As the vibrant desert sun beats down on Glendale, Arizona, local residents and prospective visitors are filled with a mix of excitement and impatience, waiting for the highly anticipated Mattel Adventure Park to finally open its doors. Slated for its debut at the end of 2025, this first-of-its-kind theme park has become the center of online chatter, with people leaving their opinions long before the first guests even step foot inside. While the allure of this park is undoubtedly enticing, the reviews—both positive and negative—are creating a curious spectacle worth exploring.

The Anticipation and Its Delays

Initially set to open in late 2023, Mattel Adventure Park has faced multiple delays that have pushed its launch date back not once, but twice. Set amid the ongoing construction of the VAI Resort, the theme park aims to bring fan-favorite properties to life, including Barbie, Thomas & Friends, Hot Wheels, and Masters of the Universe, over a sprawling 9-acre indoor-outdoor area. While the design promises to provide air-conditioned spaces for those scorching Arizona days, the project’s enticing features have not prevented some pre-opening frustrations from flooding the online review platforms.

The Curious Case of Early Reviews

Despite the park being an unfinished dream, it has already attracted a litany of Google Reviews, with an overall rating of 4.1 from a total of 62 responses. It’s fascinating to see how public sentiment manifests in such a unique manner—especially when some reviewers seem to have more to say about waiting than the park’s actual attractions.

Braylon and Peyton’s one-star review is a prime example of pre-opening disappointment: “We have been waiting literally years, more than two now,” they lament, expressing the anxiety of every parent waiting for those joyous days when their children can experience their favorite characters in person. This sort of heartfelt feedback encapsulates a universal feeling among families eager to create magical memories but grappling with the gnawing frustration of unforeseen delays.

Similarly, Loura Petsche bemoans the lack of updates, noting, “Looks exciting for two years now but disappointing no updates for months.” It seems her grandchildren, once bubbling with excitement for Thomas the Tank Engine, are growing up too quickly—perhaps even before the park can open its gates!

A Mix of Optimism and Enthusiasm

However, it’s not all doom and gloom in the realm of reviewers. There are some brightly shining voices offering a different perspective. Jack Tang is a beacon of enthusiasm, eager for the park to open, stating, “My family will be regulars… This will replace my son’s current favorite theme park, Legoland, in Carlsbad.” His excitement breathes life into the conversation, reminding everyone that the dream of Mattel Adventure Park is still alive and well.

Adding to the positivity, Jose Armijo’s five-star review is a light-hearted nudge to his fellow reviewers: “Do people not understand that a theme park can’t be built overnight?” His perspective brings humor and a touch of realism to the table, gently reminding us that anticipation can be paired with patience. The prospect of a uniquely themed park is worth holding out for!

And let’s not overlook Ashley Stevenson, who somehow describes a great experience at a place that hasn’t even opened yet: “This place is great… Bring your own food and snacks…” Now, we must give her imaginative praise for what must be an extraordinary act of visualizing the yet-to-be-seen park experience!

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Conclusion: The Waiting Game

In a digital world where opinions can be easily aired, the phenomenon of pre-opening reviews shines a light on the interplay between anticipation and frustration. While some voices express impatience regarding the construction delays of Mattel Adventure Park, others remind us of the potential joy that lies ahead.

As the sun sets behind the construction site in Glendale, we find ourselves in this curious waiting game—one that weaves together laughter, dreams, and the hope that when the park finally opens, it will indeed create unforgettable memories for families. So, here’s to the future of Mattel Adventure Park! May it soon be a place where the sentiment of childhood is realized, and where all the opinions can finally morph into joyous laughter and exhilarating experiences instead.

Related link:

https://www.azcentral.com/story/travel/arizona/2025/03/19/mattel-adventure-park-reviews-2025/82364617007

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Excitement is building for pickleball fans and sports enthusiasts alike as the highly anticipated documentary Dreambreaker: A Pickleball Story is set to premiere on April 11, 2025, on truTV. This film captures the thrilling evolution of pickleball from a casual pastime to a burgeoning professional sport, offering an inside look at a fierce power struggle between two billionaire moguls determined to shape its future.

