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This mixology competition’s contestants are all arrogant hipster bores who spend the show at each other’s throats. Locking them up in a TV studio is almost a public service
I’ve never been to a Netflix commissioning meeting, but at this stage I’m largely convinced that it just takes the form of a massive tombola filled with every conceivable profession on Earth. The drum gets spun, a profession is drawn out, then Netflix goes and makes a televised competition show about it. In recent years the platform has given us programmes about fashion design, metalwork, glass-blowing, flower arranging and (many, many times over) cookery. If we play our cards right, who knows what might be next? Scaffolding? Goat herding? Chartered accounting?
For now, though, we will have to make do with the latest entry: a mixologist competition show entitled Drink Masters. This, you have to admit, represents something of an open goal. After so many endless programmes about food, it is slightly baffling to realise that nobody ever thought to make a show about drinks. What could possibly have been stopping them?
Well, on the basis of Drink Masters, quite a few things. The show apes The Great British Bake Off, in that it gathers a number of contestants in a studio and slowly whittles them down with a number of theme-based challenges. But The Great British Bake Off isn’t popular because it’s about food. No, it’s popular because it’s lovely. The people are lovely, the food is lovely, and there’s an all-encompassing air of camaraderie that permeates every second on-screen.
However, Drink Masters is a show about mixologists, a profession that doesn’t usually scream “lovely”. In fact, judging by the people they have picked, what it screams is “wild, untrammelled egomania”. Almost without exception, the contestants here have a cartoonishly high opinion of themselves. Lots of beards. Lots of hats. So many semi-ironic statement glasses. One of them speaks only in the third person. It is as if Urban Outfitters developed a personality-manipulating brain implant, and these people happened to be its test subjects. In this sense, Drink Masters acts as a form of public service. After all, if these people are on television, it means they aren’t boring the pants off someone who has accidentally made eye contact with them at a house party.
Minimal camaraderie, too. Within minutes of the show starting, a pair of hipster edgelords are at each other’s throats about who gets to use a certain ingredient. It’s a weird throwback to a far worse time, like the greatest reality show that 2007 never produced. You keep expecting Donald Trump to waltz in and foul things up, not least because of the gratuitous gold leaf that gets slung about the place willy-nilly.
Which isn’t to say that Drink Masters is entirely without worth. Yes, the format is stale. Yes, the contestants are annoying. But at least the production design is decent. Lots of these Netflix reality shows look as if they were filmed on the cheap in a basement – in terms of presentation, Is It Cake? was essentially a hostage video – but Drink Masters is set in a veritable cathedral. It is an enormous bar, with every spirit imaginable reaching all the way up to the ceiling. If nothing else, it is quite nice to look at.
And it turns out there is an unexpected element of danger to making cocktails. One poor guy in episode one is so insanely hapless that he drops a gigantic chunk of dry ice into his cocktail before serving it to the judges. The genuine fury on their faces, as they explain that this is less a drink and more a documented case of attempted murder, is weirdly pleasing to watch.
I can’t work out why Drink Masters didn’t land with me as well as I would have liked. Perhaps it isn’t my cup of tea. Or perhaps the timing is exceptionally bad; I don’t know if anyone is eager to watch a show about wildly expensive drinks at a time when people can’t afford to heat their own homes.
Either way, it’s worth checking out at least an episode. If you can stomach any more than that without tuning out owing to the format’s sheer punishing repetition, you’re a better person than me. Perhaps the scaffolding series will be better.

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Kat Lonsdorf
Patrick Jarenwattananon
Ailsa Chang
In the 1980s and early 1990s, a Los Angeles DJ named Deirdre O’Donoghue ran a late-night KCRW show that championed underground musicians, often in live performance. That archive will soon be released.
ELISSA NADWORNY, HOST:
Our next story is about an influential radio deejay that you’ve probably never heard of.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
DEIRDRE O’DONOGHUE: Hello. It’s Saturday night at KCRW 89.9 FM. My name’s Deirdre. I’ll be your host once you pour yourself a drink and think about dancing.
NADWORNY: Before streaming, before the internet, Deirdre O’Donoghue hosted a popular late-night radio show on member station KCRW in Southern California back in the ’80s and early ’90s. The show was called SNAP!
MYKE DODGE WEISKOPF, BYLINE: Deirdre would describe herself in SNAP! as playing, quote, “new, unusual, imaginative, inventive and bent music.”
NADWORNY: That’s KCRW producer Myke Dodge Weiskopf. He has spent the last few years, along with KCRW producer Bob Carlson, digitizing and remastering recordings of Deirdre’s shows.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
O’DONOGHUE: All right. Now what I need you to do – we have to do a little on-air sound check here. So I need you to strum for a minute.
UNIDENTIFIED MUSICAL ARTIST #1: And I’m going to be singing quite loud. I’m going to be singing quite loud.
O’DONOGHUE: Well, give me a hint.
UNIDENTIFIED MUSICAL ARTIST #1: But don’t turn me guitar up too loud…
O’DONOGHUE: OK.
UNIDENTIFIED MUSICAL ARTIST #1: ‘Cause I sound – I’m really rubbish.
NADWORNY: SNAP! often brought in bands to play live in the studio.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
O’DONOGHUE: Give me a sample of singing.
WEISKOPF: She was very devoted to underground music – music that hadn’t, at that point, received a wide exposure, if any exposure at all.
NADWORNY: Some of those artists were or were soon to be big names, like R.E.M., Meat Puppets, Tom Waits and Sarah McLaughlin. Bob Carlson was the studio engineer for a lot of those late-night performances.
BOB CARLSON, BYLINE: It almost felt a little bit like the adults had left, and now it was time to have this party. And the bands would come down. They would pile in. They would bring their friends. And so it was a scene. It was a scene there in the studio as much as, you know, a radio program. You were part of this, you know, living room party with some of the coolest bands in the world.
NADWORNY: KCRW is about to release more than 50 of these remastered live performances to the public. They’ll be available Monday. So we invited Mike and Bob to come and tell us about some of their favorite finds.
CARLSON: The ones that I remember are the ones that where people come in and they try something new. One that comes off the top of my head is the Meat Puppets.
(SOUNDBITE OF MUSIC)
CARLSON: One of the performances that you can hear online is them just going through a bunch of stuff. Almost off the top of their head, they’re coming up with what they’re going to play next – just as they go, almost – even, like, creating sort of medleys on the fly.
(SOUNDBITE OF MUSIC)
CARLSON: It’s like a journey of music.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
UNIDENTIFIED MUSICAL ARTIST #2: (Singing) “Well, I’m going to tell you how it’s going to be.”
WEISKOPF: I’m going to choose one that, I guess, maybe, falls more in the publicity tour end of things, but it’s – Suzanne Vega came in for her second-ever radio appearance anywhere in the world…
NADWORNY: (Laughter).
WEISKOPF: …In April of 1985.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
SUZANNE VEGA: (Singing) I believe right now, if I could, I would swallow you whole.
WEISKOPF: Her record hadn’t even come out yet. And, you know, early Suzanne Vega was really kind of a spectral presence. I mean, she had this really mystical, kind of understated sound that was really, you know, I mean, entirely unique in a lot of ways.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
VEGA: (Singing) I am friend to the undertow. I take you in.
WEISKOPF: And there’s a version of her song “Undertow,” in particular, that I think is really just ravishing.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
VEGA: (Singing) And now I have you.
NADWORNY: There are also less well-known artists – like groups that Deirdre made famous because of the show, with her community, but never really made it kind of, like, mainstream into big pop.
CARLSON: Yeah, I mean, and that’s, again, you know, a different era. ‘Cause, you know, now, where you can basically hear any song you want to hear ever, at any time, here, you would discover things. You would hear things you couldn’t hear anywhere else because Deirdre – you know, she would take trips to London and Dublin and – just to buy records. And so she would bring them back and play them here when they weren’t even out yet.
