#shop fit outs in Sydney

[mkjprojects]

Elevate Your Retail Space with MKJ Projects: Premier Shop Fit Out Sydney

At MKJ Projects, we specialize in transforming your commercial space into a retail haven. Our expert team brings the perfect blend of creativity, craftsmanship, and attention to detail to every shop fit out project in Sydney. From concept to completion, we work closely with you to design and execute a bespoke interior that reflects your brand's personality and captivates your customers. Discover the art of retail space transformation with MKJ Projects, your trusted partner for shop fit outs in Sydney.

[cmlscommercialinteriors]

We will share handy tips for making good in your commercial office to help minimize issues and the costs that come about any make good project. For office make good, visit: https://www.cmlsinteriors.com.au/services/office-make-good/

[agcinterior]

The significance of thoughtful shop design in Retail fulfillment

In a cutting-edge tremendously aggressive retail landscape, the layout of a store could make or spoil its achievement. A well-designed retail space does more than just entice clients; it creates an immersive shopping experience that encourages them to linger, explore, and make purchases. Thoughtful store layout is an essential aspect in constructing logo identity, enhancing customer pride, and driving income.

The function of saving the shop design in Branding

The layout of a retail space is frequently the first point of contact between a brand and its clients. It serves as a bodily manifestation of the brand's values, ethos, and personality. Each detail, from the format to the lighting fixtures, contributes to the general effect of a client's paperwork approximately the emblem. A cohesive layout that aligns with the emblem’s identity facilitates growing a memorable and steady experience for customers.

For instance, a luxury emblem may choose a sleek, minimalist layout with excessive-give materials, reflecting sophistication and exclusivity. On the other hand, a colorful and playful layout might be greater suitable for a logo focused on younger, fashion-aware purchasers. By aligning store layout with emblem identification, outlets can create a robust emotional connection with their target market, fostering brand loyalty.

Improving consumer enjoyment through layout

Client enjoyment is at the heart of any successful retail approach, and save layout performs a pivotal position in shaping that enjoyment. A properly-notion-out layout considers the purchaser's journey from the instant they enter the shop to the instant they leave. It involves growing an environment that isn't always visually appealing but also functional and clean to navigate.

One of the key factors in improving consumer revel through design is understanding how clients engage with the distance. This consists of considering factors inclusive of the go with the flow of foot traffic, the placement of key products, and the general layout of the store. As an example, clear sightlines and strategically placed shows can guide customers through the store, making sure they see the most vital merchandise.

Lighting fixtures are another important detail in the save layout that could appreciably impact customer revel. The right lighting can highlight merchandise, create ambiance, and affect the temper of the space. Natural light, specifically, can make an area feel greater open and inviting, whilst accessory lights can draw attention to particular products or areas.

The impact of layout on sales

The layout of a store can directly impact sales by influencing customer behavior. Studies have proven that customers are much more likely to make purchases in stores that might be nicely designed and high-quality to keep. A cluttered or poorly organized space can weigh down clients and deter them from making purchases, even as an easy and organized layout encourages surfing and impulse shopping.

Furthermore, save design may be used strategically to grow the common transaction price. For instance, putting complementary products close to each other or using appealing presentations for better-margin gadgets can inspire customers to buy more. Additionally, developing comfortable and tasty surroundings can encourage customers to spend more time in the store, increasing the likelihood of making a purchase.

Sustainable layout: The future of Retail areas

As sustainability becomes increasingly essential to purchasers, many shops are incorporating green factors into their shop layout. A sustainable layout no longer enables lessening the environmental effect of a retail space however also resonates with environmentally aware customers. This will encompass the usage of recycled materials, energy-green lights, and green construction practices.

Incorporating biophilic layout factors, inclusive of vegetation and herbal substances, also can beautify the customer revel in via growing relaxing and fresh surroundings. This now not only improves the aesthetics of the distance but can also undoubtedly affect customers' mood and well-being, probably mainly to improve income.

conclusion

Considerate shop design is a powerful tool that may drastically have an impact on a retail commercial enterprise's achievement. Via aligning design with brand identification, improving patron enjoyment, and strategically the usage space to force sales, outlets can create shopping surroundings that no longer best draw clients but also continue them coming lower back. Because the retail industry keeps adapting, incorporating modern and sustainable layout elements could be key to staying competitive and assembling the converting wishes of consumers.

[blugumconstructions]

Expert Shop Fit Out Services in Sydney - Blugum Constructions

Transform your retail space with Blugum Constructions, the leading provider of shop fit out services in Sydney, NSW. Our experienced team delivers bespoke fit out solutions tailored to your business needs, from design and planning to execution. We focus on creating functional and attractive spaces that enhance your customer experience and boost your brand. Visit our website to learn more about our shop fit out services and start your project today!

[shopfittersydney]

Choose to Explore a Wide Collection of High Quality Commercial Fit Outs

Business owners wishing to relocate their offices to a new facility or renovate an existing one can benefit greatly from the services of commercial fit outs firms. When it concerns uniformity, expediency is key because any downtime for an office equals lost revenue. Any reputable fit-out businesses will be aware of this and work quickly to get your business up and running. Continue reading for a few more benefits of hiring a qualified firm for office fit-outs.

The Main Advantages Offered by Fit-outs

The experts will talk about the sorts of partitions you should pick for your shop fitouts in Sydney and perhaps even propose placing plants around the space to enhance the atmosphere. A competent interior designer can help you navigate the confusing world of design options and guarantee a successful conclusion for your business.

Saving time: A fit-out will help you to avoid the hassles and lost time because there won't be any delays and you can move in right away!

Conserving money: If you're going to do it yourself, creating an office might be a costly procedure. It lowers the initial out-of-pocket expenses for a new tenant and protects the landlord from suffering a significant loss of income if the unit remains empty.

Trouble: The risk is on you as the tenant when you move into a new place and handle the fit-out yourself. The tenant is also responsible for making good on the space at the conclusion of the lease.

Build a Professional Relationship with your Designer for Out-Fits

Melbourne's fit-out businesses frequently employ seasoned interior designers who may provide advice on the intended layout of your new workplace. They might offer suggestions on colour schemes that encourage positivity to improve staff morale or enhance productivity.

Your goal is to create the ideal atmosphere for your company, which includes both the perception of your firm by your staff and the initial reactions of customers who have just entered your doors.

Source

[unmerrymagdalene]

Sydney burying aeself in work does not change based on corruption. Corrupt Sydney is no more likely to take a nap on PC than pure Sydney. The dialogue for it isn’t even that different: (corrupt) "Don't move. Taking a nap." versus (pure) "Hope you don't mind if I doze off on you.". Corrupt Sydney just works in Sirris’s shop after school before going to pray in the temple. The underlying problem has not been solved.

Jesus fucking Christ that is so depressing

The underlying problem hasn’t been solved!

This goes into my other headcanon/“I’ve thought about this too much,” but I really don’t think Pure and Corrupt Sydney are all that different?

Like, in terms of how they express their sexuality it is: Corrupt Sydney is more upfront, while Pure Sydney needs to “convince” PC because he can’t make an active decision, otherwise only he can be blamed for it

But they still have the same or similar ideals? I remember seeing this screenshot for the Confessional (while doing research):

I know logistically they’re the same for coding/game reasons, but it still asserts Sydney holds the same ideals after being corrupted. I could talk more about the above but that’s for another post

It feels less like being corrupted fixed all of Sydney’s problem, and more of “it fixed(?) one, but created a whole bunch of others on top of them.”

Corrupt Sydney is also reminiscent of good, straight A teens eventually breaking and swinging into the other direction. They are trying to prove something to themselves and others (mainly that they aren’t that person anymore), but are in a very difficult/sensitive place in their lives. They are figuring out their identity now, and are conflicted and confused.

Imo, Corrupt Sydney still harbors all the problems they had before: overworking themselves, having confusing/damaged ideals on relationships/sex, and still not really handling the whole other parent situation. The only difference is that they fit in with the town way better now.

