Hey there, I’m Kat and I’m a potato. So I might not be the prettiest but I have a good personality!

I started drawing little stories of my life to share them with people out there who also feel like a potato sometimes. I hope some of them can make you smile, so please enjoy.

Transformation (or how it began)

Coziness vs remote

Tea time


Pet lover



Single moods

Makeup skills

Vacation preparation

Meeting new people

Old friends

Mood swings

Spending money

Romantic movies

Relationship struggles

Music at work

Cold days

Public shyness

Epic food battle

Sharing is caring

Meeting new people

Undressing optimism

Being healthy


Read more: http://www.boredpanda.com/funny-comics-girl-as-potato-potatowithpersonality/

There’s a thought experiment called the ship of Theseus. It asks that, if you replace every plank of a ship, can it still be called the same ship? Likewise, if you have a superhero with regeneration powers who’s had every part of his body shattered, exploded and/or ripped off, is he still the same superhero? Probably not, and that’s a good thing.

Rob Liefeld

In the upcoming Deadpool 2, the merc with the mouth is squaring off against his longtime “it’s complicated” opponent Cable. This brings Deadpool back to his roots, as the character first appeared fighting Cable in the New Mutants #98 in 1991 — meaning Deadpool’s now roughly twice as old as his sense of humor. Likely to celebrate this full circle, Heritage Auctions is selling the first ever page of Deadpool squaring off against Cable by artist Rob Liefeld, showing us Deadpool in his original skin (and already losing part of it in the last panel).

Rob Liefeld/Marvel Comics

Fans of the movies might notice there’s a distinct lack of banter and crotch humping coming this fresh-faced (well, not that fresh) Deadpool. The attitude, fourth wall breaking and frequent references to giving backseat handjobs to Wolverine only came later. As we’ve talked about before, that’s because early Deadpool was a bit more cookie cutter, which is a more diplomatic way of saying that he was an uninspired rip-off of a DC supervillain. And yes, that makes Deadpool’s calling Cable out for his overserious DC-like ‘tude definitely a case of the pot calling the kettle grimdark.

Rob Liefeld/Marvel Comics

This is great news for fans and newcomers alike, as this sort of reboot of Deadpool vs. Cable gives a better, funnier and more relevant Deadpool a chance at punching up his own past — and Cable’s balls, we’re assuming. But if you want to own this bit of Deadpool pre-history before it gets rewritten, the auction is going until May 10th. Be warned though, the price of this single comic strip already up to $30,000. Quite a lot, though slightly below the price of a single Calvin and Hobbes strip in the same auction — something we know Deadpool himself would definitely approve of.

For more attempts at witticisms and his personal recipes for toilet wine, do follow Cedric on Twitter.

Support Cracked’s journalism with a visit to our Contribution Page. Please and thank you.

For more, check out The Queen Has Her Own Private (Creepy) Pet Cemetery and What Would The Netflix Movie Theaters Be Like?

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Read more: http://www.cracked.com/article_25549_deadpools-first-appearance-shows-how-much-he-has-changed.html

DC Comic’s cinematic universe might be off to a financially successful (if artistically shaky start), but DC animated movies have been wowing audiences for years. Starting with 2007’s Superman: Doomsday, DC Universe Animated Original Movies are drawn from the most significant stories in DC comics history. In a little, over 10 years, DC Comics has released 29 films, with even more on the way.

Unlike the cinematic adaptations, which have tried to build an expanded universe like Marvel Studios, DC’s straight-to-video animated movies celebrate the myriad takes on these classic heroes found in the comics. In other words, instead of trying to connect everything together, these full-length features, for the most part, simply strive to tell great standalone stories. Curious where to start? Here’s our list of the best DC animated movies to date. 

The best DC animated movies

1) Justice League: The New Frontier

DC Comics has been spinning tales since the 1930s, with the beloved Justice League forming in 1960. The New Frontier is a throwback tale to the post-World War II world of DC Comics, showing your favorite heroes as they join forces for the first time to defeat an otherworldly evil that threatens to destroy Earth. The New Frontier works as an introduction to these heroes for new fans and a love letter for devotees. Taking its time to explore each member of the Justice League, The New Frontier shows why characters with near-godlike powers would need humans like Batman and Green Arrow at their side.

Photo via IMDB/Warner Bros.

2) Green Lantern: First Flight

Part of what makes DC Comics so special is how they fully embrace the inherent weirdness of its characters. Take Green Lantern, for example. He’s a space cop with a green ring that can make anything its chosen owner thinks up, shoot laser blasts, and help its owner fly through space. The Green Lanterns have only one weakness, the color yellow. First Flight tells the origin of Hal Jordan, the first modern Green Lantern, as he is gifted his ring and forced to confront a powerful conspiracy within the Green Lantern Corps. 

Photo via IMDB/Warner Home Video

3) Superman/Batman: Public Enemies

Batman isn’t just doom and gloom, especially when he partners with his old pal Superman. Following one of the duo’s best team-up storylines, Public Enemies finds the world’s finest heroes framed as enemies of the state by President Lex Luthor. With their worst enemy in charge of the country, our heroes must fight through their rogues gallery and friends alike if they hope to clear their names. Stuffed to the gills cameos, explosive action, and a giant mecha Batman/Superman robot Public Enemies is a reminder sometimes comics are best when they’re just fun.

