Founder and CEO David Born is relocating to Los Angeles as the company deepens its commitment to the North American market.

Alongside the move, Alyssa Gourlay has been promoted to President of Born to License, taking full global responsibility for the agency’s consumer products division, while Amber Cheung has been appointed Director of Licensing for Born Licensing, the agency’s entertainment IP and advertising arm.

“Alyssa has been instrumental in everything we’ve built with Born to License,” said Born.

“She has the relationships, the instincts, and the operational depth to lead this division globally. This is a natural and well-earned step.”

Gourlay is based in Los Angeles, where Born to License’s U.S. operations are headquartered.

Born added: “Born Licensing is firing on all cylinders. Amber stepping into the Director role reflects both her contribution and the ambition we have for this division going forward.”

And regarding US growth plans, he said: “This is a business that has always operated globally, but the next five years are going to be transformational – and the U.S. is the market we’re betting on to drive that exponential growth. Across both divisions, across every metric, it offers the greatest growth opportunity in our history as a business.”

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The collection includes an antiperspirant deodorant, body wash, and 2-in-1 shampoo and conditioner available in two scents built around John Deere’s heritage – Iron Horizon and Steelwater Springs.

The range launched exclusively at Walmart stores and Walmart.com. Born to License represents Every Man Jack in facilitating licensed brand collaborations.

“We are incredibly proud to have managed this deal for Every Man Jack,” said David Born, CEO at Born to License.

“Securing John Deere as a licensing partner for their first-ever move into men’s personal care is a landmark moment, not just for Every Man Jack, but for the licensing industry as a whole. This is exactly the kind of transformative collaboration we set out to create for our clients.”

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At the heart of Twix’s ‘Two is More Than One’ campaign is the idea that one great thing is good, but two is better. The ‘Iconic Duos’ creative brings this to life by featuring one half of some of the world’s most recognisable pairs, including Laurel without Hardy, Rick without Morty, and Wallace without Gromit.

Born Licensing played a central role in bringing the campaign to life, managing the entire licensing process from start to finish. Working closely with the agency and client from the earliest stages, Born Licensing supported the brainstorming and identification of suitable characters, assessed feasibility across multiple properties, and guided the creative development.

The team then led outreach and negotiations with multiple licensors and rights holders, coordinating parallel discussions. Born Licensing also managed the full approval process, working closely with rights holders to ensure all creative executions and marketing materials remained true to the characters while meeting campaign objectives. This included reviewing and submitting creative materials, coordinating feedback, and guiding the process through to final sign-off.

The campaign was developed in partnership with adam&eveTBWA, Weber Shandwick, and Publicis Media – and launched across high-impact OOH placements in the UK.

“This campaign is a perfect example of what entertainment IP can do that nothing else can,” said David Born, CEO of Born Licensing.

“Laurel & Hardy, Wallace & Gromit, Rick & Morty aren’t just characters, they’re cultural shorthand. The moment you see one half, your brain completes the other. That’s the kind of instant, emotional recognition that brands work for years to build, and licensed IP delivers it immediately.”

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Let’s take the beloved Crayola… Imagine shrinking down to the size of a Borrower on a giant creative school desk ready to ride the Doodle Coaster and leave your mark! You board a 64-pack of crayons carriage, launch out of a giant pencil sharpener, and travel on a track that feels like overlapping scribbles – through crumpled-up sheets of ideas, up a giant ruler and down into the spiral twist of a lined notebook spine! The finale dunks you into a giant ‘paint splodge’, blasting you with colour-illuminated mist, while the back of the coaster shoots out a coloured vapor trail as if you’re drawing on the sky itself.

Even the queue feels like stepping into the creative process… To keep everyone entertained, these queue corners feature sensory desks where you can digitally ‘melt’ crayons, colour mazes made of translucent panels and musical crayon statues to create tunes while you wait. And for that photo moment… When you check your on-ride picture at the exit, interactive screens let you draw funny, vibrant scribbles all over your terrified coaster faces before you share it!

Keith Chapman, Creator of PAW Patrol and Bob the Builder
I’m excited to go visit the PAW Patrol rides at Chessington this summer – but which other brands do I feel lend themselves well to a licensed rollercoaster? For theme parks, brands with vehicles and trains are more naturally aligned, like F1, Hot Wheels, Cars and Thomas & Friends. But for general licensing appeal, KPop Demon Hunters is well on its way to become a licensing juggernaut!

