Peanuts (1950 – 2000): The Legacy of Charles Schulz’s Beloved Comic Strip Featuring Charlie Brown and Snoopy

Peanuts, briefly subtitled featuring Good ol’ Charlie Brown, is one of the most iconic and influential American comic strips in history. Created by Charles M. Schulz, the strip ran from October 2, 1950, to February 13, 2000, and has continued in reruns ever since. With 17,897 strips published over nearly 50 years, Peanuts has been described as “arguably the longest story ever told by one human being.”

At the time of Schulz’s passing in 2000, Peanuts was published in more than 2,600 newspapers, reached an estimated 355 million readers in 75 countries, and had been translated into 21 languages. The strip helped establish the four-panel format as the American standard for comic strips, and Schulz’s creative control—from writing to inking and lettering—was unmatched in the industry. With a merchandising empire and multimedia adaptations including a 2015 Peanuts film, Schulz’s creation has earned over $1 billion.

Infobox: Peanuts

Feature	Details
Title	Peanuts
Creator	Charles M. Schulz
Syndication	United Feature Syndicate (1950–2011), Universal Uclick (2011–present)
Original Run	October 2, 1950 – February 13, 2000
Total Strips	17,897
Genres	Humor, satire, slice-of-life, children
Main Characters	Charlie Brown, Snoopy, Linus, Lucy, Peppermint Patty, Marcie, Schroeder, Woodstock
Language	English (translated into 21+ languages)
Reach (2000)	2,600+ newspapers, 355 million readers, 75 countries
Earnings	Over $1 billion in merchandise and licensing
Website	www.peanuts.com
Legacy Management	Peanuts Worldwide LLC

Title

Peanuts had its origin in Li’l Folks, a weekly panel cartoon that appeared in Schulz’s hometown newspaper, the St. Paul Pioneer Press, from 1947 to 1950. Elementary details of the cartoon shared similarities to Peanuts. The name “Charlie Brown” was first used there. The series also had a dog that looked much like the early 1950s version of Snoopy.

Schulz submitted his Li’l Folks cartoons to United Features Syndicate (UFS), who responded with interest. He visited the syndicate in New York City and presented a package of new comic strips he had worked on, rather than the panel cartoons he submitted. UFS found they preferred the comic strip. When UFS was preparing to syndicate the comic strip as Li’l Folk, that is Li’l Folks without an ‘s’, Tack Knight who authored the retired 1930s comic strip Little Folks sought to claim exclusive rights to the title being used.

Schulz argued in a letter to Knight that the contraction of Little to Li’l was intended to avoid this conflict, but conceded that the final decision would be for the syndicate. A different name for the comic strip became necessary after legal advice confirmed that Little Folks was a registered trademark. Meanwhile, the production manager of UFS noted the popularity of the children’s program Howdy Doody. The show featured an audience of children who were seated in the “Peanut Gallery”, and were referred to as “Peanuts”. This inspired the decided title that was forced upon Schulz, to his consternation.

The title Peanuts was hated by Schulz and was a source of humiliation throughout his life. He accused the production manager at UFS of not having even seen the comic strip before giving it a title, and said that the title would only make sense if there was a character named “Peanuts”. On the day it was syndicated, Schulz’s friend visited a news stand in uptown Minneapolis and asked if there were any newspapers that carried Peanuts, to which the newsdealer replied, “no, and we don’t have any with popcorn either”; this event confirmed his fears concerning the title.

Whenever Schulz was asked what he did for a living, he would evade mentioning the title and say “I draw that comic strip with Snoopy in it, Charlie Brown and his dog”. In 1997 Schulz said that he had discussed changing the title to Charlie Brown on multiple occasions in the past, but found that it would ultimately cause problems with licensees who already incorporated the existing title into their products, with unnecessary expenses involved for all downstream licensees to change it.

Overview and Themes

At its heart, Peanuts follows the experiences of Charlie Brown, a quiet, insecure boy plagued by failure but admired for his perseverance. Surrounding him is a cast of intelligent, quirky children—and one unforgettable dog. Schulz used this ensemble to explore universal human experiences with surprising emotional depth. The strip cleverly portrays adult issues through the lens of childhood, mixing philosophy, psychology, humor, and social commentary with minimalist art and dry wit.

