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summer infant pop n sit instructions Pop N Sit Portable Booster Seat -Teal – Kids2, LLCDescription The original Pop N Sit from Bright Starts is the ultimate go & grow seat, with over 2 million sold! From inside to out, baby to toddler, and mealtime to playtime, this multi purpose travel booster offers your little one a secure place to sit. This #1 Booster* from the #1 Manufacturer of Feeding Boosters** has 3 modes of use: floor seat, feeding seat with removable tray, and toddler booster. For babies, attach to an adult chair using the
DescriptionThe original Pop ‘N Sit from Bright Starts is the ultimate go & grow seat, with over 2 million sold! From inside to out, baby to toddler, and mealtime to playtime, this multi-purpose travel booster offers your little one a secure place to sit. This #1 Booster* from the #1 Manufacturer of Feeding Boosters** has 3 modes of use: floor seat, feeding seat with removable tray, and toddler booster. For babies, attach to an adult chair using the included straps and a tray to create a portable chair top high chair. For toddlers, use the seat as a booster that can pull up to the table by removing the tray. In floor mode, you can use the Pop ‘N Sit whenever you need an extra seat - picnics, sporting events, or right at home! The rear storage pocket holds your daily essentials. Folds compactly when not in use and includes a carrying bag with shoulder strap. Features a dishwasher safe tray and machine washable seat pad. Dimensions: 15 x 13.5 x 14.75” or 5 x 15” when folded. Made for 6 months to 3 years old or up to 37 pounds. Gender neutral teal color. Third party safety tested and approved. #1 Booster* (*Circana, US Unit Sales, Jan-Dec ‘24)
- Bright Starts Pop ‘N Sit is the original go & grow seat! 3 modes of use: floor seat, feeding seat with removable tray, and toddler booster; great for days out, evenings in, weekend trips & more
- Safe for indoor and outdoor use. Pull up a seat for park picnics, camping trips, and visits to grandma’s house; includes a carrying bag with shoulder strap to bring along on all your adventures
- Compact design easily folds to 5 x 15 inches; Easy to clean with dishwasher safe tray and machine washable seat pad; includes a rear storage pocket for little essentials
- Gender neutral teal design; includes 3-point safety harness and safety straps for attaching to adult chair; rated for ages 6 months to 3 years or up to 37 pounds
- A must-have item for parents on the go, grandparents & more! Great gift idea for baby showers, birthdays, Christmas, and other gifting occasions; no tools required for assembly
Price & Details
MSRP: 29.99
SKU: 17200-000
Dimensions (in): 14.57" (H) x 15.35" (W) x 15.35" (L)
User Age Range (months): 6 - 36 months
Assembly Required:
Batteries: Not Required
Materials: 60% Metal, 29% Plastic, 11% Polyester
Instructions & Care
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4.6 ★★★★★
Based on 12 reviews
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Product Reviews
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful.
McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do.
However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies!
If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why.
McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism.
Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging.
With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else.
In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree.
But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
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Reviewed in the United States on April 18, 2017
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
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Reviewed in the United States on October 14, 2016