Oliver Dyer, Founder, Skew
We’ve got very good at licensing rides that move fast and theatre that’s slow. So here’s an alternative… Not a rollercoaster, something closer to what ABBA Voyage has done – or the better branded theatre experiences like Paddington or Stranger Things, where the technology disappears into the experience.

A licensed, heritage-led journey that sits somewhere between ride and theatre. You move, but gently. You sit, but you’re not static. Physical sets, projection, sound, maybe live performance layered together to carry you through a sequence of places. It could be UNESCO. It could be the National Trust. It could be the world’s biggest museums bringing their collections together into one shared experience.

It’s designed to be shared. Families, not just kids. Call it an hour. You arrive, you’re welcomed in properly, not processed. Tea and cake rather than popcorn. The story unfolds around you, not in front of you, and by the time you leave you feel like you’ve been somewhere rather than just been on something.

Jason Knights, MD, Blue Kangaroo
My pick would be The Upside Down from Stranger Things. Given how visually distinctive the Upside Down is, a coaster could shift environments mid-ride – normal Hawkins one minute, then suddenly into the dark, twisted Upside Down… With Demogorgons appearing around the track!

James Oddy, Co-Founder, Vize
Few brands lend themselves to kinetic, high-energy attractions quite like the Teenage Mutant Ninja Turtles. The franchise has always been defined by movement – skating through sewers, leaping between rooftops and racing through New York at night – which makes it a natural fit for a rollercoaster narrative.

A ride concept built around a ‘Sewer Launch’ could turn that energy into a cinematic experience that mirrors the way the Turtles travel through the city – and I’ve created some images of what this could look like…

The ride begins underground, deep within the labyrinth of New York’s sewer system. Guests queue through dripping tunnels covered in graffiti tags, old arcade machines and stacks of pizza boxes before entering the Turtles’ lair. Screens and set pieces establish the story: the team has detected unusual activity from their long-time nemesis, Shredder, who is moving across the city with the Foot Clan.

Riders board turtle-shell themed vehicles inside a dimly lit maintenance tunnel. As the train rolls forward slowly, the atmosphere builds – flickering lights, echoing footsteps, the distant rumble of subway trains overhead… Suddenly, a message from Master Splinter warns that the Foot Clan are closing in.

Then comes the signature moment: a high-powered launch through a collapsing sewer tunnel. Water sprays from broken pipes as the train accelerates, bursting through a manhole cover and emerging onto the streets of Manhattan.

From there, the ride becomes a full urban chase. The track twists through stylised cityscapes – weaving between fire escapes, diving through neon-lit alleyways, and banking around rooftop water towers. Projection mapping could simulate the Turtles racing alongside riders, swinging across the skyline or flipping over obstacles.

Midway through the ride, a dramatic vertical climb could recreate the feeling of scaling a skyscraper before a sudden drop back into the chaos of the city. The climax arrives as Shredder appears ahead on a towering rooftop structure, triggering a rapid series of corkscrews and turns that simulate the final battle.

The finale sees riders plunge back down through another manhole and return to the sewer network – victorious – before rolling slowly back into the Turtles’ underground lair, where the reward is, naturally, a celebratory pizza party. The appeal of a concept like Sewer Launch lies in how naturally the IP translates into ride mechanics.

The Turtles’ world already contains the elements that rollercoasters thrive on: tight tunnels, sudden vertical escapes to the surface, high-speed rooftop chases and comic-book action. It’s the kind of property that could deliver both nostalgia for parents who grew up with the heroes in a half shell, and a fast, visually playful attraction for the next generation of fans.

David Born, CEO, Born Licensing
I would love to see a Survivor themed ride. With its 50th season this year, I feel like a rollercoaster is overdue! I envision this ride delivering an experience that reflects the ups and downs of a season of Survivor – from the physical and mental challenges to the tribal council experience that often feels like a rollercoaster in itself. As the rollercoaster winds down, a holographic Jeff Probst would be standing there ready to snuff their torches!

Molly Van Der Brink, Senior Attractions & Live Experiences Manager, Aardman
It goes without saying I am – like many others – excited to see the new Bluey rollercoaster launch as we are big fans in my house. I was interested to see that they chose to focus on Bluey & Bingo’s ‘granny characters’ rather than their most classic form for their first ride, which perhaps sets the scene for future Bluey theme park installations. It certainly delivers a familiar narrative arc for visitors to dive into from the word go.