Narrated by Mike “Sleeves” Sliwa from The Senior Pickleball Report, Dreambreaker features appearances by top pickleball pros and sports icons, including John McEnroe and media personality Billy Bush. Crafted by writer Craig Coyne and directed by Ashley Underwood, the documentary explores the intertwining of sports, aspirations, and rivalries within the pickleball community.

Constantly Evolving Pickleball Story

With its rich narrative and compelling characters, Dreambreaker goes beyond the court to reveal the passion and politics that define the sport. Set your calendars for April 11 and prepare for a captivating journey that promises to enhance your appreciation of pickleball and its growing cultural significance. Don’t miss the chance to witness the drama and dreams that characterize this exhilarating game!

Related links:

https://deadline.com/video/dreambreaker-a-pickleball-story-ashley-underwood-documentary-clip-premiere

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Colin Burnett, Washington University in St. Louis

James Bond was front and center at the 2025 Academy Awards – and in a somewhat curious way.

In a musical number, Lisa of Blackpink, Doja Cat and Raye sang the Bond theme songs “Live and Let Die,” “Diamonds Are Forever” and “Skyfall,” respectively. No Bond films had been nominated for an award, and none of these singers has a connection to the Bond franchise, though they did all recently collaborate on the single “Born Again.”

The strange exercise felt less like a celebration and more like a big flashing question mark for a screen icon whose future has never felt more uncertain.

Since the shocking news dropped on Feb. 20, 2025, that Jeff Bezos’ Amazon MGM Studios would assume creative control over the James Bond film franchise, commentators and fans have wondered why.

Why would the Broccoli family, which has long held the rights to Bond movies through their company, EON, cede control of the film series to a tech partner they’ve been at odds with?

Two possibilities have emerged.

First, EON’s Michael G. Wilson and Barbara Broccoli, the stepson and daughter of legendary EON producer Albert R. “Cubby” Broccoli, may have reached a point of creative exhaustion. There could be something to this theory. According to Puck’s Matthew Belloni, the 83-year-old Wilson and 64-year-old Broccoli were having difficulty figuring out their next step after 2021’s “No Time to Die.”

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A second reason could be Amazon’s impatience with EON. In December 2024, The Wall Street Journal reported that Barbara Broccoli balked when Amazon Studios executive Jennifer Salke proposed several Bond spinoff projects, including a Bond series with a female lead, for Prime Video. Perhaps frustrated with the stalemate, Amazon may have made Wilson and Broccoli an offer they couldn’t refuse to get them out of the way and get production of Bond content rolling.

The speculation is certainly intriguing. But a more central question shouldn’t be overlooked: the “what.”

What, precisely, has Amazon MGM acquired? And what can it actually do with the Bond story?

Breaking down the Bond rights

In my research on the 007 franchise, I’ve discovered that this property has never been a traditional film series.

Long before “Star Wars” launched in 1976 and the Marvel Cinematic Universe launched in 2008, Bond relied on a range of mediums to tell its story.

The Bond franchise began in 1953, not with a film but with a novel, Ian Fleming’s “Casino Royale.” One year later, “Casino Royale” was adapted for American TV as a live anthology show. Four years after that, in 1958, a popular Bond comic strip made its debut.

It was only in 1962, with “Dr. No,” starring Sean Connery, that the now-iconic film series began.

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Since then, James Bond has been spun off into a children’s animated show, choose-your-own-adventure books, a “Young Bond” novel series, video games, a reality show, radio dramas and more.

Here’s what’s crucial: With its new deal, Amazon MGM has a controlling stake only in the rights that EON holds. EON has licensed the right to produce future films and TV shows from Fleming since 1961. EON secured worldwide merchandising rights in 1964 and production rights to video games in the early 1990s.

Other 007 media – the literary, comic and audio series – are managed by the Fleming Estate and Ian Fleming Publications.

The James Bond media franchise is what I call a shared rights and licensing network.