(SOUNDBITE OF BLUE AEROPLANES SONG, “AND STONES”)
CARLSON: There was a band called The Blue Aeroplanes, which is also one of my favorites, and their full-on electric session was like, an event.
(SOUNDBITE OF BLUE AEROPLANES SONG, “AND STONES”)
CARLSON: Deirdre used to mishear the lyrics. And there’s a line in a song where he says, bring structures. And she thought he was always saying, send instructions.
NADWORNY: (Laughter).
CARLSON: And so when The Blue Aeroplanes played that song, he changed the lyrics to Deirdre’s version.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
THE BLUE AEROPLANES: (Singing) Send instructions. Once a town…
NADWORNY: Wow. Yeah. There’s such community and, like, closeness in that example. I love that.
This also got me thinking – how did Deirdre learn about these independent artists? You said she was traveling and, like, finding records. Where else did she get these ideas from?
CARLSON: Her whole life was music. That was her whole point of living, practically. And so all her friends were musicians. You know, she lived in a rent-controlled apartment in Santa Monica that was just packed full of records, wall to wall. That’s really what she cared about.
WEISKOPF: And one thing I’ll say, too, like, is, you know, Deirdre was a scholar, and she made meticulous notes for her shows. I mean, her genius is that she comes off very off-the-cuff, but she would have pages and pages of notes about every record that she’d bought. She would do deep research on these things.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
THE BLUE AEROPLANES: Ha.
NADWORNY: The recordings that are being released right now – a lot of them were originally recorded on reel-to-reel tape, right? Like, we’re talking kind of old mechanics…
CARLSON: Yeah. Mmm hmm.
NADWORNY: …Here. What was the process of remastering those? Like, how long does something like that take?
CARLSON: For one thing, I had to get our engineers here at KCRW to roll out a reel-to-reel machine, which we didn’t use, you know? We had one in storage that we had to get out of mothballs and plug into one of our mixers. And when you have reel-to-reel tapes – after you’ve had them for a long time, they start to get filled with moisture. So what we used to do – in the old days, we would bake them in a convection oven, and then you can dub them off until they go bad again. But I found a food dehydrator, and I found…
NADWORNY: (Laughter) What?
CARLSON: I bought a $50 food dehydrator on Amazon, and it was even round. It was shaped like reels.
NADWORNY: (Laughter).
CARLSON: It had little baskets for each reel. So it’s almost like it was made for the purpose. And that was the beginning of the project. But then that was only the beginning because she also had boxes and boxes of cassettes, which I handed off to Myke, which he then took over in his home studio of digitizing.
NADWORNY: And so, Myke, you just kind of, like – did you listen as you dubbed, or – what was…
WEISKOPF: Oh, for…
NADWORNY: …That like? Yeah.
WEISKOPF: I mean, that was a dream come true.
NADWORNY: Any song or moments from the tapes that you might want to go out on?
WEISKOPF: Bob, do you have a favorite that you think might send us off into the sunset?
CARLSON: Do you think Nick Cave?
WEISKOPF: That could work.
(SOUNDBITE OF NICK CAVE AND THE BAD SEEDS SONG, “THE MERCY SEAT”)
CARLSON: Yeah. I mean, again, ’cause I think of the vibe when this thing happened, and one of those that I think about is Nick Cave and The Bad Seeds, when they came in.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) A blackened tooth, a scarlet fog. The walls are bad. Black. Bottom kind. They are the sick breath at my hind.
CARLSON: They kind of got it. They pulled up chairs, put them in a circle. They kind of improvised instruments a little bit. There was, you know, one – they saw that we had a piano, so the guy sits down, starts playing.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) I told the truth, and I’m…
CARLSON: Somebody’s playing drums on a box.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) And the mercy seat is waiting, and I think my head is burning. In a way, I’m yearning…
CARLSON: The first song they did on their session was called “The Mercy Seat.” It’s a well-known Nick Cave song, but it’s just such a crazy vibe.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) For a tooth. And anyway, I told the truth.
CARLSON: You can hear and feel that they’re kind of doing it as they go along.
NADWORNY: I love that.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
NICK CAVE AND THE BAD SEEDS: (Singing) And mercy seat is waiting, and I think my head is smoking.
NADWORNY: Bob Carlson and Myke Dodge Weiskopf of KCRW – thanks for talking with us, guys.
CARLSON: Thank you.
WEISKOPF: Pleasure was ours.
(SOUNDBITE OF NICK CAVE AND THE BAD SEEDS SONG, “THE MERCY SEAT”)
NADWORNY: Starting Monday, you can access the archive of SNAP! performances through kcrw.com.
(SOUNDBITE OF ARCHIVED NPR BROADCAST)
UNIDENTIFIED PERSON: Beautiful.
(LAUGHTER)
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Watching Ethan Hawke’s HBO docuseries The Last Movie Stars, I was struck by an early scene where Gore Vidal, voiced by actor Brooks Ashmanskas, recounts how he became friends with Paul Newman and Joanne Woodward. It was around 1954, and Newman was cast in one of Vidal’s plays written for television, The Death of Billy the Kid. At the time, New York television studios were broadcasting weekly live dramas written or adapted from works by Ernest Hemingway, Henry James, William Faulkner.
“Even Jimmy Baldwin got me to introduce him to the story editor of [the CBS program] Studio One,” Vidal recalls in his memoir. The writer spent a couple of years cranking out scripts for network TV, then headed to LA with Newman and Woodward. They had film studio contracts and a shared rental in Malibu. “It was as if we were all swimming in the navel sweat of Hollywood,” Vidal says with relish in Hawke’s documentary.
The scene is remarkable for the way it captures the confluence of an aging Hollywood studio system, the emergent medium of television, and contemporary literary imaginations. Newman and Woodward—the last movie stars, as Vidal puts it—built careers underwritten by Hollywood but indebted to American literature. In fact, most of Newman’s films were literary adaptations. Bringing Westerns, crime novels, and bestselling thrillers to the screen, as well as works by Tennessee Williams and Faulkner, Newman helped to define our cultural narratives about labor, masculinity, and success.
In Leslie Fiedler’s classic study Love and Death in the American Novel, published in 1960, the literary critic observes that the American novel is distinct from its European prototypes by its squeamishness about love, sex, and marriage:
Ever since [Rip Van Winkle], the typical male protagonist of our fiction has been a man on the run, harried into the forest and out to sea, down the river or into combat—anywhere to avoid ‘civilization,’ which is to say, the confrontation of a man and woman which leads to the fall to sex, marriage, and respectability.
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The books that inform Newman’s body of work seem to bear out Fiedler’s claim. Think of Cool Hand Luke, Donn Pearce’s 1965 novel about a prisoner who escapes from a Florida chain gang or The Verdict, Barry Reed’s 1980 novel about an alcoholic lawyer on the brink of disaster. The women in these stories are representative figures—the horny housewife, the femme fatale. They destabilize the stories’ masculine worlds, but remain out of reach.
Paul Newman is an uncanny avatar of male ambivalence about cramped civilization. Offscreen, there’s the actor’s long marriage to Woodward and his well-known political and philanthropic efforts, which suggest a commitment to family and civic life.
But on screen, he projects a rogue individualism. He’s sexy, but somehow impervious to sex; he gets the girl, but he doesn’t really want her after all; or he loses her and then he does. “Well the happiness market’s crashed, baby,” he declares in his role as a glib, brooding P.I. in the 1966 film Harper. Throughout his films, Newman manifests an uneasy rapport between the sentimental dream of assimilation—into society or normative family life—and the seductions of alienation.
Shortly after arriving in Hollywood, Newman made The Long, Hot Summer (1958), based on Faulkner’s 1940 novel The Hamlet and two related works. The novel’s rural Mississippi community is unsettled by the arrival of the Snopes family, poor white sharecroppers who contract as tenants with the powerful landowner Will Varner. Rumor has it that the Snopes are barn burners. The threat of arson gives the Snopeses a nebulous clout. Soon Flem Snopes takes over from Varner’s son’s as store clerk. He installs another Snopes in the blacksmith shop, sets up a shadowy, predatory lending operation, moves into Will Varner’s house, and eventually marries Varner’s daughter.