What set Peanuts apart from other comic strips was its refusal to talk down to its audience. The humor was frequently bittersweet, exploring themes of alienation, crushed hopes, and the search for meaning, all through the earnestness of childhood. Schulz infused his characters with complex emotional lives, creating a relatable microcosm of the real world where anxiety, ambition, failure, and fleeting happiness existed in quiet equilibrium.

Adults are rarely seen or heard in the strip, which enhances the autonomy of the children’s world. This absence allows Schulz to give emotional and intellectual agency to his characters. Whether it’s Lucy’s biting sarcasm, Linus’s theological musings and unwavering reliance on his blanket, or Snoopy’s vivid inner life and existential monologues from atop his doghouse, each character expresses facets of real psychological struggle. Snoopy’s imaginary worlds—where he becomes a flying ace, an author, or a lawyer—represent escapism, but also resilience and creativity in the face of mundane reality.

The strip became known for its subtle yet persistent commentary on faith, loneliness, hope, identity, alienation, and resilience. Schulz, who was influenced by existentialist thought, Lutheran theology, and his own emotional challenges, created stories that resonated as much with philosophers as with schoolchildren.

Schulz’s themes often mirrored his own beliefs and emotional struggles. Raised in a religious but emotionally reserved household, Schulz drew on personal experiences of isolation and loss. He used the strip to explore complex topics such as depression, unrequited love, failure, and self-worth. Characters like Charlie Brown embody this tension, representing both the pain of rejection and the quiet courage to persist. Despite their youth, the children experience existential dilemmas and moral conflicts that resonated deeply with adult readers, giving Peanuts a timeless and universal appeal.

Origins and Name Controversy

Peanuts evolved from Schulz’s earlier feature, Li’l Folks, published in the St. Paul Pioneer Press (1947–1950). The panel-style cartoon featured children, animals, and one-liner gags, many of which foreshadowed the themes and tone of Peanuts. Schulz submitted the work to several syndicates, but it wasn’t until United Feature Syndicate expressed interest that a deal was made to launch a full comic strip.

When preparing the strip for syndication, Schulz proposed the name Li’l Folks. However, the syndicate rejected it due to potential legal conflicts with an older strip called Little Folks by Tack Knight. A UFS production manager, likely unfamiliar with Schulz’s vision, unilaterally decided on the name Peanuts—drawing inspiration from the “Peanut Gallery” segment of the popular children’s show Howdy Doody, where children would sit and comment on the show.

Schulz deeply disliked the name, feeling it lacked dignity, clarity, and emotional resonance. He repeatedly expressed frustration over the fact that Peanuts gave no indication of the strip’s characters or essence. Schulz said, “It’s totally ridiculous, has no meaning, is simply confusing, and has no dignity—and I think my humor has dignity.” He even attempted, on multiple occasions, to change the title to Charlie Brown, but syndicate and legal concerns regarding copyright and branding prevented any official change.

Although the name continued to bother Schulz for decades, the comic’s heartfelt tone, innovative storytelling, and nuanced characters soon eclipsed any concerns about its title. Audiences connected deeply with Charlie Brown, Snoopy, and the gang, transforming Peanuts into a global phenomenon. Over time, the name—initially imposed without Schulz’s input—became a beloved brand, though it never aligned with the creator’s original intentions.

Publication History

1950s: The Beginning

Peanuts debuted in seven U.S. newspapers on October 2, 1950. The initial publications included the Minneapolis Star, The Washington Post, Chicago Tribune, The Denver Post, The Seattle Times, and two Pennsylvania papers: the Evening Chronicle and Globe-Times. Early characters included Charlie Brown, Shermy, and Patty, with Snoopy joining in the third published strip on October 4. Snoopy, initially portrayed as a silent, ordinary dog, quickly developed his own distinctive identity, becoming central to the strip’s appeal.

Throughout the 1950s, Schulz began introducing characters who would form the strip’s core. Lucy van Pelt made her debut in March 1952, known for her blunt honesty and later for her psychiatry booth. Linus, her younger brother, entered the strip in September of the same year and introduced his now-iconic security blanket shortly after. Schroeder, appearing in 1951, brought classical music into the world of Peanuts with his devotion to Beethoven, while Pig-Pen—introduced in July 1954—provided comic relief through his ever-present cloud of dust.

The art style in the 1950s was simple and rounded. Schulz favored clean lines, thick outlines, and a minimalist aesthetic. Characters had large heads relative to their bodies, and backgrounds were typically sparse or entirely absent, directing full attention to facial expressions and body posture. Schulz’s approach gave emotional and psychological resonance to even the most ordinary interactions. He drew every panel himself, including lettering, with remarkable consistency—this meticulous craftsmanship helped solidify Peanuts as a strip of both artistic and emotional sophistication.

