just reblogging again because oh my god. those paws!! and he’s tryina be a lap dog too daaaaaaw
Want one. Please.
What in the world do you feed a beast like this?! Christmas hams?
Aaaaand this will be my dog. This is also what it looks like when I decide that I will be wrenchesabound’s lapdog.
This is too precious not to post here
I saw this post earlier and thought this is so cute and now I just realized that Ellen voiced Dory! AW
i just can’t scroll past this
never realized Ellen voiced Dory, it all makes sense now!
She’s too adorable and gorgeous and omg her eyes. And the fact that Ellen was Dory just makes everything perfect about this.
Her shirt’s even blue and yellow and black like Dory c:
Fear of a Black God – Renee Cox’s Yo Mama’s Last Supper
by Shantrelle Lewis
The racialized, Eurocentric homo-gendered iconography of Catholicism automatically coerces someone existing outside of that spectrum to naturally experience isolation and distancing. This is especially probable for a Black girl child who wondered why nowhere in the Catholic Cathedrals where she genuflected, did she see an image of God in the form of sculpture, oil painting, or stain glass window that looked anything remotely like herself.
What happens then, when that same little Black girl, with Jamaican roots and upper-middle class upbringing, interacts with those negating images? She grows up into a Black woman, or most notably, a “rude gyal” with an attitude, who would thirty-something years later unabashedly confront that iconography, in the form of a series entitled Yo Mama. Although according to Genesis 1:26, God created (wo)man in the image of Him(her)self, nowhere in Christian texts could be found a brown skin God with the face of a girl child from the Diaspora. That is not until Renee Cox decided to photograph herself nude as Jesus surrounded by 12 fully-clothed male disciples, all of them Black with the exception of Judas, who was white, and titled the 5-paneled piece Yo Mama’s Last Supper. [Continue reading.]