Brands and brand moments that translate well into rollercoasters usually have strong storytelling, clear emotional beats which create anticipation and iconic moments or characters that fans instantly recognise. In terms of other brands, I have to admit I’ve been a little bereft since the end of Stranger Things and think there could be so much fun to be had with a dark ride experience leaning into the gruesome, noir feel of the final chapter in the franchise – particularly using the incredible end fight scene and the Mindflayer as a scene or track within the ride.

The challenge of how to translate a global phenomenon like that of KPop Demon Hunters from screen to coaster would be an interesting one – and I would love to see this unique world and aesthetic come to life in an LBE setting. As many theme parks start to explore overlaying VR onto their rollercoasters, allowing guests to choose their own adventure each time they ride, this could be a really thrilling mixed reality ride – combining the stunning visuals and hit music in a headset along with the chance to whizz through all the incredible scenes and backdrops from the film itself, with the characters popping up in different forms throughout.

It would be remiss of me not to suggest a favourite Aardman title or moment, and as such I would love to see – and ride! – a rollercoaster which tracks Ginger and the gang’s great escape from Tweedy’s Farm from Chicken Run…. Seated in the flying machine, perhaps travelling pre-ride through the pie machine, before blasting out into the mad and vibrant world of Funland Farms – ending in a face-off with Mrs Tweedy herself to avoid becoming a nugget… Maybe one day!

Carl Rush, Founder, Crush Creative
One of the projects we had the privilege of working on last year was the creation of a brand for Neverland. In 1929, J. M. Barrie entrusted the rights to Peter Pan to Great Ormond Street Hospital (GOSH), and it was a real honour for us to create a licensing brand world for Neverland that could help the hospital raise funds for its vital work.

Early discussions with our client made it clear they had big ambitions to bring the brand to life across multiple audience touchpoints, including publishing, gifting, gaming and experiential. Although Disneyland has a gentle ride called Peter Pan’s Flight, I’d love to see a rollercoaster designed specifically for the GOSH Neverland. Children and adults alike already associate Neverland with joy, imagination and wonder, making it a natural fit with plenty of strong visual moments.

Riders could launch from the Darling nursery, fly over London into Neverland, then race through jungle, Mermaid Lagoon and Captain Hook’s pirate ship before escaping the ticking crocodile. The journey would end soaring back into the stars, capturing both the magic of flight and the adventure of the island.

This might be one of those hypothetical questions you’re posing now, that could genuinely become a reality in the future. We certainly hope so.

Lucy Arguile, Licensing Executive, Reemsborko
When I think of rollercoasters, I picture adrenaline-fuelled rides, so it would make sense for an action or adventure IP. As I work a lot in the world of anime at Reemsborko, that’s naturally where my mind goes – and Naruto would be my first choice.

Fight scenes in anime are often drawn using speed lines, swooshes and bursts of smoke, which makes them feel very fast and energetic. I think this style could work well in a rollercoaster setting because the movement of the ride, with sudden drops, sharp turns and loops… It could echo the chaos of a battle scene. Lighting effects, fog machines and background scenery could also recreate some of these visuals, making you feel you’re moving through the middle of the fight!

In fact, a bit of digging reveals one is in the works – coming to France’s Parc Spirou later this year!

Danny Heffer, Independent Creative
The design process for aligning rollercoasters with IP usually starts with brand values and translating them into ride experiences. It’s easy to see how something like Paw Patrol embodies adventure and teamwork – perfect ingredients for a family attraction. The character IP market already feels very well served. Across the UK you’ll find everything from Peppa Pig to Wallace & Gromit strapped to a ride system somewhere. So perhaps it’s time to think a little more laterally.

Take Evri – a company that has turned the simple act of delivering a parcel into an unpredictable adventure. Their ride could proudly claim to be “the slowest rollercoaster in the world”. Instead of a dramatic finale, the ride simply tips you gently into a neighbour’s wheelie bin. Alternatively, you may be bitten by an animatronic dog. For an extra upsell, the ride photo booth would superimpose a dressing gown and mug of coffee into your hands before stamping the image “Proof of Delivery.”

Vodafone could also lean into their brand experience. The attraction promises blistering speeds of 1000mph, though in reality it rarely exceeds 20. The queue line features tinny hold music played slightly too loudly, while guests attempt to track their ride time on a bafflingly unreliable app that confidently sends them round in circles.

