The Cosmos Beckons for Snoopy Onscreen and in Real Life

This image released by Apple TV+ shows a scene from "Snoopy in Space." (Apple TV+ via AP)
This image released by Apple TV+ shows a scene from "Snoopy in Space." (Apple TV+ via AP)
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The Cosmos Beckons for Snoopy Onscreen and in Real Life

This image released by Apple TV+ shows a scene from "Snoopy in Space." (Apple TV+ via AP)
This image released by Apple TV+ shows a scene from "Snoopy in Space." (Apple TV+ via AP)

A new rocket designed to launch humans to the moon, Mars and beyond will launch next year from Kennedy Space Center in Florida. On board, will be a familiar fuzzy figure — Snoopy.

A 5-ounce plush toy version of the daydreaming beagle — wearing a space suit designed according to NASA’s strict specifications — has an important job for the Artemis I unmanned mission.

NASA uses stuffed animals on flights because when the little guys start to float, it indicates that the spacecraft has entered space’s zero gravity. Since the toys are soft and light, they won’t break anything or accidentally strike a button.

The Artemis I mission is scheduled to circle the moon and then return to Earth in February as a dry run without astronauts, making sure all systems are working for future crewed missions. Also aboard will be two Lego figurines, part of an educational series.

The upcoming mission announcement coincides with the release Friday of the second season of “Snoopy in Space,” the Emmy-nominated animated series on Apple TV+. Season one saw Snoopy become an astronaut and land on the moon. Season two sees him go further in what showrunner Mark Evestaff calls an “epic road trip.”

“We have taken a bit of a step further so that Snoopy is able to go to some of these places that we haven’t been, like Mars or the moons of Jupiter or visiting an exoplanet,” he says. “And he does it through his imagination, but it’s also based on actual science from NASA.”

Stephanie Betts, chief content officer at media company WildBrain, said season one was the perfect foundation. “Snoopy became an astronaut and was able to go to space. Well, now what do you do with that? Well, let’s go explore. Let’s have that search for life.”

Back closer to home, the plush Snoopy’s gravity-monitoring task — it’s officially called the zero gravity indicator — will be far from the first stuffed toy used by astronauts. Soviet cosmonaut Yuri Gagarin, the first human in space, had a small doll when he launched on Vostok 1.

Since then, an owl doll and an Angry Birds toy have been on the International Space Station, a plush R2-D2 was used as the talisman on a Soyuz mission in 2015 and a stuffed snowman Olaf from the movie “Frozen” has gone up. A plush Snoopy has also been on the space station.

Snoopy has a long history with NASA, starting when the Apollo X astronauts Thomas Stafford, John Young and Gene Cernan chose “Peanuts” characters as nicknames — the command module was called Charlie Brown, and the lunar module was Snoopy.

“Someone had the idea of trying to bring more interest into the space program. By the time they got to Apollo 10, they felt that the program was going to become a little stale,” said Craig Schulz, son of “Peanuts” creator Charles Schulz. “For my dad, it was probably one of the biggest, if not the biggest honor, that could ever be bestowed upon his comic strip.”

Charles Schulz, for his part, drew strips with Snoopy walking on the lunar surface. “I did it! I’m first beagle on the moon! I beat the Russians... I beat everybody... I even beat that stupid cat who lives next door!” says Snoopy in one.

NASA and “Peanuts” have frequently been interwoven. The space agency honors its best employees with the Silver Snoopy Award, and a Snoopy doll was aboard Boeing’s CST-100 Starliner spacecraft in 2019.

The plush 10-inch-by-7 inch Snoopy that is being readied for the Artemis I mission was not the kind you’d find on a Target shelf. It’s a one-of-a-kind work and painstakingly designed using only NASA-approved materials. Stress-testing it is due in December.

“The spacesuit had to meet all the requirements and be of the same quality that the astronauts would be wearing, both in the materials and what got approved. So it was a months-long process of going back and forth and back and forth as they considered all the materials used on the spacesuit,” said Craig Schulz.

In many ways, the reuniting of Snoopy and NASA in 2021 mirrors the way the two initially worked together to generate interest in space exploration.

“Space travel is almost become so normalized now,” said Schulz. “People’s attention span is a little weak, for the most part. So when you inject some of that entertaining Snoopy, you’re going to capture the audience.”



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
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Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."