Snopes is a usurper. His bewitching effect on the town reflects racial and class anxieties in the post-Reconstruction era South. Faulkner projects onto the Snopeses the impotence, rage, and feckless rise of the laborer class. He marks their malevolence by their violence as well as by various physical and intellectual disabilities; their intransigence by their bovine women. (To be clear, many of Faulkner’s women, including Varner’s daughter, are about as senseless as livestock.)
In the film, Newman plays Ben Quick, a stand-in for the sprawling Snopes clan. Newman brings a raffish charm to the role of usurper. While Flem Snopes is squat and reticent, Newman’s Quick is voluble, grinning—lean and athletic, as his name suggests—more of a rascal than a crook.
The film, unlike the book, is dominated by the marriage plot, reflecting an American obsession with the nuclear family following World War II. Clara Varner, played by Joanne Woodward, is bright, vigorous, and headstrong—unlike her sensuous counterpart in the book. Her hand in marriage is the ultimate reward for the clever, enterprising Quick. But the marriage plot is a decoy for the film’s central concern: the contest and camaraderie between men. Quick’s real conquest is his seduction of Varner, who sees in the younger man a version of himself, someone cunning and virile enough to secure the family line.
Clara is a pawn, part of a devilish pact between Varner and Quick. (It’s not until Quick finally renounces Clara in defiance of her father that she throws herself into his arms.) The enduring image of the film is that of two men—Orson Welles’s Varner, red-faced, sweating, a cigar clamped in his mouth; and Newman’s bright-eyed, daring Quick—sizing up one another, striking a deal in the shadows.
Newman’s take on the usurper appeals to nationalist convictions. He offers a heroic fantasy that may resonate with the viewer’s founding myths—the upstart American colonies who win their autonomy from the crown. The role also suggests an image of US post-war ascendance, as the country seized cultural dominance from Europe.
Rooted in dynastic struggle, the figure of the usurper is transplanted and elaborated for a republican context by Twain, Faulkner, Emerson (“When you strike at a king, you must kill him”). In Hollywood, the type gives rise to the anti-hero. Ben Quick is succeeded by Newman’s 1963 role in Hud: Hud Bannon, the son of a Texas rancher scheming to take over the ranch. Adapted from Larry McMurtry’s novel Horseman, Pass By, the film focuses on one of the book’s secondary characters—an antagonistic stepson. Now at the center of a generational conflict, Hud’s opportunism clashes with his father’s traditionalist approach to ranching.
Hud is a prodigal, unrepentant to the end, defending his compromising ethos: “This world is so full of crap, a man’s gonna get into it sooner or later, whether he’s careful or not.” In the book, it’s the father in a moment of resignation who expresses this sentiment. In the film, the line shifts our loyalties toward the son. Hud’s damaged cynicism appeals to us, critic Pauline Kael observes, because it seems authentic beside his father’s staid morality. The film further humanizes Hud by exploring his past trauma and tempering his violence at key moments. (It also gives us one of Newman’s all-time riveting come ons: You still got that itch?)
Reflecting on the public’s response to Hud, Newman seems mystified: “We thought [the] last thing people would do was accept Hud as a heroic character … His amorality just went over [the audience’s] head; all they saw was this Western, heroic individual.” Ahem. Obviously, Newman underestimates his own magnetism. For one thing, his physicality—his whiteness—helps transform a sinister character into one that an audience might absolve, even root for. In place of the book’s dark-haired brute, we get the fair-haired Newman, his “blue, blue eyes and his hurt, sensitive mouth,” as Kael puts it in her review.
She suggests that the character gets his heroic appeal from the actor himself:
They could cast him as a mean man and know that the audience would never believe in his meanness. For there are certain actors who have such extraordinary audience rapport that the audience does not believe in their villainy except to relish it, as with Brando; and there are others, like Newman, who in addition to this rapport, project such a traditional heroic frankness and sweetness that the audience dotes on them, seeks to protect them from harm or pain. Casting Newman as a mean materialist is like writing a manifesto against the banking system while juggling your investments so you can break the bank.
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Newman’s roles often straddle the line between crude materialist and principled striver—between a world that’s throwing itself at him in hotel rooms and his inner conviction of a higher calling. This tension makes him so compelling to watch, especially in the role of the gambler or hustler. In The Hustler (1961), Newman plays pool shark Fast Eddie Felson. The film is adapted from the novel by Walter Tevis (who also wrote The Queen’s Gambit, on which the 2020 Netflix limited series is based).
Tevis’s novel is concerned with what heroism means in a post-war society. Eddie is a kid from Oakland who’s desperate to escape the “obsequious, frustrating life” of the small-time hustler. He heads east to challenge Minnesota Fats, the best straight-pool player in the country. As he learns, big time hustling requires talent and skill, but also cutthroat individualism and an overriding desire to win.
Newman plays Fast Eddie with a chip on his shoulder. He’s cocky, moody, hungry, explosive—a talented player who can’t win until he has nothing to lose. He meets a young woman named Sarah, played by Piper Laurie. Sarah offers him shelter, encouragement, love. When someone calls him a loser, Sarah earnestly appeals, “You’re not a loser, Eddie. You’re a winner.”
In the film, Sarah meets a tragic end. Her death is the instrument for Eddie’s transformation. Thrown back on his own devices, he must develop what the film calls “character.” He becomes the avenging hero, beating Minnesota Fats at pool, sanctifying Sarah’s death, ennobling competition through its tragic cost.
Maybe it’s tedious to point out that it’s often the women in these films who pay the price for competitive male striving. Tevis’s novel, at least, suggests an alternate path for Sarah. Rather than killing her off, the book makes her Eddie’s sparring partner, a mirror for his own self-loathing and self-sabotage. He’s projecting, of course, when he calls her “a born loser.” Her response is maybe ironic or mocking: “And you’re a winner, Eddie. A real winner.” The novel expresses skepticism about the meaning and value of winning, but its irony is missing in the film. Onscreen, we get a melodrama with outsized consequences and spiritual repercussions.
Neither the book nor the film can imagine a path for Eddie that includes Sarah—though he almost buys a ring for her, Tevis tells us. For Eddie, the role of husband or father is inconceivable, incompatible with the story’s concept of character development. Character is an individualist concern, so Eddie remains a social outlier, his longing for hearth and home and his sexual passion sublimated by a lust for winning.
Newman reprises the role of Fast Eddie in The Color of Money (1986). Departing from Tevis’s follow-up novel, screenwriter Richard Price and director Martin Scorsese developed the film’s script to fit Newman like a custom suit, according to Scorsese. Here, Eddie’s youthful swagger is hammered into something steely. He’s still hungry, but in a patient, stalking, wolfish sort of way. He’s a whiskey salesman with a white Cadillac and wads of cash who meets a brash young pool player—Tom Cruise’s Vincent—and teaches him to hustle.
The film is seductive—Newman is mesmerizing—but like its predecessor, it lacks irony. The films, which span decades of economic expansion in the US, exude confidence about what’s possible through personal striving. Their straight-faced endorsement of individual excellence—or at least the honest attempt—suggests that heroism consists of overcoming private weakness.
But by the late twentieth century, opportunities for individual advancement have begun to dry up. The hustle shifts from a special skill to a crushing way of life in a post-Fordist economy. Onscreen, the figure of the underachiever emerges in films like Slacker and Clerks. Newman plays Sully in the 1995 film Nobody’s Fool, adapted from Richard Russo’s novel. Russo’s shaggy social tableau takes the template of small-town life from Faulkner. There’s the banker, the retired schoolteacher, the pharmacist, the lawyer, the wealthy owner of a construction outfit who seems cut from the cloth of the Varners.
