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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.

The Las Vegas Museum of Art has revealed new key details of Pritzker Prize-winning architect Diébédo Francis Kéré’s design for the city’s first freestanding museum, which is expected to break ground in 2027.

The earthy red structure will feature a facade of locally sourced stone, and was inspired by the canyons and red rock landscape that stretches beyond the brash, man-made playground of Sin City, Kéré said in an interview alongside the museum’s executive director, Heather Harmon.

“How can I use what is surrounding Las Vegas to create something open and welcoming?” he said. “We started to think about the subtle beauty of the nature, and to bring it into the core of the museum.”

Renderings of the structure, which is situated in Symphony Park, show a cubed modernist building with a large awning that stretches over a bustling entry plaza to provide shade. A curved grand entrance staircase spirals through the center of the museum and is visible from the building’s floor-to-ceiling windows. Cloistered second-floor galleries are meant to provide a peaceful sanctuary for taking in the art.

A concept sketch for the Las Vegas Museum of Art by architect Diébédo Francis Kéré.

(Diébédo Francis Kéré / Las Vegas Museum of Art)

Architect Paul R. Williams’ Guardian Angel Cathedral, which opened in the city in 1963, is cited as a design influence, as are the singular stocky trunk baobab trees of the African savanna. Kéré was born in the village of Gando in the West African country of Burkina Faso, and noted that although the natural environment of his home country is quite different from that of Las Vegas, he was able to find many design parallels for inspiration.

Kéré, who is also a professor at Yale in New Haven, Conn., has made many trips to Las Vegas over the last few years, and received personalized tours of the city and its natural surroundings from Harmon and Elaine Wynn, a museum board member and philanthropist who died in April.

They went to the Valley of Fire State Park, which features fantastical sandstone formations the same color as the museum’s renderings. They also saw various quarries as well as the Hoover Dam. In the city, they visited the west side, which is rooted in the city’s rich African American history, as well as Ward 3 on the east side, which is home to a large Latino population.

“We looked at community spaces, we looked at people in community spaces,” said Harmon. “And we really wanted to have that feeling of understanding as we approached the project — just knowing firsthand who we were building the museum for.”

The 60,000-square-foot building is expected to welcome more than 2.4 million year-round Las Vegas residents, as well as millions of global tourists. The museum is expected to cost about $200 million, including its endowment. The target opening date is in 2029.

Last year, the Los Angeles County Museum of Art announced it would share its collection with the Vegas museum, which does not have plans to become a collecting institution. LACMA director and LVMA founding trustee Michael Govan told The Times that the sharing arrangement is part of a paradigm shift for LACMA, allowing it to expand access to its collection without increasing the physical footprint of its home base. (Critics, including former Times art critic Christopher Knight, disagreed with the move.)

“I think that’s a very 20th century idea — to keep adding wings until you’re a million square feet on Fifth Avenue,” Govan said in an interview at the time.