Founders Fund.
Sam Altman, the CEO and co-founder of OpenAI, led a prior $100-million funding round in 2022. The company said it has now raised $500 million in equity and debt.
Hypersonic planes and weapons are at the cutting edge of military research and development. China and Russia have developed the weapons, which are viewed as strategic threats, with Russia deploying them in Ukraine.
Missile development also is taking place in the United States, including at legacy defense contractors Northrop Grumman and Lockheed Martin, as well as Torrance startup Castelion.
Hermeus is developing supersonic and hypersonic aircraft that are not only autonomous but also reusable, like any modern jet. The aircraft would have multiple uses, including as a strike fighter, conducting reconnaissance and transporting cargo.
“What we are building here is not just an airplane, it is a platform,” Piplica said.
The company, founded in 2019, flew its first prototype, Quarterhorse Mk 1, in May 2025 during a short low-speed flight at Edwards Air Force Base in the Mojave Desert.
Hermeus’ headquarters in El Segundo. The aerospace firm has begun moving into its 67,000-square-foot offices and will take full occupancy early next year.
(Hermeus)
It flew its first second aircraft in February at Spaceport America over White Sands Missile Range airspace in New Mexico. The Quarterhorse Mk 2.1 plane is three times larger than the initial prototype and about the size of an F-16. The goal is to reach supersonic speeds.
Hermeus plans to continue testing aircraft at the isolated missile range, where it can fly faster while not endangering structures or anyone on the ground.
Since 2021, the firm has operated out of a 110,000-square-foot facility in Atlanta, where it has its offices as well as design and production operations.
It will retain the site and use the entire space for production.
Georgia is the home of multiple aerospace manufacturing facilities, including Northrop Grumman.
“That talent base [in Georgia] is extremely aligned to large-scale aerospace manufacturing. Prototyping is a whole different world — different skill sets, different capabilities,” said Piplica, who had been an executive at Atlanta hypersonic research company Generation Orbit before co-founding Hermeus.
The aerospace firm has begun moving into its 67,000-square-foot offices at 888 North Douglas St. in El Segundo and will take full occupancy early next year. The Southern California operation will employ more than 200 people by next year, adding hundreds more in the coming years, executives said. Hermeus currently employs about 300.
The company is currently building its third Quarterhorse aircraft, which it expects will fly faster than Mach 2, in the Atlanta facility. It is expected to fly later this year. The fourth Quarterhorse will be built in El Segundo — with the goal of hitting Mach 3. It should fly next year with the military showing interest in a plane flying at that speed, Piplica said. .
Its hypersonic plane, designed for defense and national security missions, is farther off and dubbed the Darkhorse. Reaching Mach 5 involves the use of a so-called ramjet, which is similar to a traditional jet engine but doesn’t have any moving parts.
Hermeus does engine testing in Jacksonville, Fla., and has engineering offices in Hawthorne that it plans to retain.
In El Segundo, it’s leasing space in two buildings in a 30-acre complex Hackman Capital Partners acquired from Northrop Grumman in 2017 and spent $100 million making over into modern offices.
The complex includes the West Coast offices of L’Oreal USA, the headquarters of alternative protein company Beyond and labs that El Segundo aerospace company Varda Space Industries recently subleased from Beyond.
El Segundo Mayor Chris Pimentel said the city helped market the Hermeus space.
“We spoke loudly about the opportunity over there for a couple different players. I thought frankly that Hermeus had passed us by and that they were going to stay in Atlanta, so we’re delighted,” he said.
The city counts more than 40 aerospace and tech companies as having headquarters or major operations in El Segundo. In addition to contractors Boeing and Northrop Grumman, they include startups Picogrid and Sift. There are other companies, including suppliers.
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