Sully is an aging blue-collar worker, “a case study underachiever,” Russo writes. “At sixty, he was divorced from his own wife, carrying on half-heartedly with another man’s, estranged from his son, devoid of self-knowledge, badly crippled and virtually unemployable—all of which he stubbornly confused with independence.” In other words, Sully fails the middle-class respectability test.
He’s a classic Newman character—“reckless, imaginative, contemptuous of authority and, above all, indifferent to pain,” as one of Sully’s neighbors observes. There are echoes in the book’s Sully of Newman’s other roles. Like Ben Quick, Sully is a rumored fire bug; like Hud, he battles with his old man, now long-dead, and grieves an older brother killed in a drunk driving wreck. Like “sometimes nothing can be a real cool hand” Luke, he’s a gambler who presses his luck, never knowing quite when to fold.
Other folks are betting on the arrival of a new theme park—buying up property, hoping to cash in. Sully is the outlier, the cantankerous hold-out who refuses to bet on the sure thing. Like Fast Eddie, he scorns the percentages, preferring to play it fast and loose. At the OTB, he places the same bet every day: a 1-2-3 trifecta. It’s a long shot, as one of Sully’s friends reminds him: “Triples are for lost, desperate souls like you.” But in a town abandoned by industry and tourism, luck rivals labor as a source of dignity and material support.
The theme park, it turns out, is a bad bet. Developers decide to build elsewhere, and the president of the local bank who courted investors—a man Sully derisively refers to as The Bank—skips town. Sully’s skepticism toward the man is vindicated. Sully gets a couple of breaks. His trifecta pays out. Toby Roebuck, the woman of his dreams, invites him to run off with her to Hawaii. But Sully turns her down. He commits instead to being a family man, to reconnecting with his son and grandson. For someone who prizes his independence, it’s a surprising choice, which doesn’t appear in the book.
In Russo’s novel, Toby Roebuck has a fling not with Sully, but with his son. Father and son trade places across texts, leaving an impression of archetypal strife, with the woman as a pawn, but not the prize; neither Sully nor his son want to settle down with Toby. In any case, she’s already married—to Sully’s rival Carl, who owns the construction company. As Fiedler notes in Love and Death in the American Novel, the unattainable woman is a mark of the contest between fathers and sons—an allegory for growing up:
It is maturity above all things that the American writer fears, and marriage seems to him it’s essential sign. For marriage stands traditionally not only for a reconciliation with the divided self, a truce between head and heart, but also for a compromise with society, an acceptance of responsibility and drudgery and dullness. […] There is no authentic American who would not rather be Jack than the Giant, which is to say, who would not choose to be “one of the boys” to the very end. The ideal American postulates himself as the fatherless man, the eternal son of the mother.
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Sully’s assimilation to collective life centers his male relationships—with his son and his friend Rub, who feels displaced by the son. Reconciling with Rub, Sully hassles him about the size of his dick, then makes amends: “Peter’s my son. And you’re my best friend. Okay?”
When Nobody’s Fool was released, Jonathan Rosenbaum wrote that the film “has both the poetry and the authenticity of failure.” I wonder whether anyone who’s ever failed at something—or been failed by some ghoulish system—has properly appreciated the poetry of it.
The film asks us to believe in the underachiever who just once in his life comes through, not by dint of greatness or will, but through the simple logic of probability. So Newman turns out to be a percentage player after all—like everyone approaching their own end. Death, the odds-on favorite. But the critic’s comment points to something else at the heart of Nobody’s Fool: white nostalgia for the working man’s independence, the type Newman has long stood for.
Russo’s later novel Empire Falls (which won a Pulitzer Prize and was adapted into a limited series for HBO starring Newman, among others, in his last onscreen role) similarly mythologizes a white working class left behind by bankers, real estate developers, greedy multinational corporations. We’re a long way from Faulkner’s hamlet, where it’s the laborer who threatens the established order.
Casting the corporation in the role of hostile newcomer is a vintage 90s move. It diverts our attention from the theft and encroachment of the founding usurper: the white settler. (The Empire Falls adaptation gestures toward the Indigenous community who once lived along the fictional river in Maine where the story is set, but it does so with a dopy settler’s gaze. You wonder why the miniseries even brings up the Algonquin, when they’re not mentioned in the book.)
The white settler embodies the dilemma between alienation and assimilation—the man on the run, moving westward, committing crimes of genocide, enslavement, building settlements, then cities and neoliberal economies before casting off again. Newman’s films and their literary sources are enamored with archetypes of middle-class striving—the cycle of conflict between owners and upstarts, the competition and camaraderie of men.
His work, reflecting a period of macro-economic growth and decline in the United States, traces our shifting cultural allegiance to winners and losers. And Newman, the sly trickster with the shit eating grin, has a way of hustling us about which one we are. Newman—the gambler with nothing in his hand; wounded, thwarted, restless, cool; the fuck up, the truth telling jester. Newman’s gift is to make us believe that if it came right down to it, we’d never side with the bank.
Created by Grove Atlantic and Electric Literature

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Terry Golden Drops Newest Collab, ‘Fading (ft. Eileen Jaime)’  EDM Sauce
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NEW YORK – MCR — the country’s 4^th-largest hotel owner-operator — has acquired the Homewood Suites by Hilton Kansas City Speedway, a four-story, extended-stay hotel with 108 suites in Kansas City, Kansas. Opened in 2018, this is the company’s first hotel in The Sunflower State.
Often called the “Paris of the Plains,” Kansas City sits on the border of Kansas and Missouri, where the Kansas and Missouri Rivers meet. Barbecue is a way of life here, with more than 100 restaurants ranging from hole-in-the-wall joints to storied institutions. It’s also a hub for entertainment, professional sports and commerce in the Midwest with a population of more than 500,000 people.
Primely positioned within the Village West entertainment district, the hotel is just a short walk from the Kansas Speedway — which hosts five NASCAR races annually (and 200-plus other events each year). Not feeling the need for speed? Catch a soccer match at Children’s Mercy Park or a Kansas City Monarchs baseball game at Legends Field. Why not switch gears entirely and head to Legends Outlets, a 1.2 million-square-foot outlet mall — or try your luck at the Hollywood Casino. Both are within walking distance of the hotel.
After a day enjoying sauced-up ribs, sports and super-fast cars, come back to the hotel and slow down in one of our expansive studio, one-bedroom or two-bedroom suites — each with its own fully equipped kitchen. In the morning, start your engines in our fitness center or go for a swim in the large indoor pool. Just don’t forget to fuel up for the day with our complimentary hot breakfast.
If you’re coming to town for business, Cerner, H&R Block, Hallmark and Seaboard Corporation all have headquarters in the city. Keep everything on track from your suite’s workspace with complimentary revved-up Wi-Fi and print documents at the hotel’s 24-hour business center.
The Homewood Suites by Hilton Kansas City Speedway is located at 10922 Parallel Parkway and features:
Reserve suites by phone at +1 (913) 288-9999 or online.
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+1 203 682 8217
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Last updated on November 10th, 2022 at 02:28 pm
A developer wants to raze the former Grand Department Store building at 1101-1113 W. Historic Mitchell St. in Milwaukee to build a 55-unit apartment building in its place.
The developer is Zuwena Cotton, founder and CEO of Milwaukee-based commercial trucking operation Legacy Transit. The 5-story building would be constructed within the 22,669-square footprint of the existing building and would be an “inventive reiteration of the original historic building,” according to a project description submitted to the city’s Historic Preservation Commission.
Dubbed “The Encore” the development would include 18,380 square feet of commercial space on the first floor. The upper four floors would have the apartments. Ninety percent of the apartments – a mix of studio, one-, two-and-three-bedroom units – would be affordable housing available at below market rate rents to qualified tenants (based on household income level), and 10% of the units would be rented at market rates.
All units would have washers and dryers, and tenants will have access to a variety of amenities, including a community room, fitness center, and courtyard located in the center of the development with grills, seating areas and space for growing small gardens.
Parking would be located on the lot at 1718 S. 12^th St.
As an homage to the 1930s department store that would be razed, the design of the new building would be a combination of Art Deco and modern chic, the project description states.
