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.

The post PAW Patrol and Bluey rollercoasters are on the way… Which other brands are ripe for rides? appeared first on Brands Untapped.

Then, on the flavour side, Nando’s has untapped potential to scale its PERi-PERi IP into new grocery categories. Consumers already love the taste, and expanding into snacks, frozen meals, and cooking kits would turn Nando’s into a multi-category powerhouse, reinforcing loyalty and convenience.

Both brands tick the boxes for 2026 – strong brand equity, consumer trust and an alignment with major trends like health and wellness, convenience and flavour-led innovation.

Ian Downes,
Director, Start Licensing

When my sons were younger, they played RuneScape, a massively multiplayer online game – or MMO – set in a fantasy world full of quests and adventures. This was back in the 2000s as the game launched in 2001. I was always struck by how immersed my sons were in the world of RuneScape and how much enjoyment they got from the game. These are, of course, positive attributes when thinking about extending a brand through licensing. With my interest piqued in RuneScape, I remember approaching the games owners Jagex about the potential for licensing Runescape. This conversation didn’t go too far. I’m not sure if Jagex ever licensed RuneScape in the 2000s, but it is a brand that always stayed with me. Of course, other competitive brands have emerged and kicked on – World of Warcraft for example.

However, I was reading a few BBC Business articles online recently and a story about RuneScape popped up. In summary, it seems RuneScape is having something of a renaissance largely due to players who were fans in the 2000s returning to the game. The BBC report highlighted that there are now two versions of the game including a more contemporary version – but it seems “old school” RuneScape is the most popular format for the game.

Given its history and fan engagement, RuneScape may be a brand ripe for licensing in 2026. The task of bringing RuneScape alive in licensing may be a little easier now as there is a well-established network of licensees and retailers that “get gaming” and a lot of the core fans are now in their late 20s and early 30s with more disposable income. Of course, there is also more opportunities around e-commerce, conventions and limited edition products – all of which play well with a brand like RuneScape.

So I assume RuneScape is largely untapped but please accept my apologies if there is already a flourishing licensing programme out there!

Sharon Ann Weisman,
CEO, Portman Street

Duolingo feels like the ‘Sleeping Giant’ for licensing in 2026. You know by now, I love data – and the numbers tell a story: 500M+ registered users, massive daily engagement, and it’s built a genuine cultural footprint with Gen Z and Gen Alpha. From a visual vocabulary standpoint, the Duo owl isn’t just a mascot… It’s become an actual meme entity with personality and cultural cache that rivals entertainment IP.

What makes it untapped: Despite this reach, Duolingo’s licensing footprint is minimal compared to its cultural presence. No major toy partnerships, limited apparel beyond their own DTC, no serious retail activation… They’ve essentially created a character-driven universe with built-in storylines – the unhinged owl personality, the lesson streak anxiety, the passive-aggressive notifications – that’s ripe for product translation.

They finally hired their first licensing role, so hopefully they launch a compelling licensing program that bridges over cultures, languages and generations. The real opportunity sits in that rare space where kids want it, parents approve of it and it has legitimate cross-generational recognition. Plus, the learning/education angle gives it legs beyond trend cycles – utility with personality!

My second pick… Well, if there’s one brand sitting on enormous, largely untapped licensing potential, it’s Wikipedia. It’s one of the most recognised and trusted brands on the planet, yet it has almost no consumer licensing footprint. In an era flooded with AI-generated content, misinformation and brand noise, Wikipedia represents something increasingly rare: credible, human-curated knowledge. That trust equity alone makes it a compelling candidate for thoughtful expansion.

Moreover, everyone is freaking about the M&As, when we really shouldn’t be gambling like maniacs on “What’s the new hot thing???” (knowing very well that it might not last). The opportunity for Wiki isn’t novelty merch, it’s mission-aligned products. Done right, Wikipedia could become a case study for how a values-first, nonprofit brand expands into licensing – without losing its soul. And in 2026, that may be the most modern move of all.

Finally, A24. It is already acting like a lifestyle/luxury brand, but from a pure licensing lens it is still massively under-monetised relative to its cultural pull, making it a high-impact play for 2026 if handled carefully. Honestly, I am not a “fan girl” of anything, but lets just say that watching one of their movies – Marcel the Shell with Shoes On – and curiously looking up their merch story, lead me to buying the first figurine I’ve ever purchased (at age 43!!!).

