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Charlie Brown and Snoopy Offer an Animated ‘Peanuts’ Musical About Summer Camp

A Snoopy figurine is displayed as part of the "Snoopy In Style" exhibition to mark the Peanuts comic strip's 75th anniversary in Paris, France, March 20, 2025. (Reuters)
A Snoopy figurine is displayed as part of the "Snoopy In Style" exhibition to mark the Peanuts comic strip's 75th anniversary in Paris, France, March 20, 2025. (Reuters)
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Charlie Brown and Snoopy Offer an Animated ‘Peanuts’ Musical About Summer Camp

A Snoopy figurine is displayed as part of the "Snoopy In Style" exhibition to mark the Peanuts comic strip's 75th anniversary in Paris, France, March 20, 2025. (Reuters)
A Snoopy figurine is displayed as part of the "Snoopy In Style" exhibition to mark the Peanuts comic strip's 75th anniversary in Paris, France, March 20, 2025. (Reuters)

Charlie Brown and Snoopy go to sleepaway camp in a new, bittersweet Apple TV+ special fueled by a pair of Emmy Award-nominated songwriters that's being billed as the first "Peanuts" musical in 35 years.

"My motivation has always been to preserve and enhance my dad’s legacy," says co-writer Craig Schulz, a son of the iconic comic strip "Peanuts" creator Charles. S. Schulz. "So it’s really an honor to get to play with these kids."

"Snoopy Presents: A Summer Musical," which premieres Friday, features five songs — two by Jeff Morrow, Alan Zachary and Michael Weiner — and three by Ben Folds.

"If someone asked me to write for a stupid kids thing, I would find it difficult because I don’t like talking down to anyone, much less kids," says Folds. "'Peanuts' isn't like that. We’re working in very rich, fertile soil."

What's the special about? The special opens with the kids getting ready to catch the bus to Cloverhill Ranch camp, but Sally isn't so sure it's going to be great. "Honestly, big brother, I could stay home," she says.

Sally is initially intimidated by the camp's inside jokes and rituals, turned off by the insects, the endless climbing, no TV, cold lake water and lumpy beds.

"You wake at dawn/Like you would in jail," she sings in the song "A Place Like This.The food’s not what you’d call upscale/This whole endeavor, an epic fail/And that’s being diplomatic."

Trust "Peanuts" to explore reluctance to leave home and fear of change. Craig Schulz, who co-wrote the script with his son, Bryan, and Cornelius Uliano, channeled some of his own childhood.

"Cloverhill Ranch actually is a take-off of the one in Santa Rosa called Cloverleaf that I went to as a child and hated. I bailed out after a week and went home," he says. "So many connections in the film kind of date back to my childhood that we weaved into the film."

While Sally warms to camp, Snoopy discovers what he thinks is a treasure map that will transform him into a wealthy pooch, one who will lay on top of a gold dog house. And Charlie Brown learns that this summer will be the last for his beloved but struggling camp — unless he does something.

"I guess your generation would rather sit in front of the television than sit under the stars," he tells Sally. "We have to protect these kinds of places because once they’re gone, they’re gone forever."

Charlie Brown comes up with the idea to invite generations of camp-goers back for a fundraising concert, but the skies darken on the big day, threatening to cancel the event and sending him into a "Good grief" spiral.

"Charlie Brown is different in this special," says director Erik Wiese. "He’s really happy. He loves this place. And so that’s why when we get to that scene it’s so effective because he returned back to the zero we sort of know him traditionally."

Folds supplies the lovely, last three songs — "When We Were Light,Look Up, Charlie Brown" and "Leave It Better" — and credits his songwriting collaborators for setting the stage.

"I entered when those first two songs existed, and I get to just sort of step in at the point where things get really complex and melancholic," he says.

Folds has had a flirtation with musical theater before, having written the "Peanuts" Earth Day song "It’s the Small Things, Charlie Brown" in 2022 and a few songs for the movie "Over the Hedge" in 2006.

"People can easily confuse a song that sounds like musical theater with a song that should be musical theater," he says. "Really what the value of the song is that it obviates the need for a good five to 10 pages of script."

This October marks the 75th anniversary of "Peanuts," and the musical arrives with a boatload of branding, from tote bags by Coach to shoes by Crocs and Starbucks mugs.

Craig Schulz is already at work on a second animated musical with his son, having long ago fallen in love with the family business.

"I used to always wonder how in the world my dad could go to the office every day for 50 years and write a comic strip every day," he says, comparing it to the "I Love Lucy" episode with Lucy trying to keep up with a chocolate conveyor belt.

"Then I came to realize that he had his family of five kids, but I really think he enjoyed going to the studio and working with the ‘Peanuts’ characters even more so than his real family. He got to go in there and embrace them, draw them, make him happy, sad, whatever. It was a world that I don’t think he could ever leave."