“By erecting the new development, we will bring an ‘encore’ to the once thriving commercial district that was known as the ‘second downtown’ of Milwaukee. The Encore will symbolize not what we had, but the possibilities of what we can become,” Cotton writes.
First project
While Cotton has been a landlord and flipped houses, this is her first major project as a developer.
An alum of Marquette University’s ACRE program, she purchased the building in 2020 with hopes of renovating it, but soon discovered the cost to restore the structure would make that project unfeasible.
She arrived with this new concept after speaking with local residents and Jose Perez, the area’s alderman, she said, and decided on a project that would deliver the kind of density needed along the corridor.
“This is part of larger vision of mine to really educate the community,” Cotton noted.
Opportunity center
The hope is to use the development to spur economic growth and offer more beneficial services to residents of the community, by creating what the developer describes as a “cornerstone” retail space at the intersection of 11th and Historic Mitchell Street that would take advantage of high traffic counts.
“We are looking for a tenant that will provide products and services for high frequency repeat customers (coffee shop, etc.),” the description states, adding that the tenant that currently occupies the building – Mitchell Beauty Supply Store – would be relocated to the west end of the building.
The remaining ground level would be occupied by a leasing office as well as a 3,330-square-foot dance studio with rentable space and a co-working space that would flow into a 2,350-square-foot “opportunity center,” where tenants and other neighborhood residents could attend a variety of classes on financial literacy, home ownership, career training and business development.
“We are soliciting partners to deliver proven programming in these areas to bring positive solutions to the community. We are confident that the added businesses and services at the site will attract more visitors to the corridor and contribute to the revitalization of the district,” the project description states.
The proposal could go before the Historic Preservation Committee at its Dec. 5 meeting.

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We’ve likely seen the last of Sacha Dhawan as the Doctor’s old adversary, but his performance in “The Power of the Doctor” is one to remember.
This article contains spoilers for the episode, "The Power of the Doctor."The latest Doctor Who special, “The Power Of The Doctor,” showed the end of Jodie Whittaker’s run as the famous Time Lord — but it was so much more than that. It was also the end of her era’s incarnation of her famous enemy, the Master. The episode was a climactic, emotional rollercoaster, but it wouldn’t be what it was without the story’s antagonist. The other rogue Time Lord returned terrorize the Doctor and all she holds dear, this time with the Cybermen and Daleks at his beck and call.
This is the Master’s grandest, most complex scheme yet, and he needs all of his knowledge from over the centuries to do it. And by the same token, actor Sacha Dhawan calls upon those who portrayed the Master before him to deliver his most powerful performance as the Doctor’s greatest enemy. Just like the Thirteenth Doctor, he goes out with a bang.
RELATED: Doctor Who: Which Companion Had The Best Introduction?
In “The Power of the Doctor,” Dhawan draws on all the aspects of the Master that make the character great. Hints of Missy are visible as he taunts Ace and Tegan, calling them “darling” and reminiscing fondly on the ways he hurt them both. His flippant attitude as he’s dragged into UNIT headquarters echoes that of both New Who Masters before him. However, he calls upon Anthony Ainley’s portrayal in his attitude towards his ancient adversary. Like the Master who faced the Seventh Doctor in the 80s, Dhawan’s character is, above all, an adversary of the show's protagonist. It is this aspect of their relationship that both the writing and the actor’s performance get right, especially in this final episode.
The Master has always been a manipulator. Only someone truly skilled at influencing others could get an army of both Daleks and Cybermen on his side, His ploy to take on the Doctor’s body and discredit their name is about more than his magnificent capacity for manipulation. It’s also about the satisfaction he takes in how much pain this plan will cause for both the Doctor and their loved ones. Unlike Michelle Gomez as Missy or Roger Delgado as the original Master, Dhawan’s Master truly wants to see the Doctor suffer. He doesn’t just want to defeat her; he wants to do it in the most painful way possible.
This desire is on full display throughout the episode, but no more so than when the Master is about to execute his ultimate strategy: using forced regeneration to force the Doctor to regenerate into him. The needle drop of Boney M.’s song “Rasputin” was perhaps inevitable in this episode, but it’s used in a clever context: the Master revels in his imminent success while the Doctor watches helplessly. It seems like the moment when the Doctor would come up with a last-ditch strategy, or a companion would burst in to save the day — but instead, the Master triumphs, hijacking the Doctor’s body. The process is both physically and mentally painful for the Doctor, and the Master cackles gleefully the entire time. There’s no hint of remorse, not even feigned regret like Missy might show. Dhawan’s Master finds joy in causing pain, especially the Doctor’s, and his sadism sends chills down viewers' spines.
Yet, as always, the Master's motives are more complex than simply sowing chaos and destruction. There has always been a begrudging sort of respect between the Doctor and the Master, which is portrayed different ways across each Time Lord's different incarnations. Dhawan's Master seems eager to deny this aspect of their relationship, belittling and tearing down the Thirteenth Doctor at whatever chance he gets. However, when he takes on the Doctor's body, it's clear that he wanted this for several reasons. He does want to besmirch the Doctor's good name, but he also revels in becoming the Doctor. The Master dresses in an outfit consisting of Sylvester McCoy's sweater vest, Tom Baker's iconic scarf, and plenty of other items from various incarnations. Perhaps most powerful, though, is the final line he utters as the Thirteenth Doctor returns to her body, expelling the Master:
"Don't let me go back to being me."
In that moment, the Master's demeanor changes from usual his scheming, vindictive self to one of a desperate individual. There's a part of him that desperately wants to be anything but the Master. This line betrays that this incarnation of the Master still feels some sense of envy for what the Doctor is. Perhaps it's the respect she commands; perhaps it's her ability to forge connections with others. Regardless, it's clear that the forced regeneration was about more than killing the Doctor or manipulating the people of Earth. The Master is famous for manipulation, and fans of the franchise know better than to trust a word that comes out of his mouth. But Dhawan's delivery in this scene is raw and honest, and offers perhaps the most genuine glimpse into his character.
There's much to suggest that this is the last time Dhawan's Master will appear in Doctor Who. From an out-of-universe point of view, the series is changing showrunners and almost all the rest of the cast is being replaced. From an in-universe perspective, it seems clear that the Master was destroyed along with his artificial planet. Not to mention, Rasputin himself (who, as shown in this episode, is an identity of the Master) died in 1916, the year the Thirteenth Doctor foiled this particular scheme. But, much like the Doctor herself, he left on a high note. "The Power of the Doctor" showed all the facets of this particular Master, before giving him a magnificent sendoff. Much like all the other recurring adversaries in Doctor Who, it's almost certain that we haven't seen the last of the character. Whoever steps in to portray the evil Time Lord next will have big shoes to fill.
MORE: Doctor Who: Mythical Creatures That Have Appeared On The Show
Demaris is a reader, writer, and gamer from Juneau, Alaska. While studying linguistics at McGill University, she wrote for student publications covering music, theater, film, and various pop culture. She now puts her love of games to good use as a writer and editor for Game Rant. Always a fantasy nerd, Demaris has a particular love for games in that genre, and spends her free time writing epic and grimdark fantasy.

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Scientific Reports volume 12, Article number: 19337 (2022) Cite this article
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This study develops the governing equations of unsteady multi-dimensional incompressible and compressible flow in fractional time and multi-fractional space. When their fractional powers in time and in multi-fractional space are specified to unit integer values, the developed fractional equations of continuity and momentum for incompressible and compressible fluid flow reduce to the classical Navier–Stokes equations. As such, these fractional governing equations for fluid flow may be interpreted as generalizations of the classical Navier–Stokes equations. The derived governing equations of fluid flow in fractional differentiation framework herein are nonlocal in time and space. Therefore, they can quantify the effects of initial and boundary conditions better than the classical Navier–Stokes equations. For the frictionless flow conditions, the corresponding fractional governing equations were also developed as a special case of the fractional governing equations of incompressible flow. When their derivative fractional powers are specified to unit integers, these equations are shown to reduce to the classical Euler equations. The numerical simulations are also performed to investigate the merits of the proposed fractional governing equations. It is shown that the developed equations are capable of simulating anomalous sub- and super-diffusion due to their nonlocal behavior in time and space.