A24 can potentially remind the industry to slow down – and that quality trumps quantity. It built a cult ‘world’ via films and design-driven merch, with its own DTC shop, special-edition Blu-rays, books, and vinyl that routinely sell out and trade at premiums on resale platforms.​ The Barnes & Noble in-store “A24 Shop” rollout is its first real physical retail expression, proving there is national demand for a curated A24-branded universe, not just one-off movie swag.​

Over-licensing or mass-channel placement would erode the “insider” equity that makes A24 desirable… The play is fewer, deeper partnerships, not volume programs. They finally hired someone who seems fun and sharp, and the rumours say she champions the potential of brand licensing, so fingers crossed that they create more thoughtful merchandise without compromising quality… Setting a new standard for everyone in 2026.

James Oddy,
Co-Founder, Vize

Honestly, The X-Files feels like it’s quietly having a moment again – and it doesn’t feel nostalgic, it feels current. It pretty much called the world we’re in now: conspiracy, mistrust, blurred truth, belief vs science… There’s so much scary stuff going on in the world. Throw in post-truth fatigue, AI anxiety and government distrust… That whole “I want to believe” mindset suddenly makes sense again; it just hits differently in 2026.The storytelling and brand DNA is unique and relevant.

You can see its influence in shows like Stranger Things – the slow-burn mystery, secrecy and underlying dread – but The X-Files did it with adults in mind. It built this rich mythology, while still telling smaller human stories. That kind of depth feels rare now. Fans are hungry for it. Most pop-culture licensing is all about the charcaters, branding and worlds. The X-Files is the opposite – stark typography, government paperwork, dark forests, roadside motels, UFO minimalism, analogue tech, all of which are on trend and a bit different.

That makes it perfect for fashion, home, print and stationery – products should feel a bit classified, like a classified notebook.  I’d love to see a high-end coffee table book for the OG fans. Gen Z’s already there through memes, TikTok’s eerie, liminal vibes and rewatch culture. A lot of them weren’t even around when it first aired, which weirdly makes this IP feel fresh again.

Oliver Dyer,
Founder, Skew

Let’s talk about hotels – luxury hotels. The ink will already be dry on impactful deals for ’26, so I want to pull back and look at what’s next. The Heritage wave has been massive. The Met’s Josh Romm rightly highlighted a stat from Licensing Source’s dedicated Heritage & Museum Licensing issue saying: “The nonprofit IP sector, led by museum properties, was the fastest growing licensing property type last year, growing at a 16.8% rate”.

Heritage has been building in waves for over a decade, and the next one that’s going to break is luxury. Skew client The Ritz Paris is the trailblazer here and you can see why. Heritage is about story and provenance, and The Ritz Paris has more of both than sequins on a Couture showpiece.

Luxury brands don’t stoop so low as to admit to competition, but last year luxury powerhouse LVMH secured an option to acquire full ownership of The Orient Express brand by 2027. And there’s more to follow. Like it or not, the super-rich are getting richer. There are storied hotel brands ready to cater to their every whim and sell the lifestyle back to the upper mid-market.

Raffles is a rich pick for luxury brand extension. But for the mix of East and West, old and new, we’re wondering if it’s The Peninsula that could break through into luxury lifestyle.

Why? Licensing loves an anniversary – the Peninsula turns 100 in 2028. It has global reach, grounded in an origin story filled with evocative imagery to inspire a decade’s worth of creative development. Not only that, but the brand is pushing its relevance with a well-received opening in London in 2024.

Pedigree, story, reach, relevance and deep pockets… The Peninsula has all the ingredients to make the leap from luxury experience to lifestyle.

Ben Townsend,
Product Development Executive, Aardman

As soon as I saw this question, there was one clear answer that came to my mind: The Muppets. As a lifelong fan of Jim Henson and puppetry, this brand has been catching headlines recently for lots of exciting reasons.

First off, The Muppet Show is coming back to our screens this February via Disney Plus after last being on in 1981! With names like Seth Rogen and Sabrina Carpenter leading the charge, they will bring in a whole new audience to the brand, and with it a whole new audience who will get an appetite for Muppets-related merchandise. Moreover, influential names like Jennifer Lawrence and Emma Stone will be working on a Miss Piggy Movie, bringing lots of exciting licensing opportunities.

