Parametrizing the horizontal inhomogeneity of ice water content using CloudSat data products

In order to calculate unbiased microphysical and radiative quantities in the presence of a cloud, it is necessary to know not only the mean water content but also the distribution of this water content. This article describes a study of the in-cloud horizontal inhomogeneity of ice water content, based on CloudSat data. In particular, by focusing on the relations with variables that are already available in general circulation models (GCMs), a parametrization of inhomogeneity that is suitable for inclusion in GCM simulations is developed. Inhomogeneity is defined in terms of the fractional standard deviation (FSD), which is given by the standard deviation divided by the mean. The FSD of ice water content is found to increase with the horizontal scale over which it is calculated and also with the thickness of the layer. The connection to cloud fraction is more complicated; for small cloud fractions FSD increases as cloud fraction increases while FSD decreases sharply for overcast scenes. The relations to horizontal scale, layer thickness and cloud fraction are parametrized in a relatively simple equation. The performance of this parametrization is tested on an independent set of CloudSat data. The parametrization is shown to be a significant improvement on the assumption of a single-valued global FSD

Telefantasy tower blocks: space, place and social realism shake-ups in Misfits

This article considers the ways in which British youth telefantasy Misfits (E4, 2009–13) takes up and makes strange urban spaces familiar from social-realist narratives. Filmed on the sprawling East London estate, Thamesmead, the programme chronicles a group of young offenders who are given powers by a freak storm, turning them into ‘ASBO superheroes’. Misfits depends on its British urban landscapes for the assertion of its ‘authenticity’ within British youth television, using spaces and landscapes familiar from urban youth exploitation cinema and television's narratives of the underclass. After situating the series within existing cultural discourses and recent developments in social-realist representations, the article explores how Misfits disrupts what have become signifiers for the ‘real’ – the brutalism of housing estates, the grey of the concrete and sky – by making them strange, turning them into telefantasy. The series presents the estate as an uncanny place: the domestic, social-realist world shifted into a fantastical space by the storm. Through close analysis, this article explores how the familiar spaces become skewed and unsettling to match our protagonists' isolation, shifting bodies and scrambled sense of self.