The origin of fractional differentiation goes back to a letter between Leibniz and l’Hôpital in late seventeenth century. Later, Euler¹, Lagrange², Liouville³, Grünwald⁴, and Riemann⁵ made significant contributions to fractional calculus⁶. Until recently, fractional calculus has been considered as a mathematical theory without real-life applications. However, starting with the last quarter of twentieth century, the fractional differentiation found numerous applications in science, mainly due to its nonlocal nature (see the next section). Such applications are found in rheology, electrochemistry, chemical physics, finance, bioengineering, continuum mechanics, image and signal processing, plasma physics, diffusion and advection phenomena^6,7,8,9,10.
Navier Stokes equations (NSE) are the origin of the governing equations of flow and transport. Evidence of fractional flow and transport behavior in various fields of science was already reported, for example in hydrology and hydraulics^{11,12,13,14,15}, anomalous transport of solutes in porous media^16,17,18,19, and climate science^20,21,22,23. Recently, a number of models in applied mathematics was also reported based on fractional derivatives, for example, to model propagation of long waves by fractional Korteweg-de Vries equation^24,25,26, and to model diffusion by fractional Burgers’ equation^27,28.
Expressing the conservation of mass and momentum, the NSE govern the motion of fluids in above mentioned subfields of science including flows and turbulence in the atmosphere, rivers, lakes and soil. Fractional flow and transport models showed superiority in describing anomalous diffusion^9,29,30, intermittent turbulence³¹, chaos-induced turbulence diffusion³², and multifractal behavior of velocity fields of turbulent fluids at low viscosity³³. As such, fractional Navier–Stokes equations have been generalized by researchers in the last decades by time fractional NSE (tfNSE) and/or space fractional NSE (sfNSE). Here, we generalize the governing equations of unsteady multi-dimensional incompressible and compressible NSE to fractional time and multi-fractional space. When the fractional powers in time and in multi-fractional space are unit integer values, the developed fractional equations of continuity and momentum for incompressible and compressible fluid flow reduce to the classical NSE. The derived fractional governing equations are nonlocal in time and space. As such, they can quantify the effects of initial and boundary conditions better than the classical integer order NSE.
In general, tfNSE were simply obtained by replacing the time derivative in the moment equation with a fractional time derivative^34,35,36 and sfNSE were obtained by replacing the Laplacian operator by a fractional Laplacian operator^37,38. Wu³⁹ studied the existence and uniqueness of solutions of sfNSE. Starting with sfNSE, Xu et al.³⁸ numerically investigated the pressure-driven flow between two parallel plates by the finite difference method. The tfNSE have been studied extensively by development of analytical solutions to special flow cases^34,35,36 and numerical methods^40,41. Carvalho-Neto and Planas⁴² explored the existence, uniqueness, decay, and regularity properties of mild solutions to tfNSE and pointed out that the time fractional derivative has affected not only the regularity in the time variable of the solution but also that in the space variable. Zhou and Peng⁴³ studied the existence and uniqueness of global and local mild solutions of tfNSE. Replacing the time derivative in the moment equation with the fractional derivative in Caputo sense, El-Shahed and Salem³⁴ obtained exact solutions for three special configurations. Momani and Odibat³⁵ applied the Adomian decomposition method to solve the unsteady flow of a viscous fluid in a tube in which the velocity field is a function of one space coordinate. Kumar et al.³⁶ studied the same problem by coupling Adomian decomposition method and Laplace transform method. However, analytical solutions of tfNSE are only available under certain assumptions about the state of the fluid and for simple configurations for the flow pattern³⁵. Utilizing fractional integrals to consider the fractality of a homogeneous fractional flow medium (with a constant fractal dimension D < 3), the fractional generalization of Navier–Stokes and Euler equations were introduced by the seminal work of Tarasov⁴⁴, in which final forms of the fractional governing equations with space fractional derivatives but integer order time derivative were developed. As such, the scaling factors appear only for space fractional derivative terms in the fractional governing equations in Tarasov⁴⁴.
This study introduces dimensionally consistent governing equations for the motion of fluids in fractional time and multifractional space. Unlike most of the previously introduced fractional fluid flow equations, the proposed governing equations herein have scaling factors for both the fractional time and fractional space derivative terms, which also assure dimensional consistency. As explained in Zaslavsky³⁰, fractional governing equations account for the anomalous flow processes, including sub-diffusive (i.e., slow) and super-diffusive (i.e., fast) processes. Numerical simulations are performed in this study to show the importance of fractional time and space derivative powers and to investigate the anomalous behaviour in the fNSE.
The fractional derivative of order (0 < alpha) for a function f(t) in Caputo framework is defined as follows⁸
where Γ( . ) is the gamma function, and m = 1,2,3,…. Accordingly, the fractional derivative of a function depends on its values over an entire interval [a, t] and therefore can handle nonlocal effects. The fractional derivative definition in Eq. (1) can represent the fractional derivative with respect to time or space, depending on whether the variable t is defined as time or spatial location.
For (0 < alpha le 1), a first-order approximation of Caputo’s fractional time derivative over a given time interval [0, T], which is divided into N equal subintervals of increment dt = T/N by using nodes t_n = n.dt, n = 0,1,2,…,N, can be written as⁴⁵:
where (f^{n} = fleft( {t_{n} } right)) and the weight ({ }w_{j}^{left( alpha right)} = j^{1 – alpha } – left( {j – 1} right)^{1 – alpha }).
As shown in Eq. (2), the fractional derivative of (fleft( {t_{N} } right)) is estimated from the difference between (fleft( {t_{N} } right)) and (fleft( {t_{N – 1} } right)), (fleft( {t_{N – 2} } right) ldots), (fleft( {t_{1} } right),{text{ and}}) (fleft( {t_{0} } right)) with weights ({ }w_{j}^{left( alpha right)}) for j = 1, 2,…,N. The difference between (fleft( {t_{N} } right)) and (fleft( {t_{N – 1} } right)) contributes with ({ }w_{1}^{left( alpha right)}), between (fleft( {t_{N} } right)) and (fleft( {t_{N – 2} } right)) contributes with ({ }w_{2}^{left( alpha right)}), and so on (see Fig. 1a). For increasing j, weights decrease slower as (alpha) gets smaller, and weights decrease faster as α gets larger (see Fig. 1b). As such, function values away from (t_{N}) contribute to the fractional derivative of (fleft( {t_{N} } right)) with higher weights as fractional parameter (alpha) decreases from 1. In other words, the effect of past lessens for time fractional derivative and the effect of long distances reduces for space fractional derivative as fractional parameter goes to 1. Similarly, the effect of past for time fractional derivative and the effect of long distances for space fractional derivative grow as fractional parameter decreases from 1. By such a definition of the fractional derivative, a physical phenomenon taking long memory in time and long-range dependence in space can be realistically modeled. Time dependence not only at the time of interest but also at previous times can be modeled by time fractional governing equations. Similarly, long-range dependence in space can be modeled by space fractional governing equations, so that the space dependence not only at the location of interest but also at other spatial locations can be realistically modeled by space fractional governing equations. As such, the fractional governing equations can consider the effect of the initial conditions for long times, and the effect of the boundary conditions for long distances.
To (beta)-order the Caputo fractional derivative (_a{D}_{x}^{beta }fleft(xright)) of a function f(x) may be defined as^46,47,48,49:
where (xi) represents a dummy variable in the equation.