As that wasn’t enough, Disney World in Florida will be closing Aerosmith’s Rock & Roller Coaster after 27 years this year and what will they be rebranding it to? You guessed it, our felted friends, The Muppets. That shows a lot of faith on Disney’s part, and as someone who recently visited Disney World for their honeymoon, at the end of every ride is a large shop with a great deal of licensed products available to purchase. I for one can’t wait to see what products will be available, and to see The Muppets with a modern twist.

And with that, brings my final reason. The recent licensing collaborations that have come from the Muppets have been sensational. Just this year, American apparel brand RSVLTS released a Muppets apparel range with some fun and creative AOP designs for Men, Women and Kids. As someone who is part of RSVLTS’s Facebook fan group, I have not seen such a positive reaction and excitement from fans as I did with the Muppets launch. TruffleShuffle also launched a great Muppet Christmas Carol design for the festive season, which sits beautifully across all their existing Muppets range, including a light-up Loungefly bag.

Fi Murray,
Director of Ideas, Making Things Studios

My pick is Lick. More than a decorating paint company, they are leaders in colour. They could be to paint, what Crayola is to crayons. They have an enormous engaged social community and feel primed, excuse the pun, to celebrate colour in new ways.

I could see their colours – Pink 08 and Red 03 being personal favourites! – translating to lifestyle, homeware and more… Think candles where the scent matches the colour mood. You could make up sets with quick guides to colour compliment your clothing.

Simon Foulkes,
MD, Rainbow Productions

I can’t be the only person who was willing Macclesfield FC to hang on for their third round FA Cup victory against Crystal Palace. Not because I’m a Macclesfield fan – it’s somewhere near Manchester isn’t it!? – but it was one of those “never to be forgotten” sporting moments when bloke with a blood stained headband got carried aloft by beyond jubilant fans. “I was there” moments are so personal and have an intense emotional resonance. And let’s face it emotions are what drive our love of sport.

Sports licensing on the whole is pretty well covered and it’s growth is easily measured by the fact that at BLE each year we see clubs, tournaments and associations taking up more and more space on the showfloor. The throng of people jostling at Target Darts booth at Toy Fair to get a piece of Luke Littler shows how relevant the category is and how it transcends age, gender and race. Target Darts’ multi-million pound investment in the incredible Luke the Nuke is down to how this 18-year-old has not only reshaped how people engage with darts but how the guy has captured new audiences. Lukey boy even had my Polish wife rescheduling our dinner so as not to miss a 7.30 bull-off – yes this really is a term! – in the lead up to Christmas so we could recreate the Ally Pally atmosphere in our living room.

2026 is once again the year of the FIFA World Cup so the classic Summer of Sport moniker is repeatedly going to be across all forms of media. This got me thinking about an untapped sporting licensing brand that could maximise opportunities and monetise that emotional demand: Sporting Signature Moments.

At Rainbow we create sports mascots and the utter joy on a childs’ face when hugged by Pottermus at the BET 365 is matched against mascot-related merchandise sales in the Stoke City club shop. Can a sports licensing programme transcend a particular allegiance to a specific club? There are not too many Spurs fans wanting a mantle-piece photo of an embrace with Gunnersaurus… But of course they can.

Bring on an umbrella brand that captures the “I was there” signature movements that revolutionised a sport – or what the (Dad of a) Gen Z-eders would call the Insta moment. Tapping into those etched-in the-memory images and keeping those treasured moments alive epitomises emotional branding. So is there not a screaming desire for these sporting moments to have a collective licensing trademark?

That ball of the century that dismissed Gatting; the chap who floats like a butterfly and stings…; that goliath New Zealander running amok through the English back line; the beam dismounts from that diminutive American genius; that ice skating couple in Sarajevo; that Australian fast bowler being comported by Freddie at Edgbaston…. Panneker, Fosbury, Banks, Pele, MS Dhoni, Cruyff… This is classic game of “what’s YOUR moment” as the list in inexhaustible and now I’ve added that Macclesfield bloke to mine.

Add in some sensational sporting phraseology to complete the branding: “He kicks for World Cup glory”… “They think its all over”… “You can’t win anything with kids”… “You miss 100% of the shots you don’t take”… “The more I practice the luckier I get”… I’m doodling the style guide and already have some ideas for the mascot that taps into our enduring love of sport and Sporting Signature Moments.