Photo by IMDB/Warner Home Vidoeo

4) All-Star Superman

Grant Morrison’s All-Star Superman is arguably one of the finest comic series in history. This reimagining of Superman presents us with a hero who finds out he has only one year to live. Endeavoring to live his remaining life to the fullest, All-Star Superman shows viewers the warm heart at the center of the Man of Steel. Some of the tonal shifts are a little odd, but by paying careful attention to recreating Frank Quitely’s art while honoring the spirit of Morrison’s story, All-Star Superman sets itself apart from other adaptations by crafting its own world. We know Superman isn’t dead, but it’s powerful to imagine how he would go out if he could on his own terms.

Photo by IMDB/Warner Home Video

5) Batman: Under the Red Hood

What mistake haunts you? For Batman, it’s the day he was unable to stop the death of Jason Todd, the second Robin, at the hands of the Joker. If Batman had been willing to kill the Joker early in his career, countless lives would have been saved, albeit at the cost of violating his own moral code. Is sparing the life of a villain worth the victims they’ll eventually take? It’s a question Batman must face when a new crime lord appears in Gotham, ready to spill blood in the name of protecting the city in a way our hero won’t. What starts as a hard-boiled crime drama soon takes a mystical turn, resulting in a rare and altogether satisfying Batman story.  

Photo via IMDB/Warner Home Video


6) Justice League: Crisis on Two Earths

The Justice League may be heroes on our Earth, but what about the multiverse? It turns out on another alternate Earth, our heroes are are part of the Crime Syndicate, a villainous organization that has taken over the planet with eyes on conquering the multiverse. Crisis on Two Earths gives a delicious reimagining of these classic heroes as super villains whose acts of terror drive Lex Luthor to super heroics. It’s exhilarating watching these familiar heroes face their darkest instincts, with Batman in particular making choices that bring his status as a pure hero into question. Smart without being overwhelmingly dark, Crisis on Two Earths is brilliant from start to finish.

Photo via IMDB/Warner Home Video

7) Wonder Woman

Did you fall in love with 2017’s hit Wonder Woman live-action film? Make time for the far superior animated movie. While the beginnings of both films are strikingly similar, they diverge wildly during their second acts, with the animated Wonder Woman diving directly into the modern world in her battle against Ares. There’s a humanity to Wonder Woman that other superheroes often lack, in part because her separation for our society makes her more adept at noticing its problems. Sure, the world almost ends and the fight scenes are staggering, but this film would be worth a spot on this list simply for showing Diana to be the greatest hero in the DC universe. At bare minimum, if you have children sit them down and show them this scene if they ever try to argue about gender norms.

Photo via IMDB/Warner Home Video

8) Justice League: War

2011’s New 52 reboot was DC’s attempt at starting fresh after decades of continuity made reading their comics a chore for new fans. While the plan didn’t exactly work for the print books—DC returned to its original continuity in 2016—it did have its moments of brilliance, most notably, Justice League: War. It’s a thrilling retelling of how the New 52 Justice League came together to stop the vile intergalactic warlord Darkseid from destroying Earth. With incredible animation that rides the line between anime and the classic DC cartoons and an action-packed story, War proves that even unnecessary comic book events can birth great things.  

Photo via IMDB/Warner Home Video

9) Justice League Dark

Sick of the big name DC heroes? Well, too bad. This movie still has Batman in it, but the Dark Knight is backed up by the finest mystical icons the publisher has to offer, from the criminally underrated Deadman to John Constantine. The DC playground has worked for decades because it’s a world where every kind of story flourishes. Superman can save the day while these hidden magic heroes protect us from other unseen horrors. Blending horror and superhero action takes finesse, and Justice League Dark is a masterclass how to turn comic books into dark fairy tales.

Photo by IMDB/Warner Home Video

10) Teen Titans: The Judas Contract

The ’80s revival of the Teen Titans served as a way for DC to poach some of the youth audience Marvel had gained with the X-Men’s explosive popularity. It was a gamble that paid off, with the series building heroes like Cyborg, Nightwing, and Starfire into the beloved icons they are today. Teen Titans: The Judas Contract is a modern update of the team’s most important storyline, a years-in-the-making betrayal from a beloved fan favorite. While the animated movie has some changes due to differences in comic book and cartoon continuity, the spirit of the story shines through. Thanks to their uber-popular cartoon, Teen Titans has rarely had a chance to explore the more mature sides of their stories, but Judas Contract opens the doors for those angles without ever getting bogged down in darkness.

Photo by IMDB/Warner Home Video


11) Superman vs The Elite

If you’ve ever heard someone mutter that Superman is lame and a relic of a bygone era, show that person Superman vs The Elite. When a new superhero team with lax views on killing hits the streets, Superman finds himself at odds with public opinion. As Superman wrestles with his place in the modern world, he discovers troubling questions about the Elite, culminating in staggeringly animated final fight. Writers rarely raise the reality that maybe Superman is holding back so he doesn’t hurt people, a fact The Elite finds out with terrifying clarity when the Man of Steel cuts loose. The animation is a little strange, but the story is a love letter to why Superman matters.