Over time, Schulz subtly refined his drawing style. By the end of the decade, characters became more stylized and expressive. The visual economy of Schulz’s approach allowed him to use small gestures, such as a single raised eyebrow or a sighing slouch, to convey complex emotional states. This visual language, established in the 1950s, would remain a hallmark of Peanuts for the next five decades.

1960s: Golden Age

Widely considered the strip’s golden era, the 1960s brought remarkable artistic and narrative growth to Peanuts. New characters like Frieda, known for her “naturally curly hair,” joined the ensemble in 1961, while “Peppermint” Patty—a confident, sporty, and tomboyish girl—debuted in 1966 and quickly became a fan favorite. Woodstock, Snoopy’s tiny yellow bird companion, first appeared in 1967 and was officially named in 1970.

Perhaps most culturally significant was the introduction of Franklin in 1968, a groundbreaking moment in syndicated comics, as Schulz became one of the first major cartoonists to introduce a Black character in response to the social unrest of the civil rights movement. Franklin’s arrival marked a subtle but powerful call for racial integration and friendship across racial lines.

During this period, Snoopy’s fantasy life expanded dramatically. He adopted a series of elaborate alter egos, most notably the World War I Flying Ace, who battles the Red Baron atop his doghouse-turned-Sopwith Camel. These whimsical personas added humor and imagination to the strip, while also providing a means of coping with real-world frustrations. Schulz used Snoopy’s inner world to explore escapism, identity, and the interplay between reality and imagination.

The animated A Charlie Brown Christmas debuted on CBS in 1965 and became an instant classic. Its simple message, understated animation, and spiritual sincerity resonated deeply with viewers. Notably, the special included a direct recitation from the Gospel of Luke by Linus, a rare moment of explicit religious content in a primetime network show. The special also introduced a distinctive musical soundscape, composed by jazz pianist Vince Guaraldi, whose cool, lyrical themes (like “Linus and Lucy”) became synonymous with the Peanuts brand. The success of the special not only cemented the popularity of the characters but also helped pioneer the concept of annual animated holiday programming on television.

1970s–1990s: Innovation and Influence

Schulz experimented with panel structures and art style changes, while maintaining the strip’s emotional core. In the 1970s, he introduced Rerun, Lucy and Linus’s younger brother, who initially appeared sporadically but gained prominence in the 1990s. Rerun became a voice of philosophical detachment and quiet wit, often seen pondering life while riding on the back of his mother’s bicycle. His growing presence in the later years reflected Schulz’s own shifting perspective on aging, childhood, and existential humor.

During this period, Snoopy’s fantasy life expanded even further, introducing characters such as Spike, Snoopy’s mustachioed, melancholy brother who lives a solitary life in the desert near Needles, California. Schulz used Spike to explore themes of loneliness and simplicity in contrast to Snoopy’s more flamboyant alter egos. Other members of Snoopy’s extended family—Andy, Olaf, Belle, and Marbles—also made occasional appearances, contributing to the rich imaginary world Schulz created around his central canine character.

Despite the rise of other popular comics like Garfield and Calvin and Hobbes, Peanuts remained the most widely syndicated and globally recognized strip. Its continued success was not just due to its cultural momentum, but also to Schulz’s ability to evolve his characters without losing their core appeal. He explored school anxiety, organized sports, commercialization, and interpersonal awkwardness with increasing nuance during these decades.

Schulz’s unwavering dedication to full artistic control—including writing, drawing, and lettering—set him apart from other syndicated artists. He declined offers to franchise the creative process, making him unique among cartoonists of his stature. Every line, panel, and caption was crafted by Schulz himself, a feat rarely matched in any form of serialized media.

Schulz was always the sole creator, famously stating, “This is a deadly serious business.” Even during periods of personal hardship, including heart surgery and a cancer diagnosis, he resisted using assistants—except for occasional help with comic books, animation tie-ins, and product merchandise. This commitment imbued Peanuts with a singular voice and cohesion that resonated deeply with readers across generations.