[infoactionratio7]

(you) on my arm - s. adamu

summary: sydney is at a wall, she has no ideas when it comes to the new menu at the bear. she decides to go to a bookstore for some new inspiration, she finds it, but not in the way she was expecting.

pairing: sydney adamu x fem! bookseller! reader

word count: 2,514

note: annoying! carmy bc he literally is insane, kinda fluffy meet cute vibes, reader just moved to chicago, inspired by the song (you) on my arm by leith ross cause the song is rlly cute! also sydney gives me sapphic vibes, she definitely would have a crush on a girl!

monday morning -

Sydney was pissed, she had sent at least ten messages to Carmy in the last twenty minutes. Some about the new menu they were working on together, some about the fact that he had been a bitch the night before when he kicked everyone out because Claire just had to see the new restaurant. She ran her hands down her face in frustration as she sat at her dad's kitchen table, the sun streaming in through the blinds into the apartment. It warmed the floor as she got up from the table, debating what to do. She had no ideas left, everything was either not working out, or it just didn't fit the menu for the new revamped restaurant.

"Sydney, where are you headed off to today?" Her dad walked into the room with a steaming cup of coffee, freshly brewed from a new coffee blend she had found shopping the day before.

"Uh well Carm is not responding so I'm gonna head over to The Bear and meet up with him for a little then see where the day goes from there I guess." She walked out of the dining area and put her breakfast dishes away.

"Okay honey, have a good day. Hope he stops being an ass." She laughed, "Me too... me too."

Sydney grabbed her shoes out of the closet she had thrown them in last night, slipping them on and grabbing her bag. "I'll see you later dad." She grabbed her keys, and started making her way to the restaurant where she could deal with Carmy in person.

-

You looked around the bookstore, you had only been open for a month but it had been a hit within the community. You had almost any book anybody could want. There were teens coming from the school a few blocks away to get some cheesy romance novels to bring to the park and read with their friends, and there were grandparents coming in to get their grandchildren a new picture book about god knows what. You even had some people come in and request books you had never heard of before, you promptly ordered two copies of any book you didn't have. One for the customer, and one for you, to read and explore the pages.

It was a beautiful space, tall ceilings strung with fairy lights and lanterns, trying to bring some sense of whimsy to the dull days in Chicago. The books were arranged in every which way, requiring the customers to truly search for a book they wanted to read. You had tables full of recommendations, from people online and the employees of the bookshop. You really enjoyed curating all the titles you had in your collection. Tourists looking for a cute little magnet or souvenir adored the hole in the wall place, a safe space to just cuddle up and read a book.

You had a few customers that day, a mom and her son looking for his first chapter book to read. You had suggested he read The Magic Tree House, a series, about a brother and sister and their time traveling tree house. There was a tall guy with a buzzcut, who said he worked just down the street and was looking for a book about how to get rid of mold in the structure of a building. He seemed in dire need of some help, so you found the best book possible, The Toxic Mold Recovery Guide. You had no idea you had the book but it was meant to be. He thanked you immensely, leaving his name and number just in case you ever needed anything. His name was Richie, he seemed pretty nice.

Low music played as you restocked a shelf, you hated the idea of having Colleen Hoover books in the store but they were a big source of income. They absolutely flew off the shelves. The least touched section of the store were the cookbooks, it seemed like everyone in Chicago was moving too fast to just dedicate one hour of their day to making a meal from scratch. It was disappointing, because you had a large selection, from Mastering the Art of French Cooking by Julia Child to Momofuku by David Chang and Peter Meehan. You knew that someday it might come in handy and you would be lucky to have all the cookbooks.

-

Sydney walked into the restaurant in a sour mood, Carmy had still not responded to any of her texts and she knew he was here. She walked straight into the office, passing the locker room, sans lockers and covered in black powder. Richie furiously flipping through a book that said something about mold on the cover. He glanced up at her

"Shut the fuck up." She was taken aback

"I didn't even fucking say anything Richie," he scoffed at her

"Well I was preparing for you to say something dumb as hell, and you did so I stand by my first statement." He looked back down at the book and mumbled something unintelligible to himself. She rolled her eyes and made her way into the office.

"Carm are you here?" Turning the corner she saw the chef, surrounded by papers and various file folders. He had his phone in his hand and was about to dial a number, "You little bitch, you fucking had your phone this entire time." She couldn't believe what was right in front of her.

"What do you mean chef?" Carmy looked confused, "Of course I had my phone, I'm about to call the fridge guy."

Rolling her eyes she brought her hand up to her face, holding her forehead in her palm. "I texted you at least ten fucking times, you couldn't even bother yourself to respond!" Shaking her head she sank down into the office chair Carmy had abandoned an hour ago.

He looked around the room, trying to get her to understand how much work he had been doing, "Syd I've been trying to make sense of this paperwork for hours, I haven't had time to respond to your messa-"

Fak's head popped into the doorframe, "Carmy I got your text about helping Richie clean up the mold but he's being mean to me." Sydney turned from Fak to the red faced chef sitting on the floor. He had been caught in a lie, of course Fak came in at just the right time for this to happen.

"Okay fuck you chef, I'm leaving." Sydney shrugged, stood up and left the room. She heard heated words from Carmy as she walked out of the office and passed the locker room again, now he was pissed at Fak, as usual. She heard her name as she turned around,

"Sydney, wait a sec come here."

"What do you want Richie, I thought you wanted me to shut the fuck up." She crossed her arms tight and shot him a pointed look.

"You should go to that bookstore a few blocks down, I got this damn mold book earlier and saw a shit ton of cookbooks. You should check it out." She sent him a tight smile and turned her back to him. "Thanks Chef."

-

You had just finished restocking the shelves for the day when the little bell above the door rang. You went behind the desk and called out, "Welcome to The Book Worm, If you need anything let me know!"

You heard no response so you just busied yourself cleaning up the case that was behind the checkout, it housed all your special edition signed or first edition copies of books. It needed to be dusted pretty often because you wanted to keep the quality of the books at their highest, just in case anyone would ever want to purchase one.

You heard a thud come from behind you, and turning around you looked down at the counter. There was a stack of six cookbooks placed on the counter in front of you. Looking up you saw one of the most beautiful women you had ever seen since you had moved in to the city. Her hair was long and perfectly braided, her eyes a beautiful shade of umber catching the light in a hypnotic way. She had a grimace on her face, yet still looked stunning. You had no idea how to react, so instinctively you started to enter the books into the register as you made some small talk,

"So how has your day been," She sighed and looked up to meet your gaze, "If I'm being honest, shitty. My fucking partner wouldn't respond to my messages and when I went to talk to him he had is phone in his hand about to call someone. So yeah really fucking shitty." You looked back down at the book at disappointment, of course she had a partner and of course she was straight.

Awkwardly smiling you tried to think of a good response"Oh, um, wow. That's pretty shitty I'm sorry." She seemed to sense your disappointment, trying to save the conversation, "Shit uh, my business partner I mean, he's a little bitch sometimes. We're uh, opening a business- or I should say um," She rubbed the back of her neck, "We're kinda rebranding his brother's old restaurant, its a lot." You had finished entering all the books into the system, your chest had filled with warmth when she rushed to clarify that he was her business partner. You thought that maybe, just maybe it might be because she wanted to make sure you knew she was single, and not exactly straight.

"I guess that explains the cookbooks then," You looked at her, she had been staring at you in a flustered state of shock. "What, oh, uh, yeah! I'm kinda stuck making the menu so wanted to get some inspiration."

Sharing an understanding smile, you read her total out to her. She grabbed her wallet and pulled out some cash, as she handed it to you her fingers brushed along yours. It sent chills down your spine, no matter how cliche it might be, you knew that she was someone to keep close. Your face flushed red as you took the cash and put it into the register, printing her receipt and giving her any change she needed back.