Photo via IMDB/Warner Home Video

12) Teen Titans Vs. Justice League

Being a sidekick sucks. No one takes Robin as seriously at Batman and the less said about Aqualad the better. Still, there’s a reason sidekicks have earned the respect of the most powerful beings on Earth, and in a pinch they can hold their own against any force on Earth. That theory is put to the test in Teen Titans vs. Justice League as the DC Universe’s biggest guns are possessed, leaving it up to their proteges to save the world from those tasked with protecting it. Judas Contract is a better film, but if you want to feel its full impact, make sure you watch this first.

Photo via IMDB/Warner Home Video

13) Son of Batman

Each Robin has represented a different aspect of Bruce Wayne, from Dick Grayson watching his parents die to Tim Drake’s full embrace of being a detective. Son of Batman introduces the most controversial Robin yet: Damian Wayne, Bruce’s lost biological son who has been raised by the League of Assassins. As Batman struggles with his role as a father, new obstacles arise, like training his son not to kill criminals or run off to take on supervillains on his own. Part one of a three-part story, Son of Batman serves as an exploration of Batman’s deep history while opening the door to his modern future. Also: It features an army of Man-Bats, and we’re always down for animal-human hybrids.

Photo via IMDB/Warner Home Video

14) Batman vs. Robin

After spending his childhood being raised by assassins, Damian Wayne is having a hard time adjusting to his new father’s rules. Then one day he meets Talon, a vigilante member of the secret Court of Owls, who offers him a chance to fight crime on his own terms. This sequel to Son of Batman has a darkness to it, as Bruce fights against a secret society of murderers for the soul of a son he only just met. In the Batman and Robin trilogy, this entry is Empire Strikes Back, so don’t expect to walk away with a happy ending.

Photo via IMDB/Warner Home Video

15) Batman: Assault on Arkham

Batman might get top billing, but Assault on Arkham is honestly more of a Suicide Squad movie, placing the anti-heroes front and center in a darkly comedic heist film. Fan favorites Deadshot, Harley Quinn, Captain Boomerang, Black Spider, KGBeast, Killer Frost, and, best of all, King Shark are sent into Arkham Asylum by Amanda Waller on a suicide mission to retrieve information from the Riddler. The only thing that stands in their way is Batman, and a terrifying inmate who escapes during their assault. Funny and at times brutally violent, Assault on Arkham is a fine tribute to the Suicide Squad and the Arkham video games that inspired it. We just wish Harley wasn’t so oddly sexualized.

Photo via IMDB/Warner Home Video


16) Superman/Batman: Apocalypse

This overstuffed story almost collapses under the sheer weight of how much it tries to pack into 78 minutes, but it ultimately sticks the landing. Weeks after the end of Superman/Batman: Public Enemies, a spaceship crash lands in Gotham, revealing a confused and terrified Kara Zor-El, aka Supergirl. Welcoming his cousin to Earth, Superman takes her to live among the Amazons to learn to control her powers. Everything is going smoothly, until Darkseid kidnaps Supergirl for his own vile schemes. The plot and the action are exhilarating, though the animation (styled after Michael Turner’s original comic art) feels overly sexual for the story being told. This film also features the best Batman moment in any of the animated DC films, as our hero talks his way out a fight with a God.

Photo via IMDB/Warner Home Video

17) Justice League: Doom

On paper, Batman is the weakest member of the Justice League, brilliant but stuck with the limitations of a human in peak condition. In the world of mind control, doesn’t it make sense that he’d have thought up ways to take down the other members of the League just in case? Unfortunately, a team of supervillains steal that information, incapacitating the Justice League and placing humanity in jeopardy. Like all DC animated movies, this film is just too short to do the story justice, but in spite of its rushed plot, Doom is a shining example of superhero action. Justice League: Doom also marks the final film project Dwayne McDuffie, creator of Static Shock and one of the most important African-American writers in comic book history.

Photo via IMDB/Warner Home Video

18) Batman: The Dark Knight Returns Vol 1 & 2

Trying to squeeze Frank Miller’s landmark story, The Dark Knight Returns, into a 78-movie would be impossible, so instead DC split the story into two separate, feature-length parts. From an animation standpoint, this film is a triumph, accurately recreating Miller’s iconic stylized art while grounding its wilder moments. Even still, the charms that made it shine in the ’80s have somewhat dulled. From the overwhelming darkness and violence, to a Batman who is frankly sort of a jerk, The Dark Knight Returns succeeds in deconstructing the icon, but at the cost of removing much of what makes him fun.  

Photo via IMDB/Warner Home Video

19) Batman: Year One

Batman: Year One is an anomaly in the DC animated movies. Unlike the massive scope of the films before it, Year One is an almost-grounded story about the first year of Gotham’s two greatest crime fighters, Batman and Jim Gordon. While the film stays loyal to writer Frank Miller’s occasionally frustrating sexism, the story itself is a welcome change of pace for DC’s animated universe. However, if you watch these films for bombastic action, Year One’s tempered pace will prove more frustrating than inspired.

Photo via IMDB/Warner Home Video

20) Justice League: Throne of Atlantis

A large chunk of Throne of Atlantis is consumed by a half-baked Aquaman origin story that keeps the Justice League away on a separate mission until the end of the movie. The fight scenes are incredible, but the story is frustratingly uneven.

Photo via IMDB/Warner Home Video

Editor’s note: This article is regularly updated for relevance. 