Best of all, the new British Highways Experience. A rugged, bone-shaking thrill ride where guests bounce violently over potholes, slam through sleeping policemen and swerve unpredictably around traffic cones. The climax sees riders trapped behind an animatronic white van for 45 minutes while a lone worker studies a clipboard. Again F&B could be themed around our fantastic service station industry with broken picnic tables gathered around an overstuffed bin.

Some other quick thoughts:

Ryanair: Rollercoaster where the restraints are “optional extras”.
HMRC: Ride that sends you unexpected bills months after leaving the park.
Trainline: Ride cancelled halfway through.
WeTransfer: The ride ticket expires before you reach it.

All of these could sit inside a new theme park called ‘The Modern World’. That’s enough grumpiness for today, I’m off to the local park to have a go on the swings.

Daniel Ralph, Creative Director, Major Look
With product names that evoke a sensation of flight and speed, Nike would be a perfect fit for a rollercoaster. The brand is synonymous with high performance, perseverance, and facing fears to achieve greatness.

Imagine a tall, fast-launch coaster themed around running, athletics and basketball, with weaving quick turns, weightless airtime and a dramatic drop that slam-dunks riders through a giant basketball hoop. Throughout the ride, Nike athletes offer words of encouragement, culminating in a finish-line photo to capture your achievement!

Paolo Stefi, Founder, Toad
Mario Kart would translate perfectly into a licensed rollercoaster. The brand is already built around speed, curves, boosts and sudden twists!

Anita Castellar, CEO, FanGirl Consulting & Brand Management
For years, I have been wishing for a rollercoaster based on the iconic door chase scene from Monsters Inc, where Mike and Sully ride on the doors through the door warehouse. Since that wish has come true and it’s coming to Disney’s Hollywood Studios, I’ll move to my second wish on the themed rollercoaster list…

The race scene from the Sugar Rush game featured in Wreck-It-Ralph would make an amazing indoor rollercoaster or go kart racing attraction! The race is a high-speed chase, and the winner is the fastest go kart to cross the finish line – so riders will experience a high-octane rush. The movie racetrack is filled with sudden drops and turns through some of the most whimsical locations, like the cola volcano explosions and the candy cane forests.

There are twisting tracks which already fits the feeling of a rollercoaster, and the ride vehicle designs are all easy to recreate from the candy-themed go karts. This attraction is basically already designed! All the Imagineers need to do is pull the incredible visuals from the film for the most whimsical environmental and ride vehicle designs – and pipe in the candy smells for that full 4D affect. Let’s go already!

Sophie Bloomfield, Creative Director, SBC
One brand that would translate brilliantly is Red Bull. Its deep association with extreme sports and events like the X Games already carries the kind of adrenaline-fuelled storytelling that rollercoasters thrive on. Imagine a ride inspired by the daredevil spirit of Evel Knievel – huge ramps, gravity-defying launches and the sensation that you’re the one attempting the stunt, but in a completely safe, theme-park setting.

A similar idea could work brilliantly around the Winter Olympics. With the viral moments and renewed popularity of the Games this year, there’s huge potential to translate those sports into ride mechanics. A high-speed bobsleigh coaster that mimics the twists of an ice track or a halfpipe-inspired layout – capturing the rhythm and airtime of Olympic snowboarding – could deliver both spectacle and a strong branded story.

Rob Bedford, Founder & Co-Owner, Juiced
While rollercoasters aren’t really my jam, I would love to see a Fortnite rollercoaster themed around the Battle Bus! I think with the variety of own-IP characters, along with their record collabs, it could make for a fun ride that goes through hit-to-hit moments of the brand!

We could see the Mecha Team Leader (Cattus) vs The Monster (Doggus) battle, the Doomsday Machine from Chapter 2 Season 2 – one of most played and beloved seasons of the game to date – or some of those collabs go head-to-head… Who wouldn’t want to see the Xenomorph wearing Nike Airs battling against a buff Peter Griffin? Or seeing John Cena do the Crip Walk? Absolute comedy and brand rule-breaking gold!

Adam Colp, Co-Founder, Vize
A Sonic rollercoaster would be a massive no brainer – the cart could be a giant Sonic and spin upside down while travelling along the track like the Blue hedgehog does! It could travel through rings and replicate the green hill levels from the games. Add sound effects from the game and this would be insane!