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Entertainment

A Minute With ‘Knives Out’ Director Rian Johnson on Third Franchise Film 

Rian Johnson. (Getty Images/AFP)
Rian Johnson. (Getty Images/AFP)
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A Minute With ‘Knives Out’ Director Rian Johnson on Third Franchise Film 

Rian Johnson. (Getty Images/AFP)
Rian Johnson. (Getty Images/AFP)

Writer and director Rian Johnson is unveiling his third “Knives Out” mystery movie, “Wake Up, Dead Man,” which streams on Netflix on December 12.

The film centers around Father Jud Duplenticy, played by Josh O’Connor, who finds himself the prime suspect in a murder amidst a small, close-knit Catholic church congregation.

The “Knives Out” detective from the previous franchise films, Benoit Blanc, played by Daniel Craig, turns up to solve the mystery.

Johnson told Reuters about the process of creating the third film in the franchise.

Q. When you’re picking titles for films, like the last film “Glass Onion,” and this one “Wake Up, Dead Man,”– how much are you trying to befuddle the audience just with the title alone?

A. Well, I mean, you’re trying to pick a title that sounds like a good murder mystery title, that sounds a little intriguing but also that hopefully once you see the movie, you’re like, "it couldn’t have been named anything else." And this movie, I think the title is apropos.

Q. When you’re writing these mysteries, do you know who you have in mind for who the cast is?

A. I try not to, because it’s a pathway to heartbreak because in one way, all the actors are excited about being in them. It’s still we’re going after people who are the busiest people in the world, who are these movie stars so you don’t always know if it’s going to work out schedule-wise. So, if you’ve written with somebody deeply ingrained for that part and you can’t get them, then that’s a heartbreak. I try and write just to the characters. I try and just write an interesting group and then find the best people to play them.

Q. I think last time I interviewed you for "Glass Onion", you’d done this script already. How far ahead are you of future installments?

A. I actually think it’s quite important for me not to come up with an idea and start writing it until I know it’s going to be the next thing. So it’s not like I have a drawer of ideas for these things.

Entertainment

Full List of 2026 Golden Globe Nominees

A podium stands near Golden Globe statues, ahead of the announcement of the nominations for the 83rd Golden Globe Awards in Beverly Hills, California, US, December 8, 2025. REUTERS/Mario Anzuoni
A podium stands near Golden Globe statues, ahead of the announcement of the nominations for the 83rd Golden Globe Awards in Beverly Hills, California, US, December 8, 2025. REUTERS/Mario Anzuoni
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Full List of 2026 Golden Globe Nominees

A podium stands near Golden Globe statues, ahead of the announcement of the nominations for the 83rd Golden Globe Awards in Beverly Hills, California, US, December 8, 2025. REUTERS/Mario Anzuoni
A podium stands near Golden Globe statues, ahead of the announcement of the nominations for the 83rd Golden Globe Awards in Beverly Hills, California, US, December 8, 2025. REUTERS/Mario Anzuoni

Nominees for the 2026 Golden Globe Awards have been announced and “One Battle After Another” is this year's leading nominee.

Here's the list of who's nominated for this year's awards, which will be held Jan. 11 at the Beverly Hilton. Nikki Glaser will host the ceremony, according to Reuters.

MOVIES Best motion picture, drama “Frankenstein”; “Hamnet”; “It Was Just An Accident”; “The Secret Agent”; “Sentimental Value”; “Sinners.”

Best motion picture, musical or comedy “Blue Moon”; “Bugonia”; “Marty Supreme”; “No Other Choice”; “Nouvelle Vague”; “One Battle After Another.”

Best performance by a female actor in a motion picture, drama Jessie Buckley, “Hamnet”; Jennifer Lawrence, “Die My Love”; Renate Reinsve, “Sentimental Value”; Julia Roberts, “After the Hunt”; Tessa Thompson, “Hedda”; Eva Victor, “Sorry Baby.”

Best performance by a male actor in a motion picture, drama Joel Edgerton, “Train Dreams”; Oscar Isaac, “Frankenstein”; Dwayne Johnson, “The Smashing Machine”; Michael B. Jordan, “Sinners”; Wagner Moura, “The Secret Agent”; Jeremy Allen White, “Springsteen: Deliver Me from Nowhere.”

Best performance by a female actor in a motion picture, musical or comedy Rose Byrne, “If I Had Legs I’d Kick You”; Cynthia Erivo, “Wicked: For Good”; Kate Hudson, “Song Sung Blue”; Chase Infiniti, “One Battle After Another”; Amanda Seyfried, “The Testament of Ann Lee”; Emma Stone, “Bugonia.”