Final Years and Schulz’s Retirement

In December 1999, Schulz announced his retirement due to colon cancer, which had made it impossible for him to continue drawing the daily strip. He passed away on February 12, 2000, just one day before the final Sunday strip was scheduled to be published. The final original strip, published on February 13, 2000, featured Snoopy at his typewriter with a heartfelt farewell message written by Schulz. In it, he thanked readers, editors, and newspaper staff for nearly 50 years of support and declared his deep affection for the characters, stating, “Charlie Brown, Snoopy, Linus, Lucy… how can I ever forget them?”

This final strip was poignant and symbolically resonant: it captured Schulz’s deep emotional bond with his characters, ending the series with dignity, self-awareness, and grace. The strip’s layout showed Snoopy quietly typing a letter, offering a sense of finality without sentimentality. It was a creative farewell that encapsulated the quiet brilliance of Schulz’s work.

Following Schulz’s death, the Peanuts syndicate honored his wishes that no one else should continue the strip. Since then, Classic Peanuts reruns have remained in syndication, preserving Schulz’s voice and style for new generations. These reprints are carefully curated to maintain the legacy, often focusing on the most beloved decades—the 1960s and 1970s—and still appear in hundreds of newspapers around the world today.

Major Characters

• Charlie Brown: The anxious everyman, symbolic of quiet perseverance. Often shown struggling with self-esteem and constant failure—whether losing baseball games, being ignored by the Little Red-Haired Girl, or missing the football thanks to Lucy—Charlie Brown embodies Schulz’s belief in resilience through disappointment.
• Snoopy: Charlie Brown’s beagle, who transformed from a typical dog into a vivid dreamer. His alter egos include the World War I Flying Ace, Joe Cool, and the literary-minded writer atop his doghouse. Snoopy balances imagination with loyalty and is known for his inner monologues and love for root beer and his typewriter.
• Linus van Pelt: The philosopher of the group, Linus is known for his thoughtful insights and unwavering attachment to his security blanket. He often serves as Charlie Brown’s confidant and is deeply spiritual, once famously reciting the nativity story in A Charlie Brown Christmas.
• Lucy van Pelt: A sharp-tongued, opinionated, and often domineering character, Lucy also shows moments of vulnerability. She pines for Schroeder, dispenses questionable psychiatric advice for a nickel, and often bullies Charlie Brown—yet occasionally displays affection for her brother Linus and even for Charlie.
• Peppermint Patty: A tomboy with strong athletic abilities and leadership qualities. She is often oblivious in school and calls Charlie Brown “Chuck.” Her unrequited feelings for him and her close friendship with Marcie provide emotional depth to her character.
• Marcie: Bookish and polite, Marcie always calls Peppermint Patty “Sir.” She is academically inclined, quiet, and often serves as the moral compass of her duo, occasionally expressing subtle affection for Charlie Brown.
• Schroeder: A piano prodigy devoted to Beethoven. He is emotionally detached, especially from Lucy, who regularly leans on his piano while declaring her love. Schroeder represents focus, discipline, and artistic integrity.
• Woodstock: Snoopy’s tiny yellow bird friend who speaks in chirps only Snoopy understands. Though timid and clumsy, Woodstock is fiercely loyal and often part of Snoopy’s imaginative adventures, including flying missions and literary pursuits.
• Franklin: The first Black character in Peanuts, Franklin debuted in 1968. He is calm, friendly, and well-adjusted, offering a grounded perspective. Schulz introduced him following a suggestion from teacher Harriet Glickman during the civil rights era.
• Pig-Pen: Known for his cloud of dust, Pig-Pen embraces his messy nature with pride. Schulz used Pig-Pen’s self-acceptance to humorously comment on societal standards and judgment.
• Rerun: Initially a background character, Rerun came to the forefront in the 1990s. Often shown riding on the back of his mother’s bicycle, Rerun is reflective and at times cynical, symbolizing Schulz’s later-life musings.

Each character represents distinct personality traits and human struggles, allowing readers to identify with a range of emotional experiences. Through them, Schulz subtly addressed topics like identity, social roles, inclusion, and psychological complexity with wit and warmth.

Legacy and Cultural Impact

Peanuts has inspired generations of cartoonists, including Lynn Johnston, Bill Watterson, and Patrick McDonnell. Watterson, creator of Calvin and Hobbes, cited Schulz as a profound influence on his storytelling and minimalist art style. McDonnell, who created Mutts, has paid direct tribute to Schulz in his strips. Schulz’s work set a precedent for how a comic strip could combine humor with emotional and philosophical depth. Peanuts has won multiple Emmys and Peabody Awards, and both Charlie Brown and Snoopy have stars on the Hollywood Walk of Fame, recognizing their immense contribution to American culture.