I’d also love to see a Ninja Turtles pizza wagon one, where you’re zooming through the streets of NYC. It could be completely immersive with characters from the film attacking the car and making it manoeuvre as it goes round the track!

Jess Ivy, Graphic Designer, Juiced
I think a KPop Demon Hunters themed rollercoaster could work really well, especially as the film has proven itself a smash hit recently and has an appeal to kids and adults alike. The incredible visuals could easily be adapted to create a story-driven ride – such as a quest to seal the Honmoon, encountering demons along the way.

I can visualise a triumphant soundtrack, lighting and a track with twists and turns that takes riders on a sweeping journey through scenes from the movie. It could work as either an outdoor coaster similar to Tron at Disneyworld or lend itself to an indoor dark ride similar to The Mummy at Universal Studios. Personally, I just hope for a lot of airtime on the ride!

Graham Speak, Director, Speak Consulting
IP in LBE (location-based entertainment) can create real differentiation for attraction operators and be a critical part of a brands’ ecosystem… So it shouldn’t be a surprise it continues to grow!

There are lots of amazing IP-based roller coasters out there already, from the out-of-this-world Guardians of the Galaxy ride at Walt Disney World in the US, to the stunning Arthur attraction at Europa Park in Germany. It’s not always just about movies and characters – Ferrari-themed Red Force (Port Aventura World, Spain) and Formula Rossa (Ferrari World, Abu Dhabi) are both examples of other types of IP adding value to roller coaster experiences. In each of these examples, ride hardware is used as a vehicle to story-tell, allowing guests and fans to immerse themselves in their favourite IPs in ways they couldn’t otherwise.

So, my shout for what IP I’d personally like to see… I’m a fan of big thrill rides, but I love rollercoasters that families can enjoy together. While we already have the Wallace & Gromit dark ride at Pleasure Beach in Blackpool, I think great fun could be had with a Shaun the Sheep or Wallace & Gromit rollercoaster. How exciting would it be to chase around Mossy Bottom on an adventure with Shaun and his flock – or test-drive the latest mad-capped invention dreamt up by Wallace himself? I think the visual humour and multi-generational appeal could make for a great family coaster adventure.

When operators are investing significant CapEx, they look for an IP with longevity and broad, multigenerational appeal – often to complement their existing portfolio or target certain demographics. They also need collaborative IP partners that help them maximise the brand, create unique experiences and ultimately exceed guests’ expectations – that can often be higher when an IP is involved. An IP that lends itself to secondary spend opportunities like retail merch and F&B is likely useful too!

Whether or not we get a Wallace & Gromit coaster, I expect we’ll continue to see IP leveraged further in the attraction space. I’m looking forward to seeing more IP-led attractions with the upcoming Universal UK – Back to the Future would be great! – and the already-announced Minecraft experiences by Merlin.

Stephanie Griggs, Founder & Creative Director, Studio Griggs
Eight-year-old me was introduced to the magic of the themed ride in the mid-nineties during the holiday of a lifetime to Florida. Universal Studios, MGM, Disney, Busch Gardens, Epcot… We got every penny of value from our two-week theme park pass. I took my newfound interest in rollercoasters very seriously, scribbling down my own reviews for every ride in a small notebook – which would have been very handy to refer to now…

I still viscerally remember the wonderment I felt on the E.T. ride, the terror from the Jaws boat ride, and the pure adrenaline in the Back to the Future simulator ride. Placing a fan inside the IP is what makes themed experiences so special. Not just watching it, but feeling it. Theming the Bluey coaster to a specific, beloved episode like The Grannies is smart because it primes the opportunity for future expansion through other thematic splicing, with no loss of enjoyment for the fans!

Similarly, I think Shaun the Sheep is a baaa-rilliant IP to translate into a coaster or ride. Having immersed myself in the brand through several recent creative projects with Aardman, the thematic treasure trove from seven TV series and two films – with a third coming this year – provides a rich source of ideas to mine, underpinned by mischief, humour and adventure. Atari partnered with Aardman to bring Shaun to RollerCoaster Tycoon Touch in 2021. If millions were happily building Shaun theme parks from their sofas, imagine the real deal!