You decided that since she got so many books you would give her a free tote bag, just so she could carry all the books out of the shop. You pulled one off of a hook behind you and started to put the books into a bag. You decided to quietly slip a business card with your cell number and a little note into a book so she could find it and contact you. A subtle way of screaming, you are the most beautiful woman I have ever seen I want to spend the rest of my life with you, without being too forward. As you finished packing the bag, the two of you both happened to say something at the same time.

"Do you wanna come see my restu-"

"Do you work at the restura-"

You flushed

"No you can go-"

"No you can go - sorry um. Do you want to come to the opening of the restaurant. It's uh, the one down the street, we're not opening for a while but, if you want to come to the friends and fam-"

You cut her off, wanting her to know you really wanted to go to her restaurant, "I would love to go... what was your name?"

"Sydney, It's uh Sydney" Her face got hot, nervous about the fascinating bookseller she just had the pleasure of meeting.

"Well Sydney, I would love to go. Just let me know the details," You softly smiled as you gave her the bag filled with books. She looked to you and grabbed a bookmark you had as a display that happened to have the shop's phone number on it. "I'll call you, um when we get closer to the open date, promise." You smiled, hoping that she would get in contact with you sooner than she expected to. She turned to leave.

"Thanks for coming in, really good to meet you Sydney." The door rang again and she sent you a wave through the glass, walking away quickly.

You were frozen, you had just given a random girl you just met your number, and had openly flirted with her for all the world to see. You crouched down onto the small stool you had behind the desk, tucked your head into your knees and screamed. You were feeling rushes of emotion and didn't think you would ever recover from that interaction. The bell rang again just as you finished screaming, you shot up and saw a group of teenagers heading to the new books you had just set out.

"Welcome to The Book Worm, If you need anything just holler!"

-

Sydney rushed back to The Bear, she was so utterly mortified, she had never seen someone so radiant and in their element. The chef couldn't contain her emotions as she stormed into the restaurant, Richie was the first person she saw, he started to say something,

"Not right now Richie I swear to God" The tall man was taken aback but threw his hands up in surrender, not wanting to get involved.

She might as well have ran into the office at the speed she was going, throwin the bag of cookbooks on the ground and closing the door, sliding down the back of the door she groaned,

"Fuck fuck fuck fuck fuck, fucking, fuck," dragging out the last word as she hit the floor.

Carmy stared at her from the floor a few feet away, "Yo Syd what happened to you? Looks like you just ran a marathon." He chuckled at the expression on her face.

"I just met the most beautiful girl and totally fucked up my chances with her cause I left so quickly." Sydney put her hands into her face and just sat there marinating in her embarrassment.

Carmy had some strong suits, his attention to detail one of them. He noticed something poking out of one of the books. He grabbed it, hoping that it was something that would change Sydney's mood before he had to work with her for more hours than they could count. He grinned taking the note out of the book and reading it,

"Hey Syd," He reached out to give her the note.

She looked up from behind her fingers, "What?"

He shook his hand, implying he wanted her to take the note from his grip. She groaned, then leaned forward to forcefully take it out of his hand.

She read the note, and smiled. Thank God you slipped her this note.

cookbook girl -

i hope you enjoy your SIX cookbooks, i have some more you could borrow for some inspiration. text me

Sydney's face heated up as she leaned back into door and scoffed.

Carmy had saved the day, one again.

[draftmare]

I did a thing that I’m so excited about. I’ve been wanting to do saddle pads with my monogram on them for a bit, but never got around to them. Then I got engaged and started to contemplate how weird would it be to get the pads done before I was even married… Well, it didn’t happen before the wedding, but it finally happened now. Saddle fitter wants us in a fluffy half pad, and a lot of my saddle pads are too short. Ogilvy fits really well, so ordering a couple during the July 4th sale was the perfect opportunity.

I found a woman local to me that did the embroidery, let’s just say I’m going to use her for all of my embroidery from now on. She was super fast and matched the colors of the Ogilvy pads perfectly.

I am in love with how they turned out.

(Sydney’s 4 year old open front and fetlock boots are finally giving up the ghost, so I broke out a set I’ve had waiting in the wings for when they were needed this weekend as well.)

I won a gift certificate at that last show where I was reserve champion to a tack shop that carries Ogilvy, so of course I’m already planning out my next one. 😂

[melanieph321]

Ruben Dias x Reader - Summary Fling Part 4/10

Part 5 and Part 6 are out on my Patreon for free!

Summary - Reader has landed a research job at a marine biology lab in Portugal. She is, therefore, staying with her sister and her sister's Portuguese boyfriend for the summer holidays. There she meets Ruben Dias who is on vacation with his friends after the 2024 Euros. However, the two meet under the circumstances in which Ruben believes that Reader is a prostitute.

Enjoy ☀️

The University of Algarve housed arguably the best marine biology lab in the country. Although this is where you'd be doing most of your research, it was the marine station, located closer to where land meets sea, that excited you on your first day at work.

"Y/N, you made it!"

You were welcomed to the station by a familiar face, Gavin Phillips, who you met earlier at the Zoomarine. He was the first one to welcome you at the door and made sure to give you a thorough tour of the facility.

"This is where we bring in our samples from the sea. We usually gather the data here before documenting our progress back at campus. And as for you, who's doing your research in marine ecology, I'll gladly let you know that this is where you'll spend most of your time."

It smelled like fish, the whole room did. It wasn't a welcoming smell, however, a smell that you'd have to get used to. The lab was impressive though. You watched how the students, dressed in white coats and sterile gloves, were tuned in as they worked at their assigned stations. They looked busy, but with a loud whistle, Gavin had them all drop whatever they were doing, shifting their attention your way.

"Attention everyone! I'd like to introduce our newest addition to this lab. This is Y/N, fresh off the plane from Sydney, Australia." Collective oh's and ah's spread amongst the students, who regarded you curiously. "Y/N is here to add knowledge to our marine ecology squad, so please, anything she needs, I expect you to assist her with that."

"Thank you Gavin." You said, immense heat patting your cheeks. The students all took their time to greet you one by one. One student was even chivalrous enough to let you use his equipment since yours hadn't arrived yet. It was a great first day, one that got you really excited for the future.

"Ugh. What is that smell?"

You returned home quite early that afternoon. You were excited to show your sister the white lab coat you had been given. However, she couldn't bring herself to be in the same room as you until you faithfully rinsed yourself off in the shower.

"And don't forget to shave your legs!" She shouted. "I'm taking you dress shopping."

It was a nice way to spend some quality time with your sister. The last time you were living together the two of you were teenagers, with zero assumptions and worries in life. Although your sister hadn't changed much since then, her financial status definitely had.

"Here, try this on," She said, passing you another outfit through the dressing room curtains. It was Versace and Michael Kors, all brand names that she was urging you to try on.

"Does it fit?" 

"It's too tight." You complained.

"Y/N, it's supposed to be tight. Tight is good."

"No." You pulled open the curtains, showing off your ensemble of stylish clothes. "Tight is painful."

"God, you're gorgeous. You have to wear that out of the store."

"What, no. Maki." It was too late. Your sister was quick to rush over to the counter and pay for your items. You wore it out of the store and shamefully made your way down the street.

"Stop it Y/N, you look stunning. Just look at all the men checking you out."

"I don't want to be checked out."

"No, not even by Ruben Dias?"

She got you there. "Ruben? What about him?"

"Well, apparently he hasn't stopped asking about you since the night you gave him the time of his life."

How could you forget? It was the time of your life too.

"How do you know that?" You asked.

"I dunno, Diogo has been hanging around that Beach Club a lot. It's where famous people like Ruben like to hang out."

"Ruben is famous?"

"Yeah, he's super famous and not just here in Portugal but all over the world.

"Well, what is he famous for?"

"For playing football of course."

"You mean soccer?"

It's not like you didn't know what it was. It just wasn't the most watched sport in Australia, that's all. You had no idea that Ruben was actually a professional soccer player. How impressive.

"He actually just finished playing a major tournament with his country. They got knocked out though."

"Out of the tournament?"