My final thought would be that if you could license the image, could you also exclusively license the movement? If so and Stoke City exclusively licensed the Cruyff Turn, would we back in the Premier League or would we be playing Wolves next season?

Robyn Cowling,
Head of Licensing, Aykroyds

Gosh, there are an immeasurable number of untapped brands out there! With the unending appetite for newness at retail – certainly from our core customers – brands are missing out on some big wins by not harnessing licensing as a strand of their marketing for launch.

I suspect they are intentionally and strategically focusing on their core business and own core brand awareness before considering expansion into other categories. I would counter that with the perpetual need for freshness. It feels shortsighted, albeit understandable given the level of investment needed to launch brands.

I personally believe that if emerging brands took a different position on this growth strategy, then we could strengthen their footprint off the starting blocks to give them the widest market share in multiple categories. It just takes one forward thinker to be in the right place at the right time, within the emerging brand team, to take a leap of faith. Fortune favours the bold!

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The winner in the Best Illustrated Book category was Harry Woodgate’s Grandad’s Camper, beating a shortlist that also included Steve Small’s The Duck Who Didn’t Like Water, Lu Fraser’s The Viking Who Liked Icing and Andy Harkness’ Wolfboy.

I’ve taken a bit of an extra interest in the world of picture books since welcoming a baby back in January, and it’s a sector bursting with creativity – and brand potential.

Some of the biggest brands in this space, like Peter Rabbit, The Gruffalo and The Very Hungry Caterpillar, regularly embark on smart, authentic brand collaborations. These kinds of partnerships can boost brand awareness, strengthen a book’s connection with readers and ultimately help cement the reputation of the source material.

It’s also encouraging to see some fairly recent picture book hits also embrace the world of licensing in creative ways.

Drew Daywalt and Oliver Jeffers’ The Day The Crayons Quit was published in 2013 and tells the story of a box of crayons who go on strike because they’re not happy about how they’re being used. It was followed by a sequel – The Day The Crayons Came Home – in 2015.

The books have spawned finger puppets, plush – and of course, a line of tie-in crayons. A live action film adaptation is also in the development at Sony Pictures.

Elsewhere, Jon Klassen’s I Want My Hat Back – published in 2011 and a firm personal favourite – tells the tale of a bear looking for his lost hat. While it hasn’t signed deals in sectors like apparel or toys, it did get a National Theatre stage adaptation that debuted back in 2020.

It begs the question, what gives a picture book brand potential? What does one need to extend into sectors like toys, apparel and live events successfully? And are there any picture books out there brimming with untapped licensing potential?

To help answer these questions, we’ve turned to Kids Industries’ Gary Pope, The Roald Dahl Story Company’s Stephanie Griggs, Penguin Ventures’ Thomas Merrington, Caroline High Consultancy’s Caroline High and Making Things’ Fi Murray.

Gary Pope, Co-Founder, Kids Industries
“A picture book is special because it speaks directly to the child’s imagination; they absorb the illustrations whilst a loved one’s voice breathes life to the pictures forming in their minds. The medium itself, for me at least, is precious. The act of sharing a story is perhaps the most communicative, human and ancient of interactions. Get it right with a picture book and the cries of “Again, again, again…” never stop. Familiarity in literature rarely breeds contempt.

For me, the best is – and will always be – The Gruffalo. I’ve used it when working with children countless times and I’ve told the story to my own children a thousand times. We’ve watched it, too. My goodness didn’t Magic Light do a good job. And yes, we’ve bought most of the product. And we’ve done that because of the power of the story itself. That’s what makes it licensing gold.

Yes, Schaffer’s art is compelling, but it’s Donaldson’s writing that sets it apart – the rhythm, the pace, the characterisation, the twists and turns, the humour, and the allegorical nature of this almost Fairy Tale. There is a timelessness to The Gruffalo that makes it the kind of Fable that Aesop himself would’ve been proud of. It’s quintessential storytelling; it just doesn’t get any better.