Celebrating their 50th anniversary this year, Aardman is more beloved than ever because of the genuine craft and human creativity at the heart of everything they make. Similarly, in an increasingly digital world, the craving for real, in-person experiences is only growing. According to Grand View Research, the global theme park market is projected to grow from $67.85 billion in 2025 to $110.50 billion by 2033, and IP- based theme parks led the market with a 41% revenue share in 2025.

Corinne Duckworth, Commerical Executive, Dreamtex
There are already some fantastic branded rollercoasters out there, but I definitely think there’s room for more! One brand that would work perfectly is Gabby’s Dollhouse. The show already has a built-in transformation moment, with Gabby starting in the real world before shrinking down to enter the dollhouse. That could translate brilliantly into a ride experience! Something similar to a ghost train in structure, but instead of scares it would focus on colourful sets, fun surprises and – of course – all of the cute cats!

Another idea could be a NASA-themed launch rollercoaster. Those rollercoasters that shoot off into the air at high speed before coming down slowly already feel like rocket launches, so leaning fully into that theme would make perfect sense. Imagine hearing the iconic countdown while you’re strapped in, followed by the sudden blast-off as the ride launches into ‘orbit’. It’s the kind of moment that would be instantly recognisable and incredibly exciting for both kids and adults.

I used to love the log flume rides as a kid and when thinking about brands that could fit that style of ride, Lilo & Stitch feels like an obvious choice. You could be surfing along the Hawaiian coast, with bright scenery, water effects and the soundtrack that literally features a song called Hawaiian Rollercoaster Ride playing as you hit the waves! With its unbelievably strong brand awareness, it would translate beautifully into a themed water ride.

Finally, this might be more of an experience than a rollercoaster, but I’ve personally always wanted to see a real-life Barbie Dreamhouse. Walking through it as if you were the doll would be amazing – and you could even have Ken’s Mojo Dojo Casa House next door! The Barbie brand has so much personality, there’s huge scope for creating something memorable in a theme park setting. And, of course, with the perfect photo opportunity!

Rob Goodchild, MD, Planet Rights
Following on from Bluey and Paw Patrol I would love to see a roller coaster built around Talking Tom and Friends and the new Suddenly Super TV series. It has all the elements for a great coaster, including moments when the friends become super and the pace escalates. The gadgets and vehicles would add to the action, while the Peak City landscape would give a tremendous sense of scale.

Away from kids’ entertainment, rollercoasters are all about highs, lows, heart-stopping moments, and emotional turmoil – which is much like a supporting a football team.
A ride themed around Manchester United would begin with a towering climb that would have everyone looking down on the rest of the park. Riders would pause to admire the view before embarking on a long, slightly worrying descent with the occasional hopeful bump, always fearful that the whole thing could fall down at any moment.

The Tottenham Hotspur coaster would promise much each time the park opened, having received a lick of paint and minor revamp. However just as it starts a climb towards the summit there would be a massive plunge and the track would suddenly drop away and leaving it teetering on the precipice.

Manchester City’s would feature a few early dips before exploding into a lightning-fast sequence of false starts. Just when riders think it’s over, another burst of speed sends the train hurtling to the finish line. Arsenal’s would just do the opposite. Although always higher than the Spurs ride, it would slow down towards the end and then finish a little short, leaving the rider to a disappointing trudge towards the exit. The Millwall coaster would actually be great fun once you’re on it. Most of the real jeopardy would come from the queue beforehand and the walk back afterwards.

And the rides themed around the England and Scotland’s national teams would pop up in a far-flung location, bringing fervent excitement ad high anticipation. While the Scottish ride, while a bit short-lived, would be pure seat of the pants adrenaline, the England ride would ascend slowly and painfully, maybe lasting a little longer, but only to fizzle out frustratingly.

Steve Starobinsky, Director of Partnerships, Pudgy Penguins
The location-based entertainment sector is extremely important to me, and I’ve focused deeply on building it over the last few years.

I spent two years developing the attraction funnel for the Gel Blaster Nexus GTM, working directly with operators including Dave & Buster’s, Main Event, Urban Air, Punchbowl Social, and others across the entertainment landscape. Through that process I built strong relationships with many of the buyers and key opinion leaders shaping the space today, and I’m excited to bring those connections and insights to Pudgy Penguins as we expand our presence at the ground level.