"Yeah, I bet he's totally bummed about it too. You should totally try and cheer him up by sliding in his DM's."

"You think so?" You did have a great time with Ruben, he seemed like such a cool guy. Perhaps it was worth it to shoot your shot?

"Here, let's send a photo of you and have him rate your new outfit."

"What, no Maki."

It was too late. Your sister had already brought out her phone and stepped back to take your picture. You had stopped in the middle of the street, posing against a peach colored wall.

"Yeah, he'll love this." Maki said, inspecting the photo before sending it to Ruben via instagram.

"He's gonna think we're stalking him." You said, resuming your walking. "Not at all. He likes you, I promise."

"How do you even—"

"He replied!" 

You rushed to your sister's side, checking her phone.

"So sweet. Ruben rates your outfit as ten out of ten."

"Really?"

"I told you he was into you and look—" Your attention was drawn back to the screen where three dots had appeared in the corner. "He's typing!" Your sister gasped. 

The dots were soon replaced by a message from Ruben, asking if the two of you were close to a place called Quarteira. Apparently Ruben was there visiting a friend.

"We have to go. It's only a twenty minute drive from here."

"But, Maki. I have work tomorrow." Although Ruben's offer was tempting, you shouldn't get distracted from what you really came to Portugal to do.

"Come on Y/N, I swear we won't stay long."

"Promise?"

"Through thick and thin." She said, once again urging you to seal the deal with a pinky swear. Once you did, the two of you hit the road, off to meet Ruben and his friends again.

**********************************************

Your heart raced as you walked through the streets of Quarteira, a beautiful city near the beach. It seemed like a nice place for a family vacation as plenty of children were seen roaming the streets eyeing the gift shops along the road. 

You were so nervous, but excited to see Ruben again. As you and your sister looked up the address that he had texted you, you were surprised to stumble upon a small villa. Not too extravagant, but actually quite homely looking. You could feel your nerves getting the better of you as your sister rang the doorbell. The door soon opened with Ruben appearing in the frame.

"You guys made it!" He smiled and was even more handsome and charming looking since the last time you saw him. "Please, feel free to grab anything from the cooler. We were just getting started on the grill. I hope you're hungry.

"Yes, starving." Your sister moaned, teasing you as Ruben led the way through the lovely house, overlooking the beach.

"You better not fumble this, Y/N. He is so hot."

"Please, Maki, don't be so vulgar." You said, although you were also thinking it. Don't fumble this. Fortunately the meet up with Ruben and his friends turned out to be a really lovely night. It gave you a chance to get to know him and him you. Ruben was kind and attentive, asking you questions about your stay in Portugal as well as your life back home. He told you about his own life, and his passion for football. And how sad he was about Portugal being knocked out of the European tournament that was still ongoing as you spoke. Nevertheless, you found yourself laughing and smiling throughout the whole night.

As the evening wore on, Ruben even asked if you wanted to stay the night at his place, or in this case, his friend's place. You hesitated, feeling a pang of guilt. You had to work the next day, and you didn't want to be late during your first week.

"I would love to Ruben, but I have to be back early tomorrow," you said, trying to sound casual.

Ruben nodded, understandingly and was actually quite impressed that you were studying marine biology here in Portugal. "No problem, I completely understand. Maybe we can plan another night together soon?"

"I'd love to."

Maybe this was the start of something special. You thanked Ruben for a lovely evening, the two of you saying goodbye with a swift kiss on the lips.

Driving back to Faro with Maki, you just couldn't help but feel a sense of excitement since finding a summer fling had definitely not been on your Portugal bingo card.

Part 1 Part 2 Part 3

*Part 5 and Part 6 are out on my Patreon for free!

[callmewrinkles3]

Deuxmoi Submissions, 2023

January

Spotted: Daniel Riccardo and his long-time girlfriend Emma on a romantic date at a restaurant in Perth. Weird thing was this time his manager was also there side by side in company of a blonde girl.

-

February

Subject: Twins

Email: whatever@gmail.com

Message: saw Daniel Ricciardo and his manager on a double date. One of the women was definitely Ricciardo’s girlfriend (and I think I saw a ring????) the other looked like her sister?

-

March

Spotted: Daniel Ricciardo’s fiancée flower shopping with a group of women. Is the wedding happening?

-

April

Spotted: saw like four F1 drivers (Charles LeClerc, Max Verstappen, Lance Stroll, and Esteban Ocon) getting off planes at Perth airport. I work the private terminal and there was a load of extra jets in. Is the F1 Royal Wedding happening?

-

May

Message: what Met gala attendee had a meltdown because her dress didn’t fit her chest an hour before her red carpet time? She didn’t get a lot of attention but she’s got a couple of high profile places to be this month with her husband, let’s see if it’s just her chest expanding.

-

June

Subject: wait WHAT

Email: reservebells@gmail.com

Message: ok I could be wrong but I think I saw everyone’s favourite Australian who isn’t doing his usual job leaving a maternity hospital in [removed for their privacy] with his wife. Both looked delighted, he was the happiest he’s been in years

-

July

Spotted: I work at a high end baby furniture shop and a high profile athlete and his wife came in. No clue how nobody knows she’s pregnant, it’s pretty obvious. Happy for them, they’re very in love and he couldn’t keep his hands off the bump

Update: yeah it was Daniel Ricciardo and his wife, also the tip they gave the furniture delivery bought us all takeout.

-

August

Saw Daniel Ricciardo and his wife in the same restaurant as me in Faenza. They’re too cute and he wasn’t drinking wine because she can’t thanks to her pregnancy.

*

Spotted: Em Ricciardo is a sweetheart! I was lost in Milan trying to find the train station with no phone signal, she speaks what sounded like fluent Italian and got the directions for me!

September

Subject: bundle of joy

Email: forthebees@gmail.com

Message: Got to see the former Red Bull teammates at Formula Nurnburgring, but the highlight for me was watching Sebastian Vettel giving Emma Ricciardo a giant hug and a gift bag. It’s really obvious that they get along well, she was there cheering him in his car. His wife was there too, saw her and Emma chatting.

—

October

Spotted: Daniel Ricciardo out for dinner with his wife, his manager, and what looked like his wife’s friend? It was his manager’s birthday and they sang happy birthday, but they did a toast later.

Spotted: Em Ricciardo looking so proud at her husband’s contract announcement. Red Bull got Dan a onesie for the new baby, it was adorable.

—

November

Spotted: Daniel Ricciardo running through LAX to catch a Qantas flight to Sydney. Someone mentioned his wife is due soon, is the baby coming?

Spotted: Em Ricciardo in Perth airport, looked like she was collecting Dan from Vegas. She’s still pregnant! #F1BabyWatch

—

December

Subject: flowers

Email: fakeyfake@fake.com

Message: I work in a florist and we had 22 bouquets sent to one room in [redacted] hospital in Perth. Most of the calls came from UK and European numbers. Looks like F1’s latest baby has arrived!

[visualnovellover]

it's currently 4 am and I have yet to actually do my work but this idea has been haunting me ever since I posted it and i need to get it out before it eats me alive AND SO I DECIDED TO WRITE ABOUT IT! (it's not good or anything, this is a first for me to write in 2nd person and i wanted to try out using the games wordings as a base so udjdjdjdjjxjsj)

Wearing Your Promise Ring While Shopping

Pure!Sydney X GN PC (i wrote this with my pc Rini in mind but decided to make it vague like how pc would be described in game)

You are on the top level of the shopping center. Crowds of people leisurely strolling around in and out of stores to avoid the heat outside.

You're browsing through the displayed swimwear while waiting for Sydney to finish trying out the swimwear you recommend to them.

You felt a presence besides you as you continue to browse the shelves. Taking a glance you noticed a sleazy man right next to you, seemingly looking at the swimwear you were also looking at.

(1) Ignore

You ignored the man, thinking you're just paranoid. That is until a hand is placed on your shoulder. You tensed up as the sleazy man leaned his face closer to yours.

