SKU: 22263051072
evenflo convertible car seat 360

evenflo convertible car seat 360 Evenflo Gold Revolve360 Extend All-in-One Rotational Car Seat with SensorSafe (Onyx Black)

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Description

evenflo convertible car seat 360 Evenflo Gold Revolve360 Extend All-in-One Rotational Car Seat with SensorSafe (Onyx Black)Introducing the Revolve360 Extend All in One Convertible Car Seat w SensorSafe The revolution just got extended! The Evenflo Gold Revolve360 Extend All in One Rotational Car Seat with SensorSafe offers the extended security of rear facing all the way up to 50 lb. Child safety experts say the longer your child remains rear facing, the better, and the Revolve360 Extend is here to help with peace of mind all the way around. A spin off of the Revolve360,

Introducing the Revolve360 Extend All-in-One Convertible Car Seat w/SensorSafe

The revolution just got extended! The Evenflo® Gold Revolve360™ Extend All-in-One Rotational Car Seat with SensorSafe™ offers the extended security of rear-facing all the way up to 50 lb. Child safety experts say the longer your child remains rear-facing, the better, and the Revolve360 Extend is here to help with peace of mind all the way around. A spin-off of the Revolve360, America’s bestselling rotating car seat, the Revolve360 Extend offers one-hand, 360° rotation that makes it easy to get your child in and out of the car. But a 360° rotating car seat is just the beginning. You’re looking for a safe car seat — and the smart car seat choice is a connected car seat. The Evenflo Gold Revolve360 Extend will help put your mind at ease when it comes to child car seat safety, featuring SensorSafe to connect you to your little one from the backseat. While your eyes are focused on the road, integrated SensorSafe technology alerts you in real-time to four potentially unsafe conditions from your child’s car seat via your phone: unexpected chest clip unbuckling, temperature too hot or too cold, child unattended in the car, and child seated too long. Install the seat just once for rear-facing and forward-facing modes of use — no need to remove the seat in order to make the switch. Sure360™ Safety Installation System with LockStrong™ and Tether360™, plus a handy bead-level indicator for leveling in seconds, make your one-time installation safe, secure and simple. The best swivel car seat is one that lasts! The Revolve360 Extend is the only car seat you’ll ever need, growing with your child with 3 modes that adapt to every stage: rear-facing (4 to 50 lb), forward-facing (22 to 65 lb) and booster (40 to 120 lb). This innovative car seat also comes with a zip-on, ergonomic leg rest to add comfort for growing legs. On-the-go recline means you can adjust the car seat to the perfect angle without having to uninstall or bother your child. This is the crème de la crème of swivel car seats. Offering good looks and ease at every turn, the Evenflo Gold Revolve360 Extend features our most sophisticated fabrics and elevated touches to finish off your bold moves in style. Join the revolution! At Evenflo, we go above and beyond government standards to create car seats that are safe. The Evenflo Gold Revolve360 Extend meets or exceeds all applicable federal safety standards. It is structural integrity tested at energy levels approximately 2x the federal crash test standard, and it is side-impact tested, rollover tested and temperature tested.

  • PROTECT WITH EXTENDED REAR-FACING USE: Allows you to keep your child rear-facing longer as recommended by child safety experts — all the way up to 50 lb.
  • GET IN AND OUT EFFORTLESSLY: One-hand, 360° rotation makes it a breeze to get your child in and out of the car — an award-winning innovation that keeps on giving!
  • GROW UP WITH IT: Grows with your child providing 3 modes of use that adapt to every stage — rear-facing (4 to 50 lb), forward-facing (22 to 65 lb) and booster (40 to 120 lb)
  • CONNECT TO YOUR CHILD WITH SENSORSAFE: Provides real-time alerts to four potentially unsafe conditions from your child’s car seat — unexpected chest clip unbuckling, temperature too hot or too cold, child unattended, and child seated too long
  • INSTALL SECURELY IN A HEARTBEAT: Installs just once for rear-facing and forward-facing — Sure360™ Safety Installation System with LockStrong™ and Tether360™ keep it safe, secure and simple
  • ZIP ON THE LEG REST: Includes a reversible, ergonomic leg rest that’s padded to add comfort for growing legs
  • Usage: Weight 4.0 - 120.0 lbs // Height 17.0 - 57.0 in

Specifications

  • Rear Facing Usage: Weight 4.0 - 50.0 lbs // Height 17.0 - 48.0 in
    • Top of child’s head is at least 2.5 cm (1 in) or more below the top of the Car Seat Headrest or Shell. Harness Straps must be adjusted to be AT or JUST BELOW child's shoulders.
  • Forward Facing Usage - Weight 22 - 65 lbs // Height 28 - 49 in
    • At least 2 years old,Tops of the child’s ears are at or below the top of the Car Seat headrest,Harness Straps must be adjusted to be AT or JUST ABOVE child's shoulders.
  • High Back Booster Model - Weight 40 - 120 lbs // Height 44 - 57 in
    • Tops of the child’s ears are at or below the top of the Booster Seat headrest
Shipping Notes
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SKU: 22263051072

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4.1 ★★★★★
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J
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jk Smiles
Alexandria, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Grantham, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Battle Creek, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Draper, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Draper, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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