Read more: https://www.dailydot.com/parsec/dc-animated-movies/

One of Andy Kubert's sketches from 'The Dark Knight III: Master Race' hardcover edition, released this week.
Image: DC Entertainment

Like him or not, you have to admit Frank Miller is a comics legend.  

Though he’s faced criticism over the years for his controversial, conservative stances and his attitude toward female characters, Miller wrote books such as the groundbreaking Dark Knight Returns and its sort-of-prequel Batman: Year One, which comics fans the world over now consider sacred texts. 

But Miller, who usually illustrates his own stories, stumbled with the forgettable, critically panned, sketchily drawn sequel The Dark Knight Strikes Again in 2002.

Miller knew he wanted to continue the series after that, so why did it take so long to do so? 

“The material had to come together,” he says. “You don’t jump in on the job until you have enough material and a good enough idea … It needed some new wrinkles, some new places to go.”

Returning 15 years later for Batman: The Dark Knight: Master Race, which is published in graphic novel form this week, Miller assembled what he calls “the best talent out there:” co-writer Brian Azzarello and artists Andy Kubert, Klaus Janson, and Brad Anderson.

Frankly, they made all the difference.

One of Andy Kubert’s sketches from ‘The Dark Knight III: Master Race’ hardcover edition

Image: dc entertainment

Miller’s women 

There are some neat touches that only Miller could bring to this comic — such as the character of Carrie Kelley (the best of all the Robins — fight me). She absolutely shines opposite the daughter of Superman and Wonder Woman, Lara Kent.

“Carrie Kelley was a real breakthrough for me because she was such a fresh character,” Miller says. “Her perfect contrast was Lara … I loved the fact that the dark guy (Batman) had the bright daughter and the bright guy (Superman) had the dark daughter.”

The fact that these two (and many more) well-written women exist in the book is testament to a fact Miller admits: he’s grown up.  

“Over the years, I had to listen to criticism,” he says — and he actually listened: “My female characters have gone from kind of an adolescent fantasy about women into much more fully formed characters.” 

These women are more than just their relationships to their fathers. Carrie and Lara are young women developing their own personalities and powers. They’re a delight to read and they keep you turning the page.

Miller’s other accomplishment is political satire. With writing partner Azzarello, Miller brought the kind of commentary that we saw him introduce with his take on Ronald Reagan — who he remembers as “quite funny in a terrifying way” — in The Dark Knight Returns. But this time, he’s showcasing both the media and now-President, then-candidate Donald Trump.

Miller says that Trump and his administration are is “a cartoonist’s dream” and that there hasn’t been this kind of political figure that so lends himself to that craft “since Nixon.”

These moments will make you laugh uncomfortably, which is something Miller’s work tends to do.

One of Andy Kubert’s sketches from ‘The Dark Knight III: Master Race’ hardcover edition

Image: dc entertainment

The team that makes it shine

If nothing else, this book looks awesome. From Kubert’s pencils, to Janson’s inks, to Anderson’s colors, this book really finds it feet in the art.

Kubert especially, who Miller himself calls “remarkable,” pulls off something really impressive in this project, marrying his own drawing style with echoes of Miller’s own art. He found that balance while creating the original sketches Mashable is exclusively debuting here. 

Kubert’s family is prominent in the industry and he’s worked with many notable creators, but he found this project to be “daunting.” Kubert considers Miller to be “god-like” in the comic world, and he says he was under a lot of pressure to measure up. 

“I idolized Frank big-time growing up.” He laughs and remembers, “I was scared shitless.”

Kubery says the key to the book was two pieces of advice Miller gave him after he sent his first roughs (11×17 conceptual versions of a page.) Kubert was told to “be more experimental,” and warned not to “forget about negative space.” 

One of Andy Kubert’s sketches from ‘The Dark Knight III: Master Race’ hardcover edition

Image: dc entertaiment

Kubert collaborated a lot with Azzarello and Miller through the process, working with ample feedback. For him, that made this one of his favorite scripts to work on.

The other members of the art team more than carry their weight here, adding depth and character to the art.

Kubert and Janson had been close for years, but this was their first project together. 

“I always knew this guy was good,” Kubert says of the inker, “but you don’t really know how good he is until he works on top of your pencils … the guy is so freaking good.”

It was a similar story with colorist Anderson. Kubert says that Anderson has a way of just getting what Kubert is trying to do in a piece. “He kind of finished my sentences … (but) he brought his own distinctive voice to it.”

The art team worked so well together that they’re partnering on a book called New Challengers with yet another legendary Batman writer — Scott Snyder. 

Image: dc Entertainment

Another chapter to come?

Miller won’t say exactly what the next chapter in his Batman story will look like, but he does hint that it would involve the next generation — Lara and Carrie, and perhaps even Jonathan Kent, too!

And he says he definitely has the drive to do more: “Every project makes you want to do more projects.”

As for Kubert, he’s just extremely proud of the work he’s done here. 

“I hope I can do this again sometime … how am I gonna top this?” With the kind of talent he, Anderson, and Janson put on the page, there’s no doubt there are incredible things to come.  

Check out more of Andy Kubert’s sketches below. You can also find them in the hardcover edition of Batman: The Dark Knight: The Master Race, which hit shelves last week.