In broader culture:

• NASA adopted Snoopy as its official safety mascot during the Apollo missions. The Silver Snoopy Award, given personally by astronauts, recognizes employees for outstanding contributions to flight safety and mission success. Snoopy was also the namesake for the lunar module on Apollo 10.
• Peanuts characters are prominently featured in theme parks such as Knott’s Berry Farm and Cedar Point, where entire sections—like Camp Snoopy—are themed around the comic strip.
• Annual holiday parades like Macy’s Thanksgiving Day Parade regularly include giant Peanuts-themed balloons, most famously Snoopy in various costumes.
• The characters have appeared on U.S. postage stamps, including commemorative issues celebrating Christmas and Schulz’s 100th birthday in 2022.
• Schulz pioneered character-based merchandising and licensing, opening the door for media franchises to expand across toys, apparel, greeting cards, and more. As early as the 1950s, Peanuts merchandise included dolls, calendars, and lunchboxes. By the 1990s, Peanuts licensing generated hundreds of millions annually.
• Schulz’s influence extends into art, theology, education, and psychology, with university courses and scholarly works examining Peanuts through lenses such as existentialism, childhood development, and religious symbolism. Robert L. Short’s bestselling book The Gospel According to Peanuts (1965) explored Christian themes within the strip and remains widely read.
• Statues and murals honoring the characters can be found in Schulz’s hometown of St. Paul, Minnesota, including bronze sculptures in Landmark Plaza. In Santa Rosa, California, the Charles M. Schulz Museum and Research Center serves as a living tribute to his life and work, showcasing original artwork, letters, and interactive exhibits that explore his legacy and influence.

Books and Adaptations

Peanuts has been collected in various books since the 1950s. Early collections were published by Rinehart & Company and later Holt, Rinehart and Winston, presenting the strips in near-chronological order, though often with omissions. Smaller digest paperbacks, released by Fawcett Crest and Ballantine Books, became popular in the 1960s and 1970s and introduced the comic to millions of new readers.

Fantagraphics’ The Complete Peanuts (2004–2016) reprinted the entire run in 26 hardcover volumes, covering all 17,897 strips published from 1950 to 2000. The series also included introductions by notable writers and cartoonists, such as Walter Cronkite, Garrison Keillor, and Whoopi Goldberg, along with rare early art and in-depth commentary. This project was praised for preserving Schulz’s full body of work with archival quality and contextual insight, setting a new benchmark for comic strip reprints.

The characters were also featured in stage musicals like You’re a Good Man, Charlie Brown (1967), which became a long-running success in both Off-Broadway and Broadway productions. Its songs, like “Happiness” and “Suppertime,” captured the emotional and philosophical tones of the strip. A second musical, Snoopy! The Musical (1975), focused more directly on the imaginative world of Snoopy. Both musicals have been revived by schools, amateur troupes, and professional theaters, reinforcing the characters’ enduring popularity in live performance.

In animation, more than 45 television specials and films were created between 1965 and the 2000s. Among the most iconic are A Charlie Brown Christmas (1965), It’s the Great Pumpkin, Charlie Brown (1966), A Charlie Brown Thanksgiving (1973), and Be My Valentine, Charlie Brown (1975). These specials not only brought the characters to new audiences but also helped establish holiday programming as a television tradition. The warm, jazzy scores by Vince Guaraldi became as cherished as the stories themselves.

In cinema, The Peanuts Movie (2015), produced by Blue Sky Studios, was a major critical and commercial success. It retained Schulz’s gentle humor and visual charm while introducing CGI animation and a storyline suitable for new viewers and lifelong fans alike. The film grossed over $246 million worldwide and was praised for its respectful handling of the original material.

In 2024, Apple TV+ announced a new Peanuts feature film, produced by WildBrain, further expanding the franchise’s digital presence. This follows a wave of Apple-exclusive Peanuts content, including series like Snoopy in Space, The Snoopy Show, and seasonal specials—developed with the Schulz estate’s full support.

Charles Schulz’s Peanuts remains a towering achievement in comics and popular culture. With its honest emotions, relatable characters, and universal themes, the strip continues to resonate decades after its creator’s death. More than just a comic, Peanuts is a profound, enduring reflection on childhood, humanity, and hope.