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.”



‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles

‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles
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‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles

‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles

“Venom: The Last Dance” enjoyed another weekend at the top of the box office. The Sony release starring Tom Hardy added $26.1 million in ticket sales, according to studio estimates Sunday.
It was a relatively quiet weekend for North American movie theaters leading up to the presidential election. Charts were dominated by big studio holdovers, like “Venom 3,” “The Wild Robot” and “Smile 2,” while audiences roundly rejected the Tom Hanks, Robin Wright and Robert Zemeckis reunion “Here.” Thirty years after “Forrest Gump,” “Here” opened to only $5 million from 2,647 locations.
“Venom 3” only fell 49% in its second weekend, which is a notably small drop for a superhero film, though it didn’t exactly open like one either. In two weeks, the movie has made over $90 million domestically; The first two opened to over $80 million. Globally, the picture is brighter given that it has already crossed the $300 million threshold.
Meanwhile, Universal and Illumination’s “The Wild Robot” continues to attract moviegoers even six weeks in (and when it’s available by video on demand), placing second with $7.6 million. That's up 11% from last weekend. The animated charmer has made over $121 million in North America and $269 million worldwide, The Associated Press reported.
"'The Wild Robot' has quietly been this absolute juggernaut for the fall season," said Paul Dergarabedian, the senior media analyst for Comscore. “For that film to see an increase after six weeks is astounding.”
“Smile 2” landed in third place with $6.8 million, helping to push its worldwide total to $109.7 million.
The time-hopping “Here,” a graphic novel that was adapted by “Forrest Gump” screenwriter Eric Roth, was financed by Miramax and distributed by Sony’s TriStar. With a fixed position camera, it takes audiences through the years in one living room. Critics were not on board: In aggregate it has a lousy 36% on Rotten Tomatoes.
“It was a slow weekend anyway, but it didn’t resonate in a way that many thought it might," Dergarabedian said. "There are a lot of films out there for the audience that ‘Here’ was chasing."
Despite playing in almost 1,000 more locations, “Here” came in behind Focus Features' papal thriller “Conclave,” which earned $5.3 million. Playing in 1,796 theaters, “Conclave” dropped only 20% from its debut last weekend and has made $15.2 million so far. Two Indian films also cracked the top 10 in their debuts, “Bhool Bhulaiyaa 3” and “Singham Again.”
Overall box office continues to lag behind 2023 by almost 12%. But holiday moviegoing will likely give the industry an end-of-year boost with titles like “Gladiator II” and “Wicked” on the way.
“In a couple of weeks, it’ll get a lot more competitive,” Dergarabedian said.
Jesse Eisenberg’s film “A Real Pain,” a comedic drama about cousins on a Holocaust tour in Poland, launched in four theaters this weekend in New York and Los Angeles. It made an estimated $240,000, or $60,000 per screen, which is among the top three highest per theater averages of the year. Searchlight Pictures will be expanding the well-reviewed film nationwide in the coming weeks, going wide on Nov. 15 to over 800 theaters.
Box office charts don’t always paint a full picture of the moviegoing landscape, however. This weekend several relatively high-profile films playing in theaters did not report full grosses for various reasons, including the Clint Eastwood film “Juror #2,” Steve McQueen’s WWII film “Blitz” and the Cannes darling “Emilia Pérez.” Netflix, which is handling “Emilia Pérez,” never reports box office. Apple Original Films is following suit with “Blitz,” a likely awards contender, which is in theaters before hitting Apple TV+ on Nov. 22.
“Juror No. 2” is a Warner Bros. release, and a well-reviewed one at that. The film directed by Eastwood stars Nicholas Hoult as a juror on a murder case who faces a big moral dilemma. Domestic ticket sales were withheld. The studio did say that it earned $5 million from international showings, where it played on 1,348 screens.
Even major studios withhold box office numbers occasionally. Earlier this year, Disney did not report on the Daisy Ridley movie “Young Woman and the Sea.” Results were most notably withheld during the COVID-19 pandemic.
"It’s really up to the distributors," Dergarabedian said. “Often times the reason that certain movies may not be reported is that there’s a chance that the quality of the movie will be conflated with the box office number.”