It was shown that one can obtain a (beta_{i})-order (i = 1,2,3) approximation to a function (fleft( {x_{i} } right)) around (x_{i})(- Delta x_{i}) as¹⁵:
In Eq. (4), for f((x_{i})) =  (x_{i}) an analytical relationship between (Delta x_{i}) and (left( {Delta x_{i} } right)^{beta }) (i = 1,2,3()) that will be applicable throughout the modelling domain is possible when the lower limit in the above Caputo derivative in Eq. (4) is taken as zero (that is, (Delta x_{i}) = (x_{i}))¹⁵.
Within the above framework one can express the net mass outflow rate from the control volume in Fig. 2 as:
(a) Schematic description of weights ({w}_{j}^{left(alpha right)}) (for j = 1, 2, …, N) in estimating the fractional derivative ({D}_{t}^{alpha }fleft({t}_{N}right)) and (b) weights as a function of j.
The control volume for the water flow in three-dimensional space.
Then by introducing Eq. (4) into Eq. (5) with (Delta x_{j}) = (x_{j}), j = 1,2,3, and expressing the resulting Caputo derivative (_{0} D_{x}^{beta } fleft( x right)~) (taking (Delta {text{x}}) = x renders the lower limit in the Caputo derivative of Eq. (4) to be 0) by (frac{{partial^{beta } fleft( x right)}}{{left( {partial x} right)^{beta } }}) for convenience, the net mass flux from the control volume in Fig. 2 may be expressed to (beta_{i})-order, i = 1,2,3 as:
where (overline{x} = left( {x_{1} , x_{2} ,x_{3} } right),) (rho) is the fluid density and (u_{i} left( {overline{x};t} right)) is the component of the flow velocity vector in (x_{i}) direction, i = 1,2,3.
It also follows from Eq. (4) with f(x_i) = x_i that¹⁵
with respect to (beta_{i})-order fractional space in the i-th direction, i = 1,2,3.
Introducing Eq. (7) into Eq. (6) yields for the net mass outflow rate through the control volume
to (beta_{i})-order, i = 1,2,3.
The time rate of change of mass within the control volume in Fig. 2 may be expressed as
Introducing Eq. (4), with fractional power (beta_{i }) replaced by (alpha), and x replaced by t, into Eq. (9), and expressing the resulting Caputo derivative operator with its lower limit as 0, by (frac{{partial^{alpha } }}{{left( {partial t} right)^{alpha } }}) for convenience, yields the time rate of change of mass within the control volume with respect to α-fractional time increments:
to (alpha)-order. With respect to the Caputo derivative (_{0} D_{t}^{alpha } t = frac{{partial ^{alpha } t}}{{left( {partial t} right)^{alpha } }}~):
which when combined with Eq. (4) (with x replaced by t and (beta_{i }) replaced by (alpha)) yields the approximation
to (alpha)-order. Introducing Eq. (12) into Eq. (10) yields for the time rate of change of mass within the control volume in Fig. 2 with respect to (alpha)-order fractional time increments:
Since the time rate of change of mass within the control volume of Fig. 2 is inversely related to the net flux through the control volume, Eqs. (8) and (13) can be combined to yield
as the general continuity equation of unsteady, multidimensional fluid flow in fractional time and multi-fractional space which holds both for compressible as well as incompressible flows.
Fractional continuity Eq. (14) for fluid flow can also be written as
Performing a dimensional analysis on Eq. (15) results in
which shows the dimensional consistency of the fractional continuity equation of the fluid flow.
Podlubny⁸ has shown that for (n)−1 < (alpha ,beta_{i} < n) where n is any positive integer, as (alpha) and (beta_{i}) (to) n, the Caputo fractional derivative of a function f(y) to order (alpha) or (beta_{i}) (i = 1, 2, 3) becomes the conventional n-th derivative of the function f(y). Therefore, specializing the result of Podlubny⁸ to n = 1, for (alpha) and (beta_{i}) → 1, (i = 1, 2, 3), the continuity equation of fluid flow transforms into
which is the conventional continuity equation for fluid flow in integer time-space^50,51.
From the general fractional continuity Eqs. (14) or (15) for fluid flow it follows that the continuity equation for incompressible fluid flow with constant density in fractional time and multi-fractional space reduces to the form
which when (alpha) and (beta_{i}) → 1 (i = 1, 2, 3) results in
which is the conventional continuity equation for incompressible fluid flow.
The net momentum flux through the control volume in Fig. 2 may be expressed as:
along directions x_i, i = 1,2,3. Meanwhile the net pressure forces on the control volume surface may be expressed as:
Again, referring to Fig. 3, the net stress (viscous) forces on the control volume surface may be expressed as:
along directions x_i, i = 1,2,3. Finally, the body force on the control volume may be expressed as:
Surface forces in the momentum equation.
By introducing Eq. (4) into Eqs. (20)–(23) with (Delta x_{i}) = (x_{i} ,) i = 1,2,3, and expressing the resulting Caputo derivative (_0D_{x}^{beta } fleft( x right){ }) by (frac{{partial^{beta } fleft( x right)}}{{left( {partial x} right)^{beta } }}), the net momentum flux in the (x_{i}) direction, may be expressed to (beta_{i})-order, i = 1,2,3, as:
Introducing Eq. (7) into Eq. (24) results in the net momentum flux expressed with respect to (beta_{i})-order fractional space in the x_i direction, i = 1,2,3, as:
Meanwhile, the change of momentum within the control volume during (t−Δt, t) may be expressed as:
Hence, the time rate of change of momentum within the control volume may be expressed as:
Following the same procedure that led to Eqs. (10)–(12) with (rho u_{i}) replacing (rho) in these equations, one obtains the time rate of change of momentum within the control volume with respect to (alpha)-order fractional time increments as:
Since the time rate of momentum change within the control volume is inversely related to the net momentum flux through the control volume, Eqs. (25) and (28) can be combined to yield
as the general momentum equation of unsteady fluid flow in fractional time and multi-fractional space. The body force F_i, i = 1,2,3, can be interpreted as the gravitational force g_i, i = 1,2,3⁵⁰. Under this interpretation the general momentum equations of unsteady fluid flow in fractional time and multi-fractional space may also be expressed as
where the surface forces (tau_{ij}) will need to be defined in terms of flow velocities differently for incompressible and compressible fluid flows for the closure of the equation. This issue will be addressed later in the study.
The fractional momentum Eq. (30) for incompressible fluid flow can also be written as
If the fluid flow has no friction, that is, if the shearing stresses (tau_{ij}) are zero and the normal forces are simply the pressure forces, the flow system is called inviscid. Then Eqs. (30) or (31) simplify to
In analogy to Euler’s equation for inviscid fluid flow in integer time–space, Eq. (32) may be called as “Euler’s equation for fluid flow in fractional time–space”.
For incompressible fluid flow, the shear stresses can be expressed in terms of flow velocities using Stokes viscosity law as⁵⁰:
in the conventional integer space. In Eqs. (33) and (34) (mu) is the viscosity coefficient. Then using Eqs. (4) and (7) on Eqs. (33) and (34) results in
and
for the Stokes viscosity relations in multi-fractional space.
Substituting Eqs. (35) and (36) into Eq. (29) and noting the fluid density is constant for incompressible fluid flow results in the momentum equations
Next, the flow velocities (u_{i} left( {overline{x};t} right)) (i = 1,2,3) are considered analytic functions, and it is noted that the fractional scaling powers in time and space are between zero and one, that is 0 (< alpha ,beta_{i} < 1), (i = 1,2,3). As such, the Caputo fractional derivatives (left( {frac{partial }{{partial x_{j} }}} right)^{{beta_{j} }}) and (left( {frac{partial }{{partial x_{i} }}} right)^{{beta_{i} }}) that operate on the flow velocities (u_{j} left( {overline{x};t} right)) (j = 1,2,3) will commute⁵². Combining this property of the above Caputo fractional derivatives on the last line on the right-hand-side of Eq. (37) with the fractional continuity Eq. (18) for incompressible fluid flow results in the governing equation
as the momentum equations for incompressible fluid flow with constant density (rho) and constant viscosity (mu) in (beta_{i})-scaled (i = 1,2,3) multi-fractional space and in α-scaled fractional time.