No one company controls all of the Bond rights, and no one company produces all of Bond media. Though this arrangement is a complicated one, the sharing and licensing of rights has allowed Bond to emerge as a lucrative and fecund product line. According to my calculations, it now boasts over 330 original stories in 72 years of media production.

In other words, Bond is much more than the 25 films released by EON.

James Bond’s many lives

Until now, rights sharing and licensing have ensured that the Bond franchise remains creatively distinct from “Star Wars” and Marvel.

The companies that produce these series – LucasFilm and Marvel Studios – are owned by The Walt Disney Company. With their rights pooled under one corporate entity that also oversees all production, “Star Wars” and Marvel have been able to drive toward high levels of creative consistency and unity among their stories. Across films, TV, comics and video games, “Star Wars” and Marvel aspire to what media specialists call “transmedia storytelling.”

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By sharing rights, the Bond franchise has arrived at a very different type of storytelling, one that fragments the story and multiplies the James Bonds to be experienced across distinct media. The effect isn’t transmedia storytelling, or even a Marvel-style multiverse. In Bond, characters can’t cross over to alternate realities and meet other versions of themselves.

James Bond exists in many different worlds and leads many different lives.

To name a few: There’s the Bond of Fleming’s 1950s and 1960s novels, who loses his first love, Vesper Lynd, and hunts down her killers, who are members of SMERSH, the assassination arm of Soviet intelligence agencies. Fleming’s Bond also lives on in the novels of Kingsley Amis and John Gardner, which were published in the 1970s and 1980s.

There’s EON’s silver screen Bond, who, from 1962 to 2002, never falls in love with Vesper, but loses his wife, Tracy di Vicenzo, to the crime syndicate SPECTRE and remains scarred by the loss. And in the modern era, there’s the Bond who appears in author Samantha Weinberg’s “Moneypenny Diaries.” Published from 2005 to 2008, the series depicts a version of Bond who has retired to a small Scottish isle with his lover, MI6’s Miss Moneypenny.

The effect of Bond’s shared structure is what I dub “threaded storytelling.” The novels present various versions of Bond’s life, at different points in history. The film series creates two of its own. The comic series offers yet more lives of 007.

Each version of Bond runs alongside the others in the market, focusing on a Bond character who exists only within his unique story world. This gives fans an unpredictable, ever-expanding canon of stories to follow and even compare, like one grand spot-the-difference game in time.

Where next for Bond?

The deal between Amazon MGM and EON awaits regulatory approval in the U.S. and U.K.

If it goes through, Amazon MGM will have a strong property on its hands. Over the decades, EON has reinforced certain elements to the character and the story: James Bond is a debonair hitman. MI6 chief M gives him high-stakes missions. MI6 armorer Q fits him with the latest gadgets. And Bond lives large, enjoying beautiful women, fine dining, Savile Row fashions and Omega timepieces.

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Amazon MGM is unlikely to tinker with these Bondian elements. They’re also likely to preserve the movies’ “Bond formula” – the gun barrel visual that kicks off each film, elaborately designed credit sequences, film-specific theme songs, and the closing title card that reads, “James Bond Will Return.”

Yet some fans fear that Amazon MGM will develop “woke” storylines. Others foresee the product being diluted with countless streaming spinoff series.

To me, the more intriguing possibility is whether Amazon will try to create a more unified Bond universe, akin to the Marvel Cinematic Universe. Yes, the Fleming Estate will continue to manage the novels, comics and radio. But with creative control over EON’s rights, Amazon MGM could, in theory, develop an elaborate transmedia strategy never before explored in this franchise.

A relaunched film series, perhaps serving as Amazon MGM’s “mothership,” would feed into satellite series in video games and streaming shows. These games and shows, in turn, would tie into and expand the universe of the films.

Were that to happen, the Bond franchise would truly enter a new phase and risk losing much of the creative flexibility it’s possessed in the past.

Colin Burnett, Associate Professor of Film and Media Studies, Washington University in St. Louis

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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