We’re already beginning to enter the market with a Pudgy Penguins licensed claw machine featuring Pudgy plush, developed in partnership with our amusement plush partner Basic Fun. Our distribution partners Amuze and Pipeline Games bring phenomenal reach, service and expertise across the arcade and amusement ecosystem, helping ensure the brand shows up in the right places. Pudgy Penguins has already proven itself as an in-person brand, which we saw clearly with the overwhelming response to our Pudgy Petals Valentine’s Day pop-up shop in New York City.

From there, the vision continues to expand. The next natural step is Pudgy World – starting with the game and ultimately evolving into a theme park experience. We believe every level of the LBE ecosystem, from arcades and attractions to fully themed worlds, will be a foundational component of modern brand building and an important way for Pudgy Penguins to create real-world moments with its community.

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The collection blends Dream Big Little Co.’s signature bamboo fabric with designs inspired by Eric Carle’s artwork, and spans sleepwear sets, dresses, rompers, pocket tees, crib sheets, changing pad covers and bow clips.

The collaboration was negotiated and developed with the support of Born to License, who guided Dream Big Little Co. through the licensing process from initial agreement to creative approvals and go-to-market execution.

“We’re thrilled to support Dream Big Little Co. in this collaboration that reminds us about the power of a well told story,” said David Born, CEO of Born to License.

“In this collection, Dream Big Little Co. has captured the magic of Eric Carle’s works to be shared with a new generation of children and parents.”

Christy Creviston, Founder of Dream Big Little Co., added: “What a dream! This collaboration celebrates the magic of curiosity and imagination, bringing together DBLC’s bold creativity with the timeless wonder of Eric Carle’s world.

“I grew up loving these stories, and now you get to dress your littles in that same magic.”

The World of Eric Carle licensing programme is managed globally by the Joester Loria Group on behalf of Penguin Random House.

“We are thrilled to partner with Dream Big Little Co. to bring the timeless imagination of Eric Carle to even more families,” said Jackie DeMaio, Senior Licensing Director at the Joester Loria Group.

“Their passion for thoughtful, beautifully designed products aligns perfectly with our mission to inspire a love of creativity and discovery in children.”

The Dream Big Little Co. × The World of Eric Carle collection is available at www.dreambiglittleco.com.

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The agency will be responsible for driving brand collaborations and IP integrations across advertising and marketing campaigns.

“These partnerships mark another important step in Born Licensing’s evolution as a specialist agency for advertising and brand-led collaborations,” said David Born, Founder and CEO of Born Licensing.

“The properties we represent are not only globally recognised, but deeply loved – and that emotional connection is exactly what brands are seeking in today’s advertising landscape. We’re seeing unprecedented appetite from agencies to use established IP in smarter, more creative ways, and we’re excited to help our partners unlock that potential at scale.”

“I am very excited about Larry Harmon Pictures’ new collaboration with Born Licensing,” said Marci Carabet, President of Larry Harmon Pictures Corporation. He adds: “Their genuine passion for brand storytelling, along with their exceptional experience in advertising and marketing, makes them an ideal partner as we continue to share our iconic IP with audiences around the world through impactful, contemporary campaigns.”

Aidan Taylor-Gooby, Licensing Director of Magic Light Pictures, said: “2026 promises to be a huge year for The Gruffalo as we look forward to the release of the new book in September. We’re delighted to be working with Born Licensing to help us identify strategic brand partnerships which engage and delight our family audience.”

Silvia Figini, Chief Operating Officer of Sanrio (EMEA, India and Oceania) and Mr. Men (Worldwide), added: “Over the past 14 years, Mr. Men Little Miss has evolved into a truly global lifestyle brand – one that unites families, resonates across generations, and delivers real value for partners worldwide. With Born Licensing’s support, we’re confident its versatility and appeal will continue to attract advertisers, paving the way for exciting collaborations and standout milestones ahead.”

Françoise Guyonnet, CEO of STUDIOCANAL Kids & Family Ltd., said: “Paddington’s universal appeal and message of kindness make him a natural fit for brand storytelling. We’re excited to partner with Born Licensing to help bring the character into creative campaigns that resonate with families and audiences worldwide.”

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The collection features WOLFpak backpacks, duffels, slings and accessories reimagined with Barbie and Ken graphics. Designs also lean into Barbie pink and Ken blue.

The collaboration was brought to life with the support of Born to License, the licensing agency that facilitated the partnership between WOLFpak and Mattel.

The drop marks the second collection between WOLFpak and Mattel following the release of a Hot Wheels Racing line back in November.