A book that I’ve always thought had licensing legs is Would You Rather… by John Burningham. It’s a brilliant blend of fantastical question poser – ”Would you rather your house was surrounded by a jungle, snow or water? – and more close to home questions like: ”Would you rather be lost in a shop or your mum have a row in a café?” I can just see these massive questions for little people being brilliant jumping off points for content and conversation. I reckon the right licensing agency would have a field day with the humour too.”

Stephanie Griggs, Creative Director, The Roald Dahl Story Company
“Picture books that successfully cross into being a standalone brand are those that have a narrative that resonates with its audience off-page just as successfully as on-page. Distinguishable illustrations that translate across many touch points are a crucial cherry on top.

One of my favourite illustrators is Jon Klassen. His wryly comic picture-book This is Not My Hat is a firm favourite with both myself and my three-year-old son and I think his illustrations are crying out for a kids apparel range.

He has an online shop, and also one with his Mother (@homehomeca on Instagram) selling his designs on lovely handmade felted pennants. I think these would translate beautifully well into further soft furnishings, too.

Whilst on the subject of picture books, it would be remiss for me not to mention Never Grow Up, a guide to growing up the Roald Dahl way, with enthralling new illustrations by Quentin Blake. It came out last Summer, and is out in paperback this June – I can confirm it is a delight!’

Thomas Merrington, Creative Director, Penguin Ventures
“At Penguin Ventures, we are so incredibly fortunate to manage the licensing programme for Peter Rabbit, the oldest licensed literary character in the world. The Tale of Peter Rabbit was an immediate success in Potter’s lifetime, with initial print runs surpassing all expectations.

Beatrix recognised that small children would be entranced by tales of animals set in the natural world and that they would want to experience these in the small book format that is now so intrinsically associated with the stories. At the time, this was quite revolutionary in publishing – and certainly added to their appeal and collectability.

Following the success of her stories, Beatrix went on to initiate and manage the licensing programme to meet the global demand for products featuring her most popular characters.

Beatrix Potter not only created compelling characters through her storytelling and illustrations, but also a conservationist and botanist, she was passionate about the natural world which is evident in the world she created for Peter Rabbit. This world building really is a gift in terms of IP development and licensing.

In addition to compelling worlds, it’s also essential to nurture the brand. With The World of Peter Rabbit, we are fortunate enough to have a brand that has global appeal and is loved across generations.

Peter holds a nostalgic place in many people’s hearts – so while the content is key, the way in which we have grown and developed the brand has been carefully considered to remain authentic to the original story and the legacy of its creator. We are ambassadors for The World of Peter Rabbit and custodians of Beatrix Potter’s legacy and we take this very seriously.”

Fi Murray, Founder, Making Things Studio
“Picture books are one of the most financially viable mediums to story-tell within our industry of content, product and licensing. They are the starter fuel to new worlds, characters and narratives that can prove so successful, they extend to consumer products and animated story-telling. Other times, they are the extension!

Picture books can come before or after – as the origin of a new IP or the extension to an IP – and can come to market in a relatively lower investment/shorter lead time process than their product and animation counterparts, making them a fantastic commercial entity.

I personally love Little People, Big Dreams – real life stories of awesome humans illustrated and narrated in a beautifully simple way. Someone needs to grab up the licensing rights to this book series… I’d love to see a little David Attenborough role play set or a baby David Bowie plush! And an animation series learning all about these heroes – imagine that on Netflix….cuuuuuuute!

One of the most special things about picture books is their accessibility – I finally got my little one’s library card the other day. I have the fondest memories of visiting the library in the Eighties on a Tuesday with my mum, sitting on the floor choosing the books for the week’s bedtimes. In the UK this is a free service and one to protect at all costs so that all children can have equal access to the power of reading – the most magical learning tool.

In a world where content is pushed to us all in a passive sense from such a young age, picture books are critical to a child’s development as it’s their first step to moving to text only books – being able to take words off a page and create new worlds, experiences and characters in their head. One of the most incredible things our brains can do…conscious dreaming!

One of my favourite German words is Kopfkino – translates to ‘head cinema’. This is when the brain imagines and plays visuals inside the head of dreamed up scenarios in real life.. Kind of like daydreaming – something teachers would always tell me off for! We’ve got to flex the brain in the early years to hone in on this as adults.

At Making Things Studio, one of our IP creation specialisms is story-led inventing – thanks mum for the library trips! The result of that could be a consumer product toy range, an episodic animation or indeed a picture book series… Watch this space!”