Image: dc entertainment

Image: dc entertainment

Image: dc entertainment

Image: dc entertainment

Image: dc entertainment

Image: dc entertainment

Image: dc entertainment

Image: dc entertainment

Image: dc entertainment

Read more: http://mashable.com/2017/09/25/frank-miller-dark-kinght-iii-master-race-interview/

Macmillan Cancer Support says one in two people will get a cancer diagnosis. Yet our treatment still focuses on the disease, not the persons specific needs, says Dr Ranjana Srivastava, oncologist and author

I need you to see this patient now, a nurse whispers, her quiet tone masking a mountain of concern.

I am an oncologist, I introduce myself to the stricken stranger. We havent met before, but you dont look so well so I am going to help.

He nods.

For weeks, he has been in the grip of nausea, pain and insomnia. His six-hour wait in A&E culminated in being sent home. He has been bed-bound since, too weak to move, eat or drink.

I am so sorry, I offer, wondering for the umpteenth time how patients deteriorate like this before our very eyes.

Tears form and he shrugs.

Dad just wants to feel better, he knows things are bad.

My heart melts at the plea of his daughter, barely out of her teens.

Weve got this, I reassure her. Hell feel better soon.

The nurse, ever attentive, flicks the chair to recliner mode and catches his wrist. You are safe, she says simply.

At this, he dissolves into sobs that rack his whole body.

As I take in the heartrending sight of a grown, burly man reduced to the helplessness of a child, I try to imagine the affronts that have led him here. The patients differ but the underlying themes dont months of chemotherapy, failed drugs, countless appointments, perpetual uncertainty, endless waiting, lost income, tired relatives, disappearing friends and on top, the existential questions, Why me? Why my family? Why anybody?

I chart fluids and drugs and arrange for a hospital bed, feeling discomfited that the family is so dramatically relieved at such a basic intervention.

Later, in clinic, I see patients ranging from a stoical university student to a devastated father to the frail octogenarian who cant remember the day, let alone that he has cancer each patient an illustration of a recent Macmillan Cancer Support UK finding that it is more common for an individual to be diagnosed with cancer than to get married or have a first child. One in two people will encounter a cancer diagnosis in their lifetime, which is why the report says that, alongside marriage, parenthood, retirement and the death of a parent, cancer is now a common life milestone.

I bear witness to this milestone every day, yet I confess the report is a wake-up call because it has prompted reflection on the chasm between what medicine delivers and what patients desire.

Even a cursory search will reveal the leaps of imagination and discovery that have made cancer medicine fascinating, and indeed life-changing, for so many patients. In the short time that I have been an oncologist, I have gone from ruing that no effective therapy exists, to deciding how best to sequence an array of choices. Sure, not all therapies have delivered stunning results, unacceptable toxicity looms large, costs are prohibitive and our successes are largely confined to the rich world. These are problems to ponder but they dont diminish the genuine, incremental gains in cancer care. Every day, I see the human face of these gains and whisper thanks to the researchers who empower clinicians like me.

But as nearly every cancer patient observes, what cancer medicine has failed to keep up with is the needs of the person behind the patient. Though there are many diseases with no good treatments and far worse outcomes, the very mention of cancer invites terror like no other. A common rejoinder to the statement, You have cancer is, Am I going to die? to which a common, and unhelpful, response is: We cant say. For what patients are really asking is not for oncologists to be fortune tellers but for reassurance that we will be there to see them through the whole cancer experience, of which chemotherapy is just a part. They want doctors who are not only proficient but also humane, as capable of consoling as treating. Most oncologists aspire to this, but two things get in our way.

The first is medical training, which has an outsized focus on defeating disease at any cost and struggles to take into account patient choice. For all the rhetoric around patient-centred care, it has not been easy to put into practice. Cancer is a heterogeneous disease and the people who get cancer are a diverse lot too. A champion athlete, a vulnerable refugee, a youthful retiree and a frail elderly person all need care but each merits special consideration. The athlete wants to avoid nerve damage and the executive begs to keep her hair so her colleagues wont know.

The refugee doesnt own a car and cant travel to have intravenous infusions and the elderly man trembles at the thought of his inability to care for his disabled wife. He values quality of life over extent; he values staying together over being forced into care, but finds this a nearly impossible conversation to interest anyone in. Faced with an ageing population for whom a cancer diagnosis is but one of several serious challenges, this particular problem will test us all. Studies show that the frail elderly are willing to forego aggressive treatments in favour of preserving their quality of life, provided they are offered the choice. We will need to be realistic about what defines successful cancer treatment. It will mean looking beyond the tumour at the whole person.

Now let me be the first to admit how difficult it can be to do this, even for the most well-intentioned oncologist. Given patients myriad needs from rehabilitation and nutrition to financial, social and emotional welfare it is obvious that one doctor cannot come close to fulfilling them all. Cancer patients need team support but on any given day, it is far easier to prescribe a 50,000 drug with dubious benefit than find a physiotherapist or social worker. It takes months to access aged-care services in the community until the same patient falls and fractures a hip, after which services swing into place. There is no reason to bunch together cognitively impaired, mentally ill and non-English speaking patients except that they consistently receive inadequate care across all parts of the healthcare system.