“It doesn’t get much more iconic than Barbie and Ken, and we’re thrilled to be bringing WOLFpak and Mattel together again for another standout collaboration,” said David Born, CEO of Born to License.

Hope Henderson, Licensing Manager at WOLFpak, added: “Partnering with Mattel again with such beloved brands is a huge moment for us.

“Barbie and Ken are global icons, and also celebrating Ken’s 65th anniversary through a WOLFpak lens allowed us to create a fun product design while staying true to our DNA – durability, statement design, and functional innovation. This collection is playful, powerful, and built to stand out.”

The WOLFpak x Barbie and Ken collection is available exclusively at wolfpak.com.

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The limited-edition release features two headphone styles: Peppa’s version in her signature pink and red palette, and George’s version in two shades of blue. Both designs boast safe listening levels, durable construction and lightweight comfort.

This launch marks the first of several collaborations between Bandou and Hasbro, with more characters set to make their debut in future collections.

The agreement was facilitated by licensing agency Born to License, who guided Bandou through every step, from deal negotiation and creative development to marketing and launch strategy.

“Bringing Peppa Pig to life through a line of headphones has been such an exciting way to expand our reach into kids’ lifestyle products,” said David Born, CEO of Born to License.

“Bandou’s design team has done a fantastic job of capturing Peppa and George’s personalities in a product that’s both playful and practical.”

Benjamin Hogue, Owner of Bandou, added: “At Bandou, we’re passionate about creating products that blend fun with functionality.

“Launching with Peppa Pig feels like the perfect way to start our journey with Hasbro, and we’re thrilled for families to see what’s coming next.”

The Bandou x Peppa Pig Kids Headphones Collection is available now exclusively at mybandou.com.

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The range was developed in collaboration with The Maradona family, by way of SATTVICA SA INC and their agent, Bridge Marketing Group.

“We’re incredibly proud to honour Diego Maradona through this new release,” said Winston Huang, Director at Comma Football.

“Football has given us everything, and Maradona’s brilliance is part of what inspired our love for the game. With this collection, we wanted to create pieces worthy of his legacy – designs that make fans stop and feel the magic again.”

The collection marks a significant milestone in Comma Football’s licensing strategy, with Born to License managing the partnership process on behalf of the brand.

Born to License worked closely with Comma Football, SATTVICA SA INC, and Bridge Marketing Group to bring this collaboration to life.

“Comma Football represents exactly the kind of brand we love to partner with – authentic, culturally connected, and unafraid to push creative boundaries,” said David Born, CEO at Born to License.

“Their ability to transform football’s most emotional moments into wearable art has built them a genuinely passionate fanbase. This Maradona collection is a perfect example of how they honour the game’s heritage while staying entirely relevant to today’s football culture.”

Bridge Marketing Group Inc. CEO, Samuel Nieto, added: “Comma Football continues to push boundaries in football culture and apparel. Their Maradona collection showcases their rare ability to blend heritage, emotion, and high-quality design in a way that resonates deeply with fans.”

A portion of every purchase goes directly to grassroots football charities.

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Building on the success of last year’s spot, the latest ad follows Sainsbury’s colleague Annie and the BFG as they team up to save Christmas after a giant devours a family’s festive feast.

The Roald Dahl Story Company engaged Born Licensing to bring to life their global partnership strategy, working with Sainsbury’s creative agency, New Commercial Arts, to ensure this new narrative came to life with authenticity. References from the story include the BFG’s trumpet, dream jars and Gobblefunk terms.

“Following the success of last year’s campaign, it’s fantastic to see the BFG return to screens this Christmas alongside the Greedy Giant and a new Sainsbury’s colleague,” said David Born, CEO of Born Licensing.

“This collaboration shows just how magical advertising can be when world-class creative meets timeless storytelling. We’re proud to help bring these cherished characters to life in such an imaginative way.”

Alice O’Brien, Head of Global Commercial Partnerships at the Roald Dahl Story Company, added: “The return of the BFG to this year’s Sainsbury’s Christmas ad shows the enduring love audiences hold for Roald Dahl’s character. His natural curiosity for food and propensity for powerful friendships means he’s the perfect fit for Sainsbury’s message of good food for all of us.

“We’ve adored working with Sainsbury’s, NCA, Rogue Films and ETC to create a brand-new giant this year which will surprise and delight viewers who know all too well about the mischief those in Giant Country cause!”

Check out the ad below:

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