Best performance by a male actor in a motion picture, musical or comedy Timothée Chalamet, “Marty Supreme”; George Clooney, “Jay Kelly”; Leonardo DiCaprio, “One Battle After Another”; Ethan Hawke, “Blue Moon”; Lee Byung-hun, “No Other Choice”; Jesse Plemons, “Bugonia.”

Best performance by a female actor in a supporting role Emily Blunt, “The Smashing Machine”; Elle Fanning, “Sentimental Value”; Ariana Grande, “Wicked: For Good”; Inga Ibsdotter Lilleaas, “Sentimental Value”; Amy Madigan, “Weapons”; Teyana Taylor, “One Battle After Another.”

Best performance by a male actor in a supporting role Benicio del Toro, “One Battle After Another”; Jacob Elordi, “Frankenstein”; Paul Mescal, “Hamnet”; Sean Penn, “One Battle After Another”; Adam Sandler, “Jay Kelly”; Stellan Skarsgård, “Sentimental Value.”

Cinematic and box office achievement “Avatar: Fire and Ash”; “F1”; “KPop Demon Hunters”; “Mission: Impossible – The Final Reckoning”; “Sinners”; “Weapons”; “Wicked: For Good”; “Zootopia 2.”

Best motion picture, non-English “It Was Just an Accident,” France; “No Other Choice,” South Korea; “The Secret Agent,” Brazil; “Sentimental Value,” Norway; “Sirāt,” Spain; “The Voice of Hind Rajab,” Tunisia.

Best motion picture, animated “Arco”; “Demon Slayer: Kimetsu no Yaiba Infinity Castle”; “Elio”; “KPop Demon Hunters”; “Little Amélie or the Character of Rain”; “Zootopia 2.”

Best director Paul Thomas Anderson, “One Battle After Another”; Ryan Coogler, “Sinners”; Guillermo del Toro, “Frankenstein”; Jafar Panahi, “It Was Just an Accident”; Joachim Trier, “Sentimental Value”; Chloé Zhao, “Hamnet.”

Best screenplay “One Battle After Another,” Paul Thomas Anderson; “Marty Supreme,” Ronald Bronstein and Josh Safdie; “Sinners,” Ryan Coogler; “It Was Just an Accident,” Jafar Panahi; “Sentimental Value,” Eskil Vogt and Joachim Trier; “Hamnet,” Chloé Zhao and Maggie O’Farrell.

Best original score “Frankenstein,” Alexandre Desplat; “Sinners,” Ludwig Göransson; “One Battle After Another,” Jonny Greenwood; “Sirāt,” Kangding Ray; “Hamnet,” Max Richter; “F1,” Hans Zimmer.

Best original song “Dream as One,” from “Avatar: Fire and Ash”; “Golden,” from “KPop Demon Hunters”; “I Lied to You,” from “Sinners”; “No Place Like Home,” from “Wicked: For Good”; “The Girl in the Bubble,” from “Wicked: For Good”; “Train Dreams,” from “Train Dreams.”

TELEVISION Best television series, drama “The Diplomat”; “The Pitt”; “Pluribus”; “Severance”; “Slow Horses”; “The White Lotus.”

Best television series, comedy or musical “Abbott Elementary”; “The Bear”; “Hacks”; “Nobody Wants This”; “Only Murders in the Building”; “The Studio.”

Best performance by a female actor, drama Kathy Bates, “Matlock”; Britt Lower, “Severance”; Helen Mirren, “Mobland”; Bella Ramsey, “The Last of Us”; Keri Russell, “The Diplomat”; Rhea Seehorn, “Pluribus.”

Best performance by a male actor, drama Sterling K. Brown, “Paradise”; Diego Luna, “Andor”; Gary Oldman, “Slow Horses”; Mark Ruffalo, “Task”; Adam Scott, “Severance”; Noah Wyle, “The Pitt.”

Best performance by a female actor TV series, musical or comedy Kristen Bell, “Nobody Wants This”; Ayo Edebiri, “The Bear”; Selena Gomez, “Only Murders in the Building”; Natasha Lyonne, “Poker Face”; Jenna Ortega, “Wednesday”; Jean Smart, “Hacks.”

Best performance by a male actor, TV series, musical or comedy Adam Brody, “Nobody Wants This”; Steve Martin, “Only Murders in the Building”; Glen Powell, “Chad Powers”; Seth Rogen, “The Studio”; Martin Short, “Only Murders in the Building”; Jeremy Allen White, “The Bear.”

Best limited series, anthology series or movie made for television “Adolescence”; “All Her Fault”; “The Beast in Me”; “Black Mirror”; “The Girlfriend”; “Dying for Sex.”

Best performance by a male actor in a limited series, anthology series or movie made for television Jacob Elordi, “The Narrow Road to the Deep North”; Paul Giamatti, “Black Mirror”; Stephen Graham, “Adolescence”; Charlie Hunnam, “Monster: The Ed Gein Story”; Jude Law, “Black Rabbit”; Matthew Rhys, “The Beast in Me.”