Caroline High, Founder, Caroline High Consultancy

“What gives a picture book brand potential? I love this question, as it crosses over into both my work and home life! Clever storylines and creative, impactful illustrations really cut through for me. I buy both Kindle and paperback editions and the wealth of quality picture books available at the moment is incredible.

Children have access to so many different devices and means of getting their hands on reading material. Publishers and IP owners are finding new and interesting ways of engaging with their target audience.

Free content on tablets is a huge winner in our household; everything from ‘read along stories’ to games. For example, Dr Seuss has some imaginative and interactive story books available on the Kindle Fire tablet which are perfect for helping children gain confidence in reading while having fun.

Children love to read books that are both relatable and imaginative – not an easy brief! Of course, key themes such as princesses, dinosaurs and dragons will also always grab the attention of pre-schoolers.

Sue Hendra and Paul Linet are one of my go to author/ illustrator combinations at the moment, with such favourites as Nobot the Robot, Supertato, Keith the Cat with the Magic Hat and Simon Sock. You really won’t be disappointed, the stories are engaging and witty! And the licensing opportunities are boundless.

Publishing heritage is great way to develop a long standing licensing programme; reading books to a child is a memorable moment and deep brand loyalty can develop.

A varied range is important, and any publishing IP that is looking to develop further into animated content and take that leap into the broadcast world, needs to have a wide scope of characters and story potential.

The post Talking Brands: From Peter Rabbit to I Want My Hat Back… What gives a picture book licensing potential? appeared first on Brands Untapped.

Dubai, Gibraltar and Spain are set to be the first countries to welcome Atari hotels, and they aim to ‘immerse visitors into the video game universe and the Atari brand.’ Features will include Atari gaming playgrounds, function rooms, co-working areas, restaurants, bars, a bakery, a movie theatre and a gym.

This followed the news of Atari hotels coming to the US courtesy of the GSD Group, with sites in Las Vegas and Phoenix due to open in 2022.

“Like Atari’s legacy in innovation, Atari Hotels is infusing synthetic reality into every aspect of the hotel, creating an immersive hospitality and gaming experience for our guests,” said Shelly Murphy, Managing Partner, GSD Group.

The brand has even launched Atari Hotels merchandise ahead of the opening, with hats, apparel and mousepads available to buy online.

Elsewhere, a Monopoly hotel is also in the works. A collaboration between Hasbro and M101, the Monopoly Mansion is set to open in Kuala Lumpur and boasts a rooftop pool and sky lounge, while the 14 floors of hotel rooms will each represent a different city from the board game.

“Our underlying concept is to collaborate with international renowned brands – and brands that you might not think is possible for a hotel,” said M101 CEO Datuk Seth Yap.

It’s not the first time Hasbro has extended a game brand into hospitality area. Back in 2019, the firm transformed Russia’s Svezy Veter Country Hotel into a pop-up Trivial Pursuit Hotel.

To book into the hotel, consumers had to answer general knowledge questions correctly. The quality of their stay also depended on their brain power, with the difference between things like a king-size bed or sofa-bed – or a great dinner vs a microwave meal – coming down to whether they got questions right. Check it out in action below:

These kinds of limited, pop-up hotel experiences are on the rise with brands. 2019 also saw Taco Bell launch its first ever hotel in the form of The Bell: A Taco Bell Hotel & Restaurant in California. The rooms featured exclusive Taco Bell artwork, the pool bar had branded cocktails and the gift shop sold limited edition The Bell merchandise.

And it’s not just Taco Bell that’s getting in on the act when it comes to food brands. Last year – and for one weekend only – Nutella launched its own hotel in the form of Hotella Nutella in California’s Napa Valley

The Hotella Nutella weekend experience boasted rooms decked out in décor inspired by the spread, with Nutella-themed breakfast and brunch served up by chef celebs Geoffery Zakarian and Tanya Holland. Consumers wanting to visit had to upload a video reflecting their passion for Nutella to be in with a chance, and only three winners got to experience the pop-up.

With all this in mind, we asked Making Things’ Fi Murray, Reemsborko’s Max Arguile and Rainbow Productions’ Simon Foulkes for the brands they think would be a great fit for a hotel experience.