"Say, doesn't this swimsuit look nice on ya?" The sleazy man says gesturing towards a rather lewd pair of bikini. | + Stress

(1) Stay silent

(2) Try to move away | Increase of harassment

(3) Show off your ring | Defiant

You shoved your hand towards the sleazy man, showing off the ring on it. The metal band glinting under the light. "I have a spouse if you didn't noticed." You say as you shook off his hand on your shoulder.

That wasn't exactly a lie, but calling Sydney as your spouse has you feeling giddy and warm. | - Stress | + Love

The sleazy man scoffs and squints at the ring. "Ya look too young to be married kid. And besides I could be way better." He says as he tries to get closer to you again.

"Leave before I start screaming," you say glaring at the sleazy man. "And my spouse is a hundred times better than you could ever be."

It took a second before the sleazy man roughly shoved you back, cursing under his breath as he stomped out of the shop. | + Pain

You sighed in relief, holding your hand as you look at your ring. The metal band sits on your finger, a tiny warmth emitting from it. Looking at the ring reminds you of the happiest memory you had with Sydney. | - Stress | - Trauma

You hear footsteps near you, you looked up to see Sydney walking towards you. They look happy.

"Hey! It fit perfectly beloved." They say holding the swimwear in their hand, they're by your side as you only now noticed the light blush on their face.

"I hope this time you'll let me pay for this." You ignored what they said as you take the swimwear out of their hand, walking towards the cashier as Sydney follows you, insisting on paying for it all the way.

(1) Next

The both of you are walking back to the Temple. Sydney looked like they had fun, judging by how they took your hand in theirs without you initiating it and how theirs a skip in their step as you walk back.

You're glad that you went out today. Seeing Sydney letting loose once in a while makes you feel happy. | -- Stress | - Trauma

[fibula-rasa]

(Mostly) Lost, but Not Forgotten: Omar Khayyam (1923) / A Lover’s Oath (1925)

Alternate Titles: The Rubaiyat of Omar Khayyam, The Rubaiyat, Omar Khayyam, Omar

Direction: Ferdinand Pinney Earle; assisted by Walter Mayo

Scenario: Ferdinand P. Earle

Titles: Marion Ainslee, Ferdinand P. Earle (Omar), Louis Weadock (A Lover’s Oath)

Inspired by: The Rubaiyat of Omar Khayyam, as edited & translated by Edward FitzGerald 

Production Manager: Winthrop Kelly

Camera: Georges Benoit

Still Photography: Edward S. Curtis

Special Photographic Effects: Ferdinand P. Earle, Gordon Bishop Pollock

Composer: Charles Wakefield Cadman

Editors: Arthur D. Ripley (The Rubaiyat of Omar Khayyam version), Ethel Davey & Ferdinand P. Earle (Omar / Omar Khayyam, the Director’s cut of 1922), Milton Sills (A Lover’s Oath)

Scenic Artists: Frank E. Berier, Xavier Muchado, Anthony Vecchio, Paul Detlefsen, Flora Smith, Jean Little Cyr, Robert Sterner, Ralph Willis

Character Designer: Louis Hels

Choreography: Ramon Novarro (credited as Ramon Samaniegos)

Technical Advisors: Prince Raphael Emmanuel, Reverend Allan Moore, Captain Dudley S. Corlette, & Captain Montlock or Mortlock

Studio: Ferdinand P. Earle Productions / The Rubaiyat, Inc. (Production) & Eastern Film Corporation (Distribution, Omar), Astor Distribution Corporation [States Rights market] (Distribution, A Lover’s Oath)

Performers: Frederick Warde, Edwin Stevens, Hedwiga Reicher, Mariska Aldrich, Paul Weigel, Robert Anderson, Arthur Carewe, Jesse Weldon, Snitz Edwards, Warren Rogers, Ramon Novarro (originally credited as Ramon Samaniegos), Big Jim Marcus, Kathleen Key, Charles A. Post, Phillippe de Lacy, Ferdinand Pinney Earle

Premiere(s): Omar cut: April 1922 The Ambassador Theatre, New York, NY (Preview Screening), 12 October 1923, Loew’s New York, New York, NY (Preview Screening), 2 February 1923, Hoyt’s Theatre, Sydney, Australia (Initial Release)

Status: Presumed lost, save for one 30 second fragment preserved by the Academy Film Archive, and a 2.5 minute fragment preserved by a private collector (Old Films & Stuff)

Length:  Omar Khayyam: 8 reels , 76 minutes; A Lover’s Oath: 6 reels,  5,845 feet (though once listed with a runtime of 76 minutes, which doesn’t line up with the stated length of this cut)

Synopsis (synthesized from magazine summaries of the plot):

Omar Khayyam:

Set in 12th century Persia, the story begins with a preface in the youth of Omar Khayyam (Warde). Omar and his friends, Nizam (Weigel) and Hassan (Stevens), make a pact that whichever one of them becomes a success in life first will help out the others. In adulthood, Nizam has become a potentate and has given Omar a position so that he may continue his studies in mathematics and astronomy. Hassan, however, has grown into quite the villain. When he is expelled from the kingdom, he plots to kidnap Shireen (Key), the sheik’s daughter. Shireen is in love with Ali (Novarro). In the end it’s Hassan’s wife (Reicher) who slays the villain then kills herself.

A Lover’s Oath:

The daughter of a sheik, Shireen (Key), is in love with Ali (Novarro), the son of the ruler of a neighboring kingdom. Hassan covets Shireen and plots to kidnap her. Hassan is foiled by his wife. [The Sills’ edit places Ali and Shireen as protagonists, but there was little to no re-shooting done (absolutely none with Key or Novarro). So, most critics note how odd it is that all Ali does in the film is pitch woo, and does not save Shireen himself. This obviously wouldn’t have been an issue in the earlier cut, where Ali is a supporting character, often not even named in summaries and news items. Additional note: Post’s credit changes from “Vizier” to “Commander of the Faithful”]

Additional sequence(s) featured in the film (but I’m not sure where they fit in the continuity):

Celestial sequences featuring stars and planets moving through the cosmos

Angels spinning in a cyclone up to the heavens

A Potters’ shop sequence (relevant to a specific section of the poems)

Harem dance sequence choreographed by Novarro

Locations: palace gardens, street and marketplace scenes, ancient ruins

Points of Interest:

“The screen has been described as the last word in realism, but why confine it there? It can also be the last word in imaginative expression.”

Ferdinand P. Earle as quoted in Exhibitors Trade Review, 4 March 1922

The Rubaiyat of Omar Khayyam was a massive best seller. Ferdinand Pinney Earle was a classically trained artist who studied under William-Adolphe Bougueraeu and James McNeill Whistler in his youth. He also had years of experience creating art backgrounds, matte paintings, and art titles for films. Charles Wakefield Cadman was an accomplished composer of songs, operas, and operettas. Georges Benoit and Gordon Pollock were experienced photographic technicians. Edward S. Curtis was a widely renowned still photographer. Ramon Novarro was a name nobody knew yet—but they would soon enough.

When Earle chose The Rubaiyat as the source material for his directorial debut and collected such skilled collaborators, it seemed likely that the resulting film would be a landmark in the art of American cinema. Quite a few people who saw Earle’s Rubaiyat truly thought it would be:

William E. Wing writing for Camera, 9 September 1922, wrote:

“Mr. Earle…came from the world of brush and canvass, to spread his art upon the greater screen. He created a new Rubaiyat with such spiritual colors, that they swayed.”  … “It has been my fortune to see some of the most wonderful sets that this Old Earth possesses, but I may truly say that none seized me more suddenly, or broke with greater, sudden inspiration upon the view and the brain, than some of Ferdinand Earle’s backgrounds, in his Rubaiyat. “His vision and inspired art seem to promise something bigger and better for the future screen.”

As quoted in an ad in Film Year Book, 1923:

“Ferdinand Earle has set a new standard of production to live up to.”

Rex Ingram

“Fifty years ahead of the time.” 

Marshall Neilan

The film was also listed among Fritz Lang’s Siegfried, Chaplin’s Gold Rush, Fairbanks’ Don Q, Lon Chaney’s Phantom of the Opera and The Unholy Three, and Erich Von Stroheim’s Merry Widow by the National Board of Review as an exceptional film of 1925.

So why don’t we all know about this film? (Spoiler: it’s not just because it’s lost!)

The short answer is that multiple dubious legal challenges arose that prevented Omar’s general release in the US. The long answer follows BELOW THE JUMP!

Earle began the project in earnest in 1919. Committing The Rubaiyat to film was an ambitious undertaking for a first-time director and Earle was striking out at a time when the American film industry was developing an inferiority complex about the level of artistry in their creative output. Earle was one of a number of artists in the film colony who were going independent of the emergent studio system for greater protections of their creative freedoms.

In their adaptation of The Rubaiyat of Omar Khayyam, Earle and Co. hoped to develop new and perfect existing techniques for incorporating live-action performers with paintings and expand the idea of what could be accomplished with photographic effects in filmmaking. The Rubaiyat was an inspired choice. It’s not a narrative, but a collection of poetry. This gave Earle the opportunity to intersperse fantastical, poetic sequences throughout a story set in the lifetime of Omar Khayyam, the credited writer of the poems. In addition to the fantastic, Earle’s team would recreate 12th century Persia for the screen. 

Earle was convinced that if his methods were perfected, it wouldn’t matter when or where a scene was set, it would not just be possible but practical to put on film. For The Rubaiyat, the majority of shooting was done against black velvet and various matte photography and multiple exposure techniques were employed to bring a setting 800+ years in the past and 1000s of miles removed to life before a camera in a cottage in Los Angeles.

Note: If you’d like to learn a bit more about how these effects were executed at the time, see the first installment of How’d They Do That.

Unfortunately, the few surviving minutes don’t feature much of this special photography, but what does survive looks exquisite:

see all gifs here

Earle, knowing that traditional stills could not be taken while filming, brought in Edward S. Curtis. Curtis developed techniques in still photography to replicate the look of the photographic effects used for the film. So, even though the film hasn’t survived, we have some pretty great looking representations of some of the 1000s of missing feet of the film.

Nearly a year before Curtis joined the crew, Earle began collaboration with composer Charles Wakefield Cadman. In another bold creative move, Cadman and Earle worked closely before principal photography began so that the score could inform the construction and rhythm of the film and vice versa.

By the end of 1921 the film was complete. After roughly 9 months and the creation of over 500 paintings, The Rubaiyat was almost ready to meet its public. However, the investors in The Rubaiyat, Inc., the corporation formed by Earle to produce the film, objected to the ample reference to wine drinking (a comical objection if you’ve read the poems) and wanted the roles of the young lovers (played by as yet unknown Ramon Novarro and Kathleen Key) to be expanded. The dispute with Earle became so heated that the financiers absconded with the bulk of the film to New York. Earle filed suit against them in December to prevent them from screening their butchered and incomplete cut. Cadman supported Earle by withholding the use of his score for the film.

Later, Eastern Film Corp. brokered a settlement between the two parties, where Earle would get final cut of the film and Eastern would handle its release. Earle and Eastern agreed to change the title from The Rubaiyat of Omar Khayyam to simply Omar. Omar had its first official preview in New York City. It was tentatively announced that the film would have a wide release in the autumn.

However, before that autumn, director Norman Dawn launched a dubious patent-infringement suit against Earle and others. Dawn claimed that he owned the sole right to use multiple exposures, glass painting for single exposure, and other techniques that involved combining live action with paintings. All the cited techniques had been widespread in the film industry for a decade already and eventually and expectedly Dawn lost the suit. Despite Earle’s victory, the suit effectively put the kibosh on Omar’s release in the US.

Earle moved on to other projects that didn’t come to fruition, like a Theda Bara film and a frankly amazing sounding collaboration with Cadman to craft a silent-film opera of Faust. Omar did finally get a release, albeit only in Australia. Australian news outlets praised the film as highly as those few lucky attendees of the American preview screenings did. The narrative was described as not especially original, but that it was good enough in view of the film’s artistry and its imaginative “visual phenomena” and the precision of its technical achievement.

One reviewer for The Register, Adelaide, SA, wrote:

“It seems almost an impossibility to make a connected story out of the short verse of the Persian of old, yet the producer of this classic of the screen… has succeeded in providing an entertainment that would scarcely have been considered possible. From first to last the story grips with its very dramatic intensity.”

While Omar’s American release was still in limbo, “Ramon Samaniegos” made a huge impression in Rex Ingram’s Prisoner of Zenda (1922, extant) and Scaramouche (1923, extant) and took on a new name: Ramon Novarro. Excitement was mounting for Novarro’s next big role as the lead in the epic Ben-Hur (1925, extant) and the Omar project was re-vivified. 

A new company, Astor Distribution Corp., was formed and purchased the distribution rights to Omar. Astor hired actor (note, not an editor) Milton Sills to re-cut the film to make Novarro and Key more prominent. The company also re-wrote the intertitles, reduced the films runtime by more than ten minutes, and renamed the film A Lover’s Oath. Earle had moved on by this point, vowing to never direct again. In fact, Earle was indirectly working with Novarro and Key again at the time, as an art director on Ben-Hur!

Despite Omar’s seemingly auspicious start in 1920, it was only released in the US on the states rights market as a cash-in on the success of one of its actors in a re-cut form five years later.

That said, A Lover’s Oath still received some good reviews from those who did manage to see it. Most of the negative criticism went to the story, intertitles, and Sills’ editing.

What kind of legacy could/should Omar have had? I’m obviously limited in my speculation by the fact that the film is lost, but there are a few key facts about the film’s production, release, and timing to consider. 

The production budget was stated to be $174,735. That is equivalent to $3,246,994.83 in 2024 dollars. That is a lot of money, but since the production was years long and Omar was a period film set in a remote locale and features fantastical special effects sequences, it’s a modest budget. For contemporary perspective, Robin Hood (1922, extant) cost just under a million dollars to produce and Thief of Bagdad (1924, extant) cost over a million. For a film similarly steeped in spectacle to have nearly 1/10th of the budget is really very noteworthy. And, perhaps if the film had ever had a proper release in the US—in Earle’s intended form (that is to say, not the Sills cut)—Omar may have made as big of a splash as other epics.

It’s worth noting here however that there are a number of instances in contemporary trade and fan magazines where journalists off-handedly make this filmmaking experiment about undermining union workers. Essentially implying that that value of Earle’s method would be to continue production when unionized workers were striking. I’m sure that that would absolutely be a primary thought for studio heads, but it certainly wasn’t Earle’s motivation. Often when Earle talks about the method, he focuses on being able to film things that were previously impossible or impracticable to film. Driving down filming costs from Earle’s perspective was more about highlighting the artistry of his own specialty in lieu of other, more demanding and time-consuming approaches, like location shooting.

This divide between artists and studio decision makers is still at issue in the American film and television industry. Studio heads with billion dollar salaries constantly try to subvert unions of skilled professionals by pursuing (as yet) non-unionized labor. The technical developments of the past century have made Earle’s approach easier to implement. However, just because you don’t have to do quite as much math, or time an actor’s movements to a metronome, does not mean that filming a combination of painted/animated and live-action elements does not involve skilled labor.

VFX artists and animators are underappreciated and underpaid. In every new movie or TV show you watch there’s scads of VFX work done even in films/shows that have mundane, realistic settings. So, if you love a film or TV show, take the effort to appreciate the work of the humans who made it, even if their work was so good you didn’t notice it was done. And, if you’ve somehow read this far, and are so out of the loop about modern filmmaking, Disney’s “live-action” remakes are animated films, but they’ve just finagled ways to circumvent unions and low-key delegitimize the skilled labor of VFX artists and animators in the eyes of the viewing public. Don’t fall for it.

VFX workers in North America have a union under IATSE, but it’s still developing as a union and Marvel & Disney workers only voted to unionize in the autumn of 2023. The Animation Guild (TAG), also under the IATSE umbrella,  has a longer history, but it’s been growing rapidly in the past year. A strike might be upcoming this year for TAG, so keep an eye out and remember to support striking workers and don’t cross picket lines, be they physical or digital!

Speaking of artistry over cost-cutting, I began this post with a mention that in the early 1920s, the American film industry was developing an inferiority complex in regard to its own artistry. This was in comparison to the European industries, Germany’s being the largest at the time. It’s frustrating to look back at this period and see acceptance of the opinion that American filmmakers weren’t bringing art to film. While yes, the emergent studio system was highly capitalistic and commercial, that does not mean the American industry was devoid of home-grown artists. 

United Artists was formed in 1919 by Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and D.W. Griffith precisely because studios were holding them back from investing in their art—within the same year that Earle began his Omar project. While salaries and unforgiving production schedules were also paramount concerns in the filmmakers going independent, a primary impetus was that production/distribution heads exhibited too much control over what the artists were trying to create.

Fairbanks was quickly expanding his repertoire in a more classical and fantastic direction. Cecil B. DeMille made his first in a long and very successful string of ancient epics. And the foreign-born children of the American film industry, Charlie Chaplin, Rex Ingram, and Nazimova, were poppin’ off! Chaplin was redefining comedic filmmaking. Ingram was redefining epics. Nazimova independently produced what is often regarded as America’s first art film, Salome (1923, extant), a film designed by Natacha Rambova, who was *gasp* American. Earle and his brother, William, had ambitious artistic visions of what could be done in the American industry and they also had to self-produce to get their work done. 

Meanwhile, studio heads, instead of investing in the artists they already had contracts with, tried to poach talent from Europe with mixed success (in this period, see: Ernst Lubitsch, F.W. Murnau, Benjamin Christensen, Mauritz Stiller, Victor Sjöström, and so on). I’m in no way saying it was the wrong call to sign these artists, but all of these filmmakers, even if they found success in America, had stories of being hired to inject the style and artistry that they developed in Europe into American cinema, and then had their plans shot down or cut down to a shadow of their creative vision. Even Stiller, who tragically died before he had the opportunity to establish himself in the US, faced this on his first American film, The Temptress (1926, extant), on which he was replaced. Essentially, the studio heads’ actions were all hot air and spite for the filmmakers who’d gone independent.

Finally I would like to highlight Ferdinand Earle’s statement to the industry, which he penned for from Camera in 14 January 1922, when his financial backers kidnapped his film to re-edit it on their terms:

MAGNA CHARTA

Until screen authors and producers obtain a charter specifying and guaranteeing their privileges and rights, the great slaughter of unprotected motion picture dramas will go merrily on.

Some of us who are half artists and half fighters and who are ready to expend ninety per cent of our energy in order to win the freedom to devote the remaining ten per cent to creative work on the screen, manage to bring to birth a piteous, half-starved art progeny.

The creative artist today labors without the stimulus of a public eager for his product, labors without the artistic momentum that fires the artist’s imagination and spurs his efforts as in any great art era.

Nowadays the taint of commercialism infects the seven arts, and the art pioneer meets with constant petty worries and handicaps.

Only once in a blue moon, in this matter-of-fact, dollar-wise age can the believer in better pictures hope to participate in a truely [sic] artistic treat.

In the seven years I have devoted to the screen, I have witnessed many splendid photodramas ruined by intruding upstarts and stubborn imbeciles. And I determined not to launch the production of my Opus No. 1 until I had adequately protected myself against all the usual evils of the way, especially as I was to make an entirely new type of picture.

In order that my film verison [sic] of the Rubaiyat of Omar Khayyam might be produced under ideal conditions and safeguarded from intolerable interferences and outside worries, I entered into a contract with the Rubaiyat, Inc., that made me not only president of the corporation and on the board of directors, but which set forth that I was to be author, production manager, director, cutter and film editor as well as art director, and that no charge could be made against the production without my written consent, and that my word was to be final on all matters of production. The late George Loane Tucker helped my attorney word the contract, which read like a splendid document.

Alas, I am now told that only by keeping title to a production until it is declared by yourself to be completed is it safe for a scenario writer, an actor or a director, who is supposedly making his own productions, to contract with a corporation; otherwise he is merely the servant of that corporation, subject at any moment to discharge, with the dubious redress of a suit for damages that can with difficulty be estimated and proven.

Can there be any hope of better pictures as long as contracts and copyrights are no protection against financial brigands and bullies?

We have scarcely emerged from barbarism, for contracts, solemnly drawn up between human beings, in which the purposes are set forth in the King’s plainest English, serve only as hurdles over which justice-mocking financiers and their nimble attorneys travel with impunity, riding rough shod over the author or artist who cannot support a legal army to defend his rights. The phrase is passed about that no contract is invioliable [sic]—and yet we think we have reached a state of civilization!

The suit begun by my attorneys in the federal courts to prevent the present hashed and incomplete version of my story from being released and exhibited, may be of interest to screen writers. For the whole struggle revolves not in the slightest degree around the sanctity of the contract, but centers around the federal copyright of my story which I never transferred in writing otherwise, and which is being brazenly ignored.

Imagine my production without pictorial titles: and imagine “The Rubaiyat” with a spoken title as follows, “That bird is getting to talk too much!”—beside some of the immortal quatrains of Fitzgerald!

One weapon, fortunately, remains for the militant art creator, when all is gone save his dignity and his sense of humor; and that is the rapier blade of ridicule, that can send lumbering to his retreat the most brutal and elephant-hided lord of finance.

How edifying—the tableau of the man of millions playing legal pranks upon men such as Charles Wakefield Cadman, Edward S. Curtis and myself and others who were associated in the bloody venture of picturizing the Rubaiyat! It has been gratifying to find the press of the whole country ready to champion the artist’s cause.

When the artist forges his plowshare into a sword, so to speak, he does not always put up a mean fight. 

What publisher would dare to rewrite a sonnet of John Keats or alter one chord of a Chopin ballade?

Creative art of a high order will become possible on the screen only when the rights of established, independent screen producers, such as Rex Ingram and Maurice Tourneur, are no longer interferred with and their work no longer mutilated or changed or added to by vandal hands. And art dramas, conceived and executed by masters of screen craft, cannot be turned out like sausages made by factory hands. A flavor of individuality and distinction of style cannot be preserved in machine-made melodramas—a drama that is passed from hand to hand and concocted by patchworkers and tinkerers.

A thousand times no! For it will always be cousin to the sausage, and be like all other—sausages.

The scenes of a master’s drama may have a subtle pictorial continuity and a power of suggestion quite like a melody that is lost when just one note is changed. And the public is the only test of what is eternally true or false. What right have two or three people to deprive millions of art lovers of enjoying an artist’s creation as it emerged from his workshop?

“The Rubaiyat” was my first picture and produced in spite of continual and infernal interferences. It has taught me several sad lessons, which I have endeavored in the above paragraphs to pass on to some of my fellow sufferers. It is the hope that I am fighting, to a certain extent, their battle that has given me the courage to continue, and that has prompted me to write this article. May such hubbubs eventually teach or inforce a decent regard for the rights of authors and directors and tend to make the existence of screen artisans more secure and soothing to the nerves.

FERDINAND EARLE.

---

☕Appreciate my work? Buy me a coffee! ☕

Transcribed Sources & Annotations over on the WMM Blog!

See the Timeline for Ferdinand P. Earle's Rubaiyat Adaptation

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The Evolution of Shop Design: Blending Aesthetics with Experience

shop design

Shop design has come a long way from simply arranging products on shelves to create a functional retail environment. Today, it's about crafting a space that not only looks good but also offers an immersive experience that resonates with customers. In an era where online shopping is more convenient than ever, the physical retail space must offer something unique—a sensory experience that cannot be replicated on a screen.

At its core, modern shop design is about storytelling. Every element, from the color scheme to the layout, contributes to the narrative a brand wants to convey. A well-designed shop doesn’t just showcase products; it tells a story that customers can connect with. Whether it’s a luxury boutique or a casual neighborhood store, the design reflects the brand’s values and personality, creating a space where customers feel engaged and inspired.

One of the key trends in shop design is the emphasis on creating a journey. Rather than a static environment, shops are now designed to lead customers through a curated experience. This journey begins the moment they step inside, with strategically placed displays and thoughtful layouts guiding them through the space. Every corner offers something new, whether it’s a featured product, an interactive display, or a comfortable seating area where customers can relax and take in the surroundings.

Lighting plays a crucial role in this journey. It’s no longer just about illuminating the space—it’s about creating an atmosphere. Different areas within the shop might require different lighting setups to evoke specific emotions or draw attention to key products. Warm, ambient lighting can create a welcoming entrance, while spotlighting can highlight new arrivals or special offers. The interplay of light and shadow adds depth to the space, making it more dynamic and inviting.

Materials and textures are equally important in modern shop design. The tactile experience of touching different surfaces can make a lasting impression on customers. Natural materials like wood and stone can create a warm, organic feel, while sleek metals and glass might be used to convey a modern, high-end aesthetic. Mixing different textures adds complexity to the design, making the space feel richer and more engaging.

Another significant aspect of contemporary shop design is flexibility. Retail spaces need to be adaptable, able to change with the seasons, product lines, or even the latest trends. Modular displays, movable fixtures, and versatile layouts allow shops to be easily reconfigured without a complete redesign. This flexibility not only keeps the space fresh and interesting for returning customers but also allows the shop to evolve alongside the brand.

Incorporating technology into shop design is also becoming increasingly important. From digital displays that showcase products in new and interactive ways to integrated systems that personalize the shopping experience, technology can enhance the overall design and make the shop more engaging. For example, smart mirrors that allow customers to see how they’d look in different outfits or virtual reality setups that let them visualize products in their own homes are just a few ways technology is transforming retail spaces.

Sustainability is another key consideration in modern shop design. As consumers become more environmentally conscious, there’s a growing demand for shops that reflect these values. This can be achieved through the use of sustainable materials, energy-efficient lighting, and eco-friendly practices in the design and construction process. A sustainable shop design not only appeals to environmentally conscious customers but also reinforces the brand’s commitment to social responsibility.

Finally, the role of shop design in creating a sense of community shouldn’t be underestimated. Shops are no longer just places to buy products—they’re becoming social hubs where people can gather, interact, and share experiences. Incorporating communal spaces, whether it’s a coffee bar, a lounge area, or a workshop space, can turn a shop into a destination where customers want to spend time, not just money.

In conclusion, shop design today is about more than just aesthetics; it’s about creating an experience that captivates and connects with customers. By blending storytelling, flexibility, technology, sustainability, and community, modern shops can offer something unique and memorable. At AGC Interior, we understand the evolving nature of retail spaces and are dedicated to creating designs that not only look stunning but also engage and inspire. Through thoughtful design, we help brands create spaces that are not just shops, but experiences that leave a lasting impact.

[uncriticalbunny]

this fandom is full of racist and idiotic asshats and the only people i see who call this shit out are sydcarmy shippers.

@currymanganese made a post about the fandom wiki entry on sydney and carmy's relationship, which you can only guess how accurate it is. here's a link to sydney's 'the bear' wiki page as it currently appears.

this is a snippet of sydney's wonderful personality and characterization.

However, she is bad at accepting 'no' or being told not right now. Her perfectionist nature does not allow her to let go of things, either. This often causes her to push for too much, too far, too fast, and then suffer the negative consequences because she did not understand why she was being told not to do something and would not let it go or wait. In times of stress, or rebounding from being treated poorly herself, she forgets her dream of making the kitchen environment safe and can abusively lash out with the worst of them. She resents that her business and administrative skills are often more highly valued at "The Bear" than her chef and cooking skills, though she excels in those areas. She tends to come across to others as young, anxious, and very insecure, wanting a lot of reassurance, until she finds her comfortable regiment and standardized process for completing a task, which allows her talent to come through. She often feels like a fish out of water with the rest of the staff, who are older, poorer, lack formal training, and have long-established ties, but is determined to make it work if it means learning under Carmy and having some control over the kitchen she works in.

this is a snippet of sydney's season 1 section.

Sydney becomes fixated on perfecting the risotto and becomes more aggrieved with every rejection. After being told her latest version is "tremendous", yet still cannot be offered on the dinner menu, Sydney, in a minor act of petty rebellion, serves the dish to a customer. With this act, Sydney is responsible for shoving The Beef down the road to its destruction. The customer, it turns out, is a famous food critic. He writes a glowing review of The Beef, and raves about risotto. The restaurant goes viral. Carmy is peeved, because the reason he wouldn't put the dish on the menu, besides it not being ready, is because risotto is very labor intensive. They do not have the staff to make it during dinner service. Additionally, the high brow dish does not fit the fast casual nature of a sandwich shop's menu. Richie rags on Sydney with suspicion, believing she knew the customer was a critic and gave him her dish to force them to put it on the menu, and to gain herself fame. The restaurant going viral coincides with Sydney's latest innovation push to use ordering tablets and accept online to go orders. Once again going too much, too fast, they begin using the new system before they're ready. Sydney makes a fatal error with the new technology by failing to set up website parameters. As a result, the second the system is turned on, the tiny restaurant is flooded with hundreds upon hundreds of to-go orders, all due for pick up shortly and even more coming in every second. In person, customers are asking for the famous risotto…which is not on the menu. Carmy explodes at Sydney and demands she get out of the way before she keeps making the catastrophe worse, Sydney, who doesn't handle feelings of rejection or inadequacy well, spirals. She lashes out at the staff, and engages in a vicious fight with Richie, who never wanted the tablet system. After saying some truly cruel things about him as a father, Sydney stabs him, whether on purpose or on accident is uncertain, and then immediately resigns amidst the chaos.

"With this act, Sydney is responsible for shoving The Beef down the road to its destruction." IJBOL

and oh look, in season 2, sydney reconnects with claire and goes to al-anon with carmy.

Throughout the process, Sydney reconnects with Claire, who is now a resident in emergency medicine. Sydney attends Al-Anon meetings along with Carmy, discussing her search for fun.

awww sydney faces a setback when ebra stops attending culinary school and sees claire as a threat. sounds about right.

As the opening of The Bear approaches, Sydney continues to work on the menu with Tina's help. She faces a setback when Ebra stops attending culinary school. Sydney also begins to see Claire as a threat to Carmy's focus. Despite these challenges, Sydney remains committed to her role in the restaurant and prepares for the soft opening.

even better, richie alone successfully handles the situation at the soft open. she and carmy even reconcile!

During the soft opening, Sydney feels the pressure to impress her father. She runs the kitchen while Richie takes charge of the front of house. Issues arise, such as running out of forks and Carmy getting trapped in the walk-in fridge. However, Richie successfully handles the situation and takes over expediting. Sydney feels fulfilled after impressing her father, and she and Carmy reconcile.

this page is full of misogynoir and shitty, incorrect OPINIONS about sydney adamu. are these things not supposed to be objective? and yet they make sydney out to be an incompetent, jealous, hysterical, aggressive overstepper. we see this frequently on social media sites when sydney is discussed. and no one ever wants to draw attention to this for some reason. where's the news and media? the hit tweets? the constant posts complaining about this issue?

all people ever want to talk about is how sydcarmy is terrible and how shippers have terrible comprehension of the show. yet this garbage slips by all the time. maybe it's because the same people focusing all their energy on shippers hold those very same opinions, but i think a lot of people simply have tunnel vision and simply do not gaf about sydney.

it's fucking exhausting watching the general fandom treat syd as less than human and have zero understanding of her character. it's like yelling into the void. and i would very much like to know how this garbage wiki can be corrected.

[shopfittersydney]

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Source