Palliative care has value for patients and oncologists, yet the nexus between oncology and palliative care remains weak in many places due to a lack of education, collaboration and resources. If the emphasis, and hence funding, stays determinedly on finding a cure for cancer (which, as we are now realising, is not one disease) the manifold supportive care needs of patients will continue to go unaddressed. We will keep identifying the gaps without filling them. Oncologists need to appreciate the broader needs of their patients but they also need access to help. When people reach this sobering milestone, the science and art of medicine must coexist.

My next patient is late because there is no parking and the scarce wheelchairs are all in use. While waiting, I duck out to see my patient in the chemotherapy chair but stop at a distance. Saline courses through his veins and a crisp white blanket protects his stretched body. His nausea is gone, his pain has settled, and finally he is asleep, his agitated tears replaced by rare calm. Amid the low-level hum, he is fast asleep, his son dozes, and my heart cant help but skip a beat at how far a measure of kindness goes.

The nurse comes over to join me and we look on, feeling like proud parents who have averted a crisis.

What did you give him? I ask quietly, although I know the drugs that I charted.

Nothing more. He just needed to know he was safe.

Dr Ranjana Srivastava is an oncologist and an award-winning author

Read more: https://www.theguardian.com/commentisfree/2017/sep/12/cancer-common-marriage-wake-up-call-macmillan

If you’re of the opinion that dogs are always happy and that cats don’t want to hear any of your bullshit, consider the case of these two pets made famous by Hurricane Harvey.

You probably already know about Otis, the dog who was spotted gallivanting around Sinton, Texas, with a bag of dog food in his mouth, ready to take on the world despite the constant downpour. He’s a good dog.

But had you heard about this cat, snapped by Getty Image photographer Scott Olson, as the animal swam through floodwaters to presumably try to find a dry spot? The cat is resilient, and there’s little doubt that it’s a feline badass and a meme in its own right. But man, do not even think about going near it.

That right there is the anti-Otis. That cat is furious with Harvey, with the water, and, perhaps most dangerously, with you. Because you’re looking at it and taking a photo. It looks like it wants to bat your head around like it’s a ball of yarn and then use your body as its own personal litter box. As the internet was quick to note, the cat looks beyond pissed.

Beyond the obvious explanation—that the cat is having to swim for its survival—there is another reason the cat might look so ornery. Where’s the help when the cat needs it most?

As for the photographer who took the picture, it sounds like he knew better than to approach that cat. Thus, we don’t know what happened to it.

You may not like Hurricane Harvey cat. You may straight-up hate it. But goddamn it, you have to respect it.

H/T People

Additional photos via PetteriO/Flickr, Chris Erwin/Flickr, and Peter Stevens/Flickr

Read more: https://www.dailydot.com/unclick/hurricane-harvey-mad-cat/

An “alt-right” children’s book featuring a popular cartoon character recently found itself at the center of a heated legal debate.

Earlier this year, a Texas assistant principal named Eric Hauser wrote and published a right-wing children’s book called “The Adventures of Pepe and Pede.” The story follows the two characters, a frog named Pepe and a centipede named Pede as they celebrate the end an oppressive farmer’s eight years of rule and work to make their farm great again in his absence.

There’s more to the plot, which has been criticized as being Islamophobic, but it’s essentially a send-up of our current political climate told from the point of view of some of Trump’s most dedicated supporters. If Pepe the Frog sounds familiar, that’s because he’s become a meme popular on right-wing blogs.

An illustration of Pepe in his pure, chilled out, positive form by Furie. Image via Superdeluxe/YouTube.

Pepe’s creator, artist Matt Furie, never intended for his drawing to end up there.

And he wasn’t about to let someone profit from his work while spreading a hateful message to children.

While there’s nothing illegal about publishing a book with a racist and xenophobic plot, Hauser made one huge mistake in his process: He stole someone else’s character, running afoul of a number of copyright laws. Pepe, as it so happens, is the intellectual property of Furie, who first published the character in his 2005 comic “Boy’s Club.” Not exactly pleased to learn that someone was using Pepe for personal gain and to teach a hurtful message, Furie sued Hauser.

Furie never meant for Pepe to be associated with hate.

The frog was supposed to just be a “blissfully stoned frog” who liked snacks and soda, not some unofficial “alt-right” mascot.

Around 2010, Pepe began to take on a life of his own as fans began drawing the character into their own stories and internet memes. In the lead-up to the 2016 presidential election, the frog became increasingly associated with white supremacists, neo-Nazis, and internet trolls. Images of Furie’s super-chill creation began popping up in Nazi regalia and KKK robes, earning a spot on the Anti-Defamation League’s list of hate symbols.

It’s all fun and games until someone turns your creation into a Nazi. Image via CBC/YouTube.

It wasn’t until Hillary Clinton delivered a speech excoriating the “alt-right” and white supremacists that Pepe truly went mainstream. In the speech’s aftermath, the Clinton campaign published an article explaining the significance of Pepe in the context of an image posted to Donald Trump Jr.’s Instagram that depicted a Pepe-fied version of the future president.

As the campaign raged on and Furie saw his creation slip further out of his control, he published a few fresh Pepe cartoons over at The Nib, including one that illustrates his “alt-right election nightmare.”

In May, Furie officially killed off Pepe in one final comic.

The legal battle against Hauser and his children’s book was settled in the best way possible — and it’s a reminder not to give up hope.

