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Description
nuna trvl double stroller TRVL DUBL StrollerNuna's TRVL Dubl is a side by side double stroller that fits through standard doorways and features independent seats to suit each child's needs for twice the adventures. Nothing about being a parent is what it seems. It's magical, scary, overwhelming, and full of changesidentity, style, body, work, travel. As your tribe grows, the answer to "What am I forgetting?" often becomes "Ah yes, myself!" Then, you begin to recognize the importance of self
Nuna's TRVL Dubl is a side-by-side double stroller that fits through standard doorways and features independent seats to suit each child's needs for twice the adventures.
Nothing about being a parent is what it seems. It's magical, scary, overwhelming, and full of changes—identity, style, body, work, travel. As your tribe grows, the answer to "What am I forgetting?" often becomes "Ah yes, myself!" Then, you begin to recognize the importance of self-care and embracing parenthood on your own terms.
Meet your new superpower, the TRVL Dubl Stroller by Nuna. This side-by-side double stroller becomes your lifeline, easily integrating into the multiplying demands of your day. The TRVL Dubl Stroller by Nuna glides through doorways, navigates narrow spaces, and brings your two little explorers closer together for the journey.
Because life doesn't have to slow down when your family expands, the fun just doubles.
Use:
- Comfortably seats two children side-by-side from birth up to 50 lbs per seat
- Travel system ready—attach any PIPA™ series infant car seat to the wider seat without an adapter (please note: the stroller only fits one car seat)
- Removable and rotating armbar spans across both seats for easier ins and outs
- Folds easily with 1 hand and stands on its own when folded
- At 25.2 lbs it's lightweight for a double and easy to tote with armbar when folded
Safety:
- Self-guiding MagneTech secure snap™ buckles automatically lock into place
- 3 to 5-point no-rethread harness makes it easy to fasten them in
- Quick-engaging 1-touch rear-wheel braking system provides scuff-free security
- Front swivel wheels with swivel locks for more comfortable strolls on uneven terrain
Comfort:
- Seats and canopies are completely independent of one another for customized strolls for two
- Shadow Reel recline™ provides 1-handed independent recline adjustments with a more upright option
- Near flat recline and calf support that raises to convert seats to a carriage position for keeping the littlest babies extra cozy
- UPF 50+ water-repellent canopies are extendable and feature a flip-out eyeshade and peek-a-boo window
- Durable footrest provides a resting place for tired feet
- 2-position adjustable calf support for growing legs
Premium details:
- Slender enough to fit through standard doorways and narrow aisles for convenience without compromise
- At 30.5 in wide it meets the size and design requirements set by various amusement parks and is Disney-compliant (Check park guidelines for restrictions)
- Exceptional maneuverability makes it a dream to push and turn even with two
- All-wheel suspension and durable EVA foam-filled tires are ready for any terrain
- Easy access extra-large storage basket holds up to 22 lbs
- Luxe leatherette accented pushbar and removable armbar lend style to your stroll
- Included rain cover for when the weather doesn't cooperate
Technical features:
- Independently adjustable Shadow Reel recline™
- Adjustable calf support with integrated footrest
- All-wheel suspension"
Materials: Aluminum, Plastic, Polyester, Steel
Wheels: EVA foam-filled tires front and rear
Dimensions:
Open product: 45" x 37.5" x 30.5"
Folded product: 27.75" x 19.75" x 30.5"
Weight: 25.2 lbs
Recommended usage: Up to 50 lbs per seat
What's in the package: TRVL dubl Stroller; Rain cover
Accessories sold separately: Sling bag, TRVL series cup holder, Diaper bag, Winter stroller set
Care tips: Easy to clean. Wash in cold water, delicate cycle. Do not bleach. Do not tumble dry. Drip dry. Do not iron. Do not dry clean
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
- Please click here for more details>>> Return & Exchange Policy
4.1 ★★★★★
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Product Reviews
★★★★★ 5
Best wrap mask!
Color: Lifting (Jericho Rose)
Just the best wrap mask!!
A lot of peptides that make my skin soft and moisturizing. Very effective in only 20min use!
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Reviewed in the United States on May 20, 2026
★★★★★ 5
Great face mask
Color: Lifting (Jericho Rose)
Love this mask. I have really sensitive skin and this mask doesn't irritate my skin at all. It absorbs nicely and leaves my skin feeling moisturized and glowing. Great value for the price!
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Reviewed in the United States on April 21, 2026
★★★★★ 3
Full Moisturization of the face is lacking
Color: Lifting (Jericho Rose)
I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me.
I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife…
“Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip.
It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.”
I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated.
Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies.
It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”.
The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across.
The Movie:
Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc.
The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture.
The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined.
So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem.
The DVD:
First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman.
Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*.
The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay.
Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002