Fi Murray, Creative Director, Making Things Studio
Now this might just be because I had a tub of Ben & Jerry’s last night whilst looking for an old campervan to buy, but I’m envisaging a Ben & Jerry’s glamping experience. Think ice cream truck meets converted campervan with a secret fully loaded freezer filled with all the flavours of Ben and Jerry’s – especially the Glampfire Trail Mix flavour!

It could feature Ben & Jerry’s artwork, branded bedding, glam dressing gown and slippers, ice cream pillows, little cacti plants grown in Ben and Jerry’s tubs, a stickered up surfboard and a pull-down movie projector on the outside of the van for that Netflix and chilll’d vibe (another flavour!). Imagine it parked up in a beautiful field or somewhere like Fistral Beach, Newquay. It would be wonderful if the interior was created with upcycled ice cream tubs (card mulch) and to have the van solar powered, electric and running carbon neutral.

Max Arguile, Owner, Reemsborko
Hotels are big business, and while they obviously they took a beating last year when no-one was travelling, it feels like this will change. The appetite for visiting and staying in places outside the confines of your house will surely become stronger than ever. So where will people stay in the new roaring twenties?

The choice of a venues is rarely down to price alone. Even if it is done subconsciously, people vote with their wallets somewhat according to their values, and if a brand aligns with their values, they are more likely to buy that brand and perhaps stay in that hotel.

Hotel Chocolat, actually does have a hotel, but only one, and it is in St Lucia, which makes it fairly unattainable for most people… Perhaps that is the idea?! Looking closer to home, what about Cadburys? CadburyWorld, incredibly, does not have a hotel on site, so why not utilise this beloved brand name to expand into at least one hotel in situ? What chocolate lover could resist?

Another brand that should have a hotel, is one already has a reputation for softness, cleanliness, and fresh fragrances – Lenor Comfort.

My final pick is around entertainment. Live themed events with professional performers are growing in popularity. The Walking Dead has a huge fanbase and being in the middle of a staged zombie break-out is an experience (some) people will pay for. Sherlock has an escape room, Doctor Who has Time Fracture – all of which are theatrical events that enable fans to immerse more fully into their fandom.

For a long time, there was a (totally unauthorised) restaurant in London designed to recreate the experience of a well-known Seventies comedy, with waiting staff doing impersonations of Basil Fawlty, Manuel, Sybil and Polly – arguing with each other, being rude to customers, almost spilling the food and elevating the evening, from a meal, into an experience. So why not take this further and open an actual Fawlty Towers?

Simon Foulkes, Managing Director, Rainbow Productions
Why hasn’t Tetris Towers been done already?! The instantly recognisable cross-generational brand is all about creating order out of chaos which, let’s face it, is pretty relevant in a post-lockdown C-19 world. After a year where travel has been restricted, families are craving immersive holiday experiences and Tetris Towers would provide the perfect thematic backdrop – or would that be ‘brick-drop’.

You may have heard of ‘The Tetris Effect’, where skills learnt playing the game are translated into everyday life situations. Starting from the moment you leave home – picture smug Dad packing different shaped suitcases into a car-boot with satisfaction that every available cm is used – you are living life in the matrix.

Tetris Towers is for everyone; for those who want to be physically and mentally stimulated or those who want to just be immersed in an inclusive, diverse, challenging and rewarding world. Whilst one parent re-organises the holiday mayhem, the other visits the Tetris Spa & Beauty Salon – featuring products such as the NYX Cosmetics x Tetris collection.

Of course, the little people are kept occupied with Tetris Tumbling soft play and shape-shifting sensory activities. The gaming-gen get to experience life away from a solitary screen and dip into a physical arcade with VR Tetris tournaments and brick-blasting their way out of Escape Rooms. And, with AR Tetris blocks cascading from the ceiling in reception and scanned items in the pool bar coming to life with music, backgrounds, sounds and special effects – you’ll probably spend a lot of time reminiscing about how a game from 1984 is responsible for living out its legacy in the world we inhabit nowadays.

Tetrimino shapes used for Tetris Towers’ architectural effect, rooms designed using Tetris Feng Shui, shops stocking Tetris merchandise and kids’ menus featuring Tetris-shaped nuggets & chips… This is truly an all-inclusive tantalising thematic treat! Oh, and paired with some Tetris costume character meet & greets; I think this presents the winning combo to level-up in the matrix!

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