As reported by Motherboard in August 2017, Furie and Hauser reached a settlement in which the book would no longer be available for sale and all past proceeds would be donated to the Council on American-Islamic Relations. Given the book’s Islamophobic themes and Pepe’s popularity with white nationalists, the decision to donate the money to CAIR was a pretty fantastic bit of trolling on Furie’s part.

Furie also tried preserving Pepe’s more peaceful legacy in an October 2016 #SavePepe campaign with seemingly little success, which led him to draw the character one last time at his own funeral. It appeared that Furie had given up on rehabilitating Pepe’s image when, in June, he launched a Kickstarter campaign geared towards resurrecting the little green frog in hopes of “reclaiming his status as a universal symbol for peace, love, and acceptance.”

Pepe has become wildly popular with some Trump supporters. Photo by Josh Edelson/AFP/Getty Images.

He wasn’t alone in wanting a return to the comic’s roots either. By the time the campaign wrapped up, Furie had raised nearly $35,000.

Between his decision to donate the money made in the copyright infringement suit to a great cause and refusing to give up on his own creation, Furie is himself a testament to the bizarre and sometimes wonderful possibilities of the internet.

Read more: http://www.upworthy.com/an-alt-right-author-got-sued-and-has-to-give-profits-to-a-muslim-charityawesome

For the first time in nearly 100 years, the shadow of a total solar eclipse is going to sweep across the United States.

The umbra — the darkest shadow cast by the moon blocking the sun — will appear in the Pacific Ocean and slice through 14 US states on Monday, August 21.

Starting around 10 a.m. PDT, parts of western Oregon will go dark in a condition called totality as the umbra travels east. The elliptical shadow will make its way to Idaho Falls by 11:33 MDT, hit Kansas City at 1 p.m. CDT, and begin to pass over Charleston, South Carolina, by about 2:45 p.m. EDT.

Although some eclipse fans spend years preparing for the event, totality lasts less than three minutes — so all it takes is one stray cloud to obscure the magic moment.

That’s why some people pay thousands of dollars to fly in chartered jets and pursue the moon’s shadow. In addition to beating the odds of bad weather, such hardcore “eclipse chasers” can extend their length of time in the umbra, sometimes by several minutes.

I was lucky enough to ride an eclipse-chasing flight on August 1, 2008. Here’s what the experience was like.

Total solar eclipses aren’t rare — they happen about once every 18 months — but most locations on Earth fall in one’s path roughly once every 375 years.

Total solar eclipses aren't rare — they happen about once every 18 months — but most locations on Earth fall in one's path roughly once every 375 years.

An illustration of a total solar eclipse.NASA’s Goddard Space Flight Center

Source: Amber Porter/Clemson University

That’s because the umbra averages less than 100 miles wide near the equator — a fraction of a percent of Earth’s dayside surface area.

That's because the umbra averages less than 100 miles wide near the equator — a fraction of a percent of Earth's day-side surface area.

A US map of the total solar eclipse’s shadow on August 21, 2017. The umbral shadow will be about 60-70 miles wide, depending on the time and location. NASA’s Scientific Visualization Studio Source: TimeAndDate.com


However, some hardcore eclipse chasers spend thousands of dollars to chase the moon’s shadow from the skies.

However, some hardcore eclipse chasers spend thousands of dollars to chase the moon's shadow from the skies.

An airplane flies in front of the crescent of a solar eclipse.Shutterstock


Totality ended after three minutes with the appearance of a second “diamond ring” on the opposite side of the moon. The eclipse phases then moved in reverse as the umbra sped eastward ahead of our jet.


After totality, two passengers — Joel Moskowitz and Craig Small — paraded a custom eclipse flag around the cabin. The two were the most devout eclipse chasers I’d ever met. “I have no intention of ever missing an eclipse for the rest of my life. I don’t care where it is, even in the remotest area of the Earth,” Small told me. “I have to be there, I will be there.”

After totality, two passengers — Joel Moskowitz and Craig Small — paraded a custom eclipse flag around the cabin. The two were the most devout eclipse chasers I'd ever met. "I have no intention of ever missing an eclipse for the rest of my life. I don't care where it is, even in the remotest area of the Earth," Small told me. "I have to be there, I will be there."

Joel Moskowitz (left) and Craig Small (right).Dave Mosher


“When you see one, you want to see more. You get hooked,” Moskowitz added. “Seeing the corona during totality is better than sex.”

The trip wasn’t over, though: The airplane banked hard and turned toward the North Pole. At the time, it looked like this — a bunch of fractured sea ice.

The only indication that we’d arrived at the Pole was an announcement over the intercom.

Back on the tarmac in Düsseldorf, the group snapped a celebratory photo, and then everyone began making their way home.


That evening I watched the sun set on the Rhine River and reflected on my experience. More than anything, I felt humbled.

There’s nothing like an epic astronomical alignment to make you feel like you’re riding a spaceship through an infinite void.

This animation shows the total solar eclipse of March 9, 2016, from the vantage of the NASA climate satellite DSCOVR.

Read the original article on Business Insider. Follow us on Facebook and Twitter. Copyright 2017.