As mentioned earlier, Podlubny⁸ has shown that for (n)−1 < (alpha ,beta_{i} < n) where n is any positive integer, as (alpha) and (beta_{i}) (to) n, the Caputo fractional derivative of a function f(y) to order (alpha) or (beta_{i}) (i = 1, 2, 3) becomes the conventional n-th derivative of the function f(y). Therefore, specializing the result of Podlubny⁸ to n = 1, for (alpha) or (beta_{i}) → 1, (i = 1, 2, 3), the fractional momentum Eqs. (38) of incompressible fluid flow transform into
which reduce to
which are the conventional Navier–Stokes equations for Newtonian, incompressible fluid flow with constant density and viscosity⁵⁰. Within this framework, the Eq. (38) for incompressible fluid flow in fractional time and multi-fractional space may be interpreted as the extension of the corresponding Navier–Stokes equations to fractional time and multi-fractional space.
In the case of compressible viscous fluid flow, while the shear stresses are the same as in incompressible flow, the Stokes relations need to be modified for the effect of volume change in the fluid due to compression, leading to the normal forces (sigma_{ii}) (i = 1,2,3) being expressed as^51,53,
Then using Eqs. (4) and (7) on Eq. (42) results in
Combining Eqs. (36) and (43) with modified normal forces due to fluid compression, with Eq. (29) results in the fractional momentum equations
for compressible fluid flow in (beta_{i})-scaled (i = 1,2,3) multi-fractional space and in α-scaled fractional time.
Again specializing the result of Podlubny⁸ to n = 1, for (alpha) or (beta_{i}) → 1, (i = 1, 2, 3), that the Caputo fractional derivative of a function f(y) to order (alpha) or (beta_{i}) (i = 1, 2, 3) becomes the conventional derivative of the function f(y), and applying it to Eq. (44) results in
which are consistent with the conventional Navier–Stokes momentum equations for compressible flow⁵⁴. Introducing the continuity Eq. (17) into Eq. (45) results in
which are the conventional Navier–Stokes equations for compressible flow in detailed form. Hence, the conventional Navier–Stokes equations system (46) for compressible flow can be interpreted as the special case of the fractional equations system (44) for compressible flow in fractional time and multi-fractional space when the fractional powers become unity.
In order to investigate the capabilities of the proposed fractional governing equations of hydrodynamics, the first Stokes Problem (i.e., flow due to a wall suddenly set into motion) is selected. A fluid with constant density and viscosity is bounded by a solid wall (at (x_{2} = 0)), which is set in motion in positive x₁ direction at t = 0 with a constant velocity U₀. There is no pressure gradient or gravity force in x₁ direction. Then the conventional Navier–Stokes Equation (NSE) for this situation may be expressed as (see example 4.1–1 in Bird et al.⁵⁵):
where the initial and boundary conditions are
This is a simple unsteady flow problem with analytical solution (Equation 4.1-15 in Bird et al.⁵⁵)
where (erfc) is the complementary error function (i.e., ({text{erfc}}left( {text{x}} right) = 1 – {text{erf}}left( {text{x}} right))) and (nu = mu /rho). In this application, viscosity (nu) is 0.001 m²/s, total simulation time T is 5 h, and velocity (U_{0}) is 1 m/s. The fractional form of this problem can be written as
with the same initial and boundary conditions.
In order to solve Eq. (50) numerically, a first-order approximation of the Caputo’s fractional time derivative⁴⁵ and a second-order accurate Caputo’s fractional space derivative⁵⁶ schemes are coupled similar to the numerical solution of the fractional open channel flow problem as reported in Ercan and Kavvas⁵⁷. When the fractional powers of space and time derivatives of Eq. (50) become one, the solution should converge to that of the conventional form of this Eq. (47). x₁-direction velocity u₁ normalized by the boundary velocity U₀ (i.e., u₁/U₀) is plotted in Fig. 4. As shown in Fig. 4, the velocity profiles of the analytic solution (Eq. 49) of the conventional governing Eq. (47) compare well with those of the numerical solution of the fractional governing Eq. (50) when powers of the fractional space and time derivatives are one (β = α = 1).
Velocity profiles of x₁ direction velocity u₁ normalized by boundary velocity U₀ when space and time fractional derivative powers are 1. Solid lines correspond to simulations by fractional governing equation (F.E.) when time t = 0.1 T, 0.2 T, 0.5 T¸ T. Shapes (diamond, square, triangle, and circle) represent the corresponding analytical solutions (A.S.) of the conventional governing equation, respectively.
In order to explore the contribution of powers of space and time fractional derivatives on flow, Figs. 5, 6 and 7 are plotted for the simple flow due to a wall suddenly set into motion. This is still a relatively simple flow problem due to above listed assumptions, and will help us to understand the effects of fractional powers on flow. As explained in Zaslavsky³⁰, fractional governing equations account for the non-Fickian flow processes, including sub-diffusive (i.e., slow) and super-diffusive (i.e., fast) processes. In this regard, Zaslavsky³⁰ defined the transport exponent of his fractional kinetic equation as µ = α/β, expressed here as such in order to be consistent with the above notation, to quantify competing time and space fractional derivative powers. Therefore, the transport exponent µ quantifies competing sub- and super-diffusivity. µ = 1 corresponds to normal diffusion, µ < 1 sub-diffusion, and µ > 1 super-diffusion. Before investigating the effects of the time and space fractional powers, note that flow velocities are fixed at the boundary conditions at (x_{2} = 0) and (x_{2} = infty). Therefore, the effects are smaller in the vicinity of these boundaries and higher away from them. As such, the comparisons below for the solutions of fractional and integer order governing equations correspond to (x_{2}) locations away from the boundaries.
For the case when the power of the time fractional derivative is one (α = 1), the velocities by fractional governing equations are higher as power of the space fractional derivative is less than one (β < 1). In this case Zaslavsky³⁰’s transport exponent µ = α/β > 1 corresponds to super-diffusion. The difference between the velocity by the conventional governing equation (β = α = 1) and that by the fractional governing equation (when β < 1 and α = 1) increases through time for a fixed x₂ location. The same initial condition is used for the fractional and integer governing equations; therefore, the velocity differences are smaller close to t = 0. Furthermore, for a fixed simulation time, the velocity for a specific x₂ location (especially away from the moving plate) increases as the fractional space derivative power decreases from 1 (see Fig. 5a–c).
Velocity profiles of x₁ direction velocity u1 normalized by boundary velocity U₀ when time and space fractional derivative powers (alpha =) 1 and (a) (beta =) 0.9, (b) (beta =) 0.8, (c) (beta =) 0.7 (.) Solid lines correspond to simulations by the fractional governing equation (F.E.) when time t = 0.1 T, 0.2 T, 0.5 T¸ T. Shapes (diamond, square, triangle, and circle) represent the analytical solutions (A.S.) of the conventional governing equation at corresponding times.
For the case when the power of the space fractional derivative is one (β = 1), the velocities by fractional governing equations are lower as the power of the time fractional derivative is less than one (α < 1). In this case Zaslavsky³⁰’s transport exponent µ = α/β < 1 corresponds to sub-diffusion. The difference between the velocity by the conventional governing equation (or the fractional governing equation when β = α = 1) and that by the fractional governing equation (β < 1, α = 1) increases at later times because the initial condition dominates for smaller times, similar to α = 1 case. However, for a fixed simulation time, the velocity at a specific x₂ location (especially away from the moving plate) decreases as the fractional time derivative power decreases from 1 (see Fig. 6a–c).
Velocity profiles of x₁ direction velocity u1 normalized by boundary velocity U₀ when space and time fractional derivative powers when (beta = 1) and (a) (alpha =) 0.9, (b) (alpha =) 0.8, (c) (alpha =) 0.7. Solid lines correspond to simulations by the fractional governing equation (F.E.) when time t = 0.1 T, 0.2 T, 0.5 T¸ T. Shapes (diamond, square, triