#sheldon thompson

[hija-ck]

Can you please draw the characters you are LESS Interested or you never tried to draw? Pleaseeee there are many characters that are undervalued in the fandom ʕ⁠´⁠•⁠ ⁠ᴥ⁠•̥⁠`⁠ʔ

what a fun idea!!! here’s the kiddos!! i think i (and most of the fandom) forget about them pretty often

after researching and drawing them tho, i really love them!! i think Pedro and Karen are my favs 📚

[calciumdeficientt]

bad bully memes. please enjoy

[nllick]

Sheldon‼️

I literally do not know why I edited this

[welcome-to-bullworthless]

[gobullworth]

draw the little kids !

the future of bullworth looks bright :-)

[parkersgnome]

Pt. 2 of Drawing/Tracing over random pictures I found on Pinterest as Bully characters

Original:

[nofatclips]

Folding Ideas on Annihilation and decoding metaphor

[18catsreading]

Fig: I kiss her and skateboard away!

Ayda: is it normal for people to run away after that?

Fig: I'm really sorry. I'm so used to being other people and this is absolutely terrifying

Ayda: can I get another shot at that? It was perfect. I think I can do better.

Fig: yea why don't you show me

[everyone else is losing their minds in the background]

[spookytuesdaypod]

true love at first sight doesn’t exi—

[duranduratulsa]

Up next on my Spooktober Filmfest...Prom Night (1980) on classic DVD 📀! #movie #movies #horror #promnight #jamieleecurtis #LeslieNielsen #ripleslienielsen #caseystevens #annemariemartin #michaeltough #marybethrubens #pitaoliver #davidmucci #joythompson #robertasilverman #tammybourne #brocksimpson #DVD #80s #Spooktober #halloween #october

[calciumdeficientt]

my boyfriend and i have decided to become the worlds leading bullworth little kids lore proprietors. so under the cut is a sheldon hc we concocted whilst very delirious

the main focal point of this hc is my defense of sheldon being bullied by the exceptionally big kids like damon and juri.

“he’s not even on solids yet”

from this came his glorious idea that sheldon is an idiot that thinks he cannot stand on solid ground, and thus fills the school pathways and halls with various trails of liquids so he can walk.

he so far in our brains has used: formaldehyde from the biology classrooms, motor oil from the auto shop, ink and paint from art, water from the fountains and fire sprinklers, edna’s soup in the cafeteria and various terribly corrosive substances from the chemistry classrooms

the constant oil slicks have led the preps to barricade themselves into harrington house, the bullies to have an excuse for why so many students are in lockers or injured on the ground and mr luntz to have a pretty solid reason to despise all children the way he does.

anyway the other kids might come soon. don’t forget the little guys xoxoxo

[nllick]

I love them so much🫂

[welcome-to-bullworthless]

[twenty-words-or-less]

A.W.O.L.: Absent Without Leave

Summary: French Foreign Legionnaire Lyon Gaulthier (Jean-Claude Van Damme) defects to the US and enters the underground fighting scene in order to win money for his recently widowed sister-in-law and niece.

Campy and violent with surprisingly emotional core and unsurprisingly questionable relationship between yuppie villains.

Rating: 3.5/5

Photo credit: IMDb

[therealmrpositive]

Prom Night (1980)

In today's review, I find drama and murder clash with the most important night of a seniors life. As I attempt a #positive review of the 1980 slasher Prom Night #LeslieNielsen #JamieLeeCurtis #DebbieGreenfield #CaseyStevens #BrockSimpson #EddieBenton

Childhood can be challenging on its own, yet if you can survive the perils of youthful naïvety, you get a dose of the drama and danger that is present in your adult years. These scars, and traumas can stick with of, moulding us into the people that we are today, if we make it out that is. In 1980, as the slashers started to pick up steam, a high school in Canada dealt with a buried secret, and a…

[shewhoworshipscarlin]

Evelyn Preer

Evelyn Preer (née Jarvis; July 26, 1896 – November 17, 1932), was an African American pioneering screen and stage actress, and jazz and blues singer in Hollywood during the late-1910s through the early 1930s. Preer was known within the Black community as "The First Lady of the Screen."

She was the first Black actress to earn celebrity and popularity. She appeared in ground-breaking films and stage productions, such as the first play by a black playwright to be produced on Broadway, and the first New York–style production with a black cast in California in 1928, in a revival of a play adapted from Somerset Maugham's Rain.

Evelyn Jarvis was born in Vicksburg, Mississippi, on July 26, 1896. After her father, Frank, died prematurely, she moved with her mother, Blanche, and her three other siblings to Chicago, Illinois. She completed grammar school and high school in Chicago. Her early experiences in vaudeville and "street preaching" with her mother are what jump-started her acting career. Preer married Frank Preer on January 16, 1915, in Chicago.

At the age of 23, Preer's first film role was in Oscar Micheaux's 1919 debut film The Homesteader, in which she played Orlean. Preer was promoted by Micheaux as his leading actress with a steady tour of personal appearances and a publicity campaign, she was one of the first African American women to become a star to the black community. She also acted in Micheaux's Within Our Gates (1920), in which she plays Sylvia Landry, a teacher who needs to raise money to save her school. Still from the 1919 Oscar Micheaux film Within Our Gates.

In 1920, Preer joined The Lafayette Players a theatrical stock company in Chicago that was founded in 1915 by Anita Bush, a pioneering stage and film actress known as “The Little Mother of Black Drama". Bush and her troupe toured the US to bring legitimate theatre to black audiences at a time when theaters were racially segregated by law in the South, and often by custom in the North and the interest of vaudeville was fading. The Lafayette Players brought drama to black audiences, which caused it to flourish until its end during the Great Depression.

She continued her career by starring in 19 films. Micheaux developed many of his subsequent films to showcase Preer's versatility. These included The Brute (1920), The Gunsaulus Mystery (1921), Deceit (1923), Birthright (1924), The Devil’s Disciple (1926), The Conjure Woman (1926) and The Spider's Web (1926). Preer had her talkie debut in the race musical Georgia Rose (1930). In 1931, she performed with Sylvia Sidney in the film Ladies of the Big House. Her final film performance was as Lola, a prostitute, in Josef von Sternberg's 1932 film Blonde Venus, with Cary Grant and Marlene Dietrich. Preer was lauded by both the black and white press for her ability to continually succeed in ever more challenging roles, "...her roles ran the gamut from villain to heroine an attribute that many black actresses who worked in Hollywood cinema history did not have the privilege or luxury to enjoy." Only her film by Micheaux and three shorts survive. She was known for refusing to play roles that she believed demeaned African Americans.

By the mid-1920s, Preer began garnering attention from the white press, and she began to appear in crossover films and stage parts. In 1923, she acted in the Ethiopian Art Theatre's production of The Chip Woman's Fortune by Willis Richardson. This was the first dramatic play by an African-American playwright to be produced on Broadway, and it lasted two weeks. She met her second husband, Edward Thompson, when they were both acting with the Lafayette Players in Chicago. They married February 4, 1924, in Williamson County, Tennessee. In 1926, Preer appeared on Broadway in David Belasco’s production of Lulu Belle. Preer supported and understudied Lenore Ulric in the leading role of Edward Sheldon's drama of a Harlem prostitute. She garnered acclaim in Sadie Thompson in a West Coast revival of Somerset Maugham’s play about a fallen woman.

She rejoined the Lafayette Players for that production in their first show in Los Angeles at the Lincoln Center. Under the leadership of Robert Levy, Preer and her colleagues performed in the first New York–style play featuring black players to be produced in California. That year, she also appeared in Rain, a play adapted from Maugham's short story by the same name.

Preer also sang in cabaret and musical theater where she was occasionally backed by such diverse musicians as Duke Ellington and Red Nichols early in their careers. Preer was regarded by many as the greatest actress of her time.

Developing post-childbirth complications, Preer died of pneumonia on November 17, 1932, in Los Angeles at the age of 36. Her husband continued as a popular leading man and "heavy" in numerous race films throughout the 1930s and 1940s, and died in 1960.

Their daughter Edeve Thompson converted to Catholicism as a teenager. She later entered the Sisters of St. Francis of Oldenburg, Indiana, where she became known as Sister Francesca Thompson, O.S.F., and became an academic, teaching at both Marian University in Indiana and Fordham University in New York City.

Still from the 1919 Oscar Micheaux film Within Our Gates.