Best performance by a female actor in a limited series, anthology series or movie made for television Claire Danes, “The Beast in Me”; Rashida Jones, “Black Mirror”; Amanda Seyfried, “Long Bright River”; Sarah Snook, “All Her Fault”; Michelle Williams, “Dying for Sex”; Robin Wright, “The Girlfriend.”

Best performance by a female actor in a supporting role Carrie Coon, “The White Lotus”; Erin Doherty, “Adolescence”; Hannah Einbinder, “Hacks”; Catherine O’Hara, “The Studio”; Parker Posey, “The White Lotus”; Aimee Lou Wood, “The White Lotus.”

Best performance by a male actor in a supporting role Owen Cooper, “Adolescence”; Billy Crudup, “The Morning Show”; Walton Goggins, “The White Lotus”; Jason Isaacs, “The White Lotus”; Tramell Tillman, “Severance”; Ashley Walters, “Adolescence.”

Best performance in stand-up comedy on TV Bill Maher, “Is Anyone Else Seeing This?”; Brett Goldstein, “The Second Best Night of Your Life”; Kevin Hart, “Acting My Age”; Kumail Nanjiani, “Night Thoughts”; Ricky Gervais, “Mortality”; Sarah Silverman, “PostMortem.”

Best podcast “Armchair Expert with Dax Shepard”; “Call Her Daddy”; “Good Hang with Amy Poehler”; “The Mel Robbins Podcast”; “SmartLess”; “Up First from NPR.”

 

 

 

 

 

 

Entertainment

Paramount Makes $108.4 billion Hostile Bid for Warner Bros Discovery

The Warner Bros. studios in Burbank, California, US November 18, 2025. REUTERS/Mike Blake
The Warner Bros. studios in Burbank, California, US November 18, 2025. REUTERS/Mike Blake
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Paramount Makes $108.4 billion Hostile Bid for Warner Bros Discovery

The Warner Bros. studios in Burbank, California, US November 18, 2025. REUTERS/Mike Blake
The Warner Bros. studios in Burbank, California, US November 18, 2025. REUTERS/Mike Blake

Paramount Skydance on Monday launched a hostile bid worth $108.4 billion for Warner Bros Discovery, throwing a wrench into the deal with Netflix in a last-ditch effort to create a media powerhouse that would challenge the dominance of the streaming giant.

The streaming giant had emerged victorious on Friday from a weeks-long bidding war with Paramount and Comcast, securing a $72 billion equity deal for Warner Bros Discovery's TV, film studios and streaming assets.

The offer, which is worth $82.7 billion including debt and comes with a $5.8 billion break-up fee from Netflix, is likely to face strong antitrust scrutiny, Reuters reported.

Paramount submitted multiple offers starting in September to forge an entertainment powerhouse capable of challenging Netflix and tech giants such as Apple that have expanded into media but faced rejections.

It has offered to buy the whole company at $30 per share, compared with Netflix's nearly $28 per share offer for its assets.

Paramount remains one of Hollywood's major studios, but its box office record has been uneven, with occasional franchise wins offset by periods in which its slate has trailed Disney, Universal and Warner Bros in US market share.

It had sent a letter to Warner Bros, questioning the sale process and alleging the company has abandoned a fair bidding process and predetermined Netflix as the winner.

That followed reports that Warner Bros' management called the Netflix deal a "slam dunk" while speaking negatively about Paramount's offer.

Analysts and industry experts see Paramount as the best candidate for acquiring Warner Bros Discovery, given Ellison's deep pockets - backed by his father, Oracle co-founder and the world's second-richest person Larry Ellison and the close ties with the Trump administration.

US President Donald Trump told reporters on Sunday the Netflix-Warner Bros combo could raise market share concerns and he would have a say on the deal.

Bloomberg News has reported Trump met Netflix co-CEO Ted Sarandos in mid-November, telling the executive Warner Bros should sell to the highest bidder.

Netflix's bid has already drawn sharp criticism from bipartisan lawmakers and Hollywood unions on concerns that it could lead to job cuts as well as higher prices for consumers.

The combined company will have substantial overlap and its combined streaming revenue would decline unless Netflix doubles its prices or runs separate platforms, neither of which the brokerage expects, Morningstar analysts have said.

Looking to allay antitrust fears, Sarandos had said the deal would drive value for consumers, shareholders and talent, saying Netflix is "highly confident" in the regulatory process.

Analysts said Netflix's motivation would stem from securing exclusive, long-term control over premium IP and reducing reliance on external studios as it expands into gaming, live entertainment and broader consumer ecosystems.

Access to WBD's vast IP trove would provide immediate credibility, audience reach and merchandising potential for its gaming ambitions, an area where Netflix is still building original content and brand recognition.