Read next on Business Insider: Here’s what the solar eclipse will look like from different cities around the US


Read more: http://www.iflscience.com/technology/solar-eclipse-diehards-use-this-clever-trick-to-see-totality-longer-than-anyone-else/

The sectarian terror group wont be defeated by the western states that incubated it in the first place

The war on terror, that campaign without end launched 14 years ago by George Bush, is tying itself up in ever more grotesque contortions. On Monday the trial in London of a Swedish man, Bherlin Gildo, accused of terrorism in Syria, collapsed after it became clear British intelligence had been arming the same rebel groups the defendant was charged with supporting.

The prosecution abandoned the case, apparently to avoid embarrassing the intelligence services. The defence argued that going ahead with the trial would have been an affront to justice when there was plenty of evidence the British state was itself providing extensive support to the armed Syrian opposition.

That didnt only include the non-lethal assistance boasted of by the government (including body armour and military vehicles), but training, logistical support and the secret supply of arms on a massive scale. Reports were cited that MI6 had cooperated with the CIA on a rat line of arms transfers from Libyan stockpiles to the Syrian rebels in 2012 after the fall of the Gaddafi regime.

Clearly, the absurdity of sending someone to prison for doing what ministers and their security officials were up to themselves became too much. But its only the latest of a string of such cases. Less fortunate was a London cab driver Anis Sardar, who was given a life sentence a fortnight earlier for taking part in 2007 in resistance to the occupation of Iraq by US and British forces. Armed opposition to illegal invasion and occupation clearly doesnt constitute terrorism or murder on most definitions, including the Geneva convention.

But terrorism is now squarely in the eye of the beholder. And nowhere is that more so than in the Middle East, where todays terrorists are tomorrows fighters against tyranny and allies are enemies often at the bewildering whim of a western policymakers conference call.

For the past year, US, British and other western forces have been back in Iraq, supposedly in the cause of destroying the hyper-sectarian terror group Islamic State (formerly known as al-Qaida in Iraq). This was after Isis overran huge chunks of Iraqi and Syrian territory and proclaimed a self-styled Islamic caliphate.

The campaign isnt going well. Last month, Isis rolled into the Iraqi city of Ramadi, while on the other side of the now nonexistent border its forces conquered the Syrian town of Palmyra. Al-Qaidas official franchise, the Nusra Front, has also been making gains in Syria.

Some Iraqis complain that the US sat on its hands while all this was going on. The Americans insist they are trying to avoid civilian casualties, and claim significant successes. Privately, officials say they dont want to be seen hammering Sunni strongholds in a sectarian war and risk upsetting their Sunni allies in the Gulf.

A revealing light on how we got here has now been shone by a recently declassified secret US intelligence report, written in August 2012, which uncannily predicts and effectively welcomes the prospect of a Salafist principality in eastern Syria and an al-Qaida-controlled Islamic state in Syria and Iraq. In stark contrast to western claims at the time, the Defense Intelligence Agency document identifies al-Qaida in Iraq (which became Isis) and fellow Salafists as the major forces driving the insurgency in Syria and states that western countries, the Gulf states and Turkey were supporting the oppositions efforts to take control of eastern Syria.

Raising the possibility of establishing a declared or undeclared Salafist principality, the Pentagon report goes on, this is exactly what the supporting powers to the opposition want, in order to isolate the Syrian regime, which is considered the strategic depth of the Shia expansion (Iraq and Iran).

Which is pretty well exactly what happened two years later. The report isnt a policy document. Its heavily redacted and there are ambiguities in the language. But the implications are clear enough. A year into the Syrian rebellion, the US and its allies werent only supporting and arming an opposition they knew to be dominated by extreme sectarian groups; they were prepared to countenance the creation of some sort of Islamic state despite the grave danger to Iraqs unity as a Sunni buffer to weaken Syria.

That doesnt mean the US created Isis, of course, though some of its Gulf allies certainly played a role in it as the US vice-president, Joe Biden, acknowledged last year. But there was no al-Qaida in Iraq until the US and Britain invaded. And the US has certainly exploited the existence of Isis against other forces in the region as part of a wider drive to maintain western control.

The calculus changed when Isis started beheading westerners and posting atrocities online, and the Gulf states are now backing other groups in the Syrian war, such as the Nusra Front. But this US and western habit of playing with jihadi groups, which then come back to bite them, goes back at least to the 1980s war against the Soviet Union in Afghanistan, which fostered the original al-Qaida under CIA tutelage.

It was recalibrated during the occupation of Iraq, when US forces led by General Petraeus sponsored an El Salvador-style dirty war of sectarian death squads to weaken the Iraqi resistance. And it was reprised in 2011 in the Nato-orchestrated war in Libya, where Isis last week took control of Gaddafis home town of Sirte.

In reality, US and western policy in the conflagration that is now the Middle East is in the classic mould of imperial divide-and-rule. American forces bomb one set of rebels while backing another in Syria, and mount what are effectively joint military operations with Iran against Isis in Iraq while supporting Saudi Arabias military campaign against Iranian-backed Houthi forces in Yemen. However confused US policy may often be, a weak, partitioned Iraq and Syria fit such an approach perfectly.

Whats clear is that Isis and its monstrosities wont be defeated by the same powers that brought it to Iraq and Syria in the first place, or whose open and covert war-making has fostered it in the years since. Endless western military interventions in the Middle East have brought only destruction and division. Its the people of the region who can cure this disease not those who incubated the virus.

Read more: http://www.theguardian.com/commentisfree/2015/jun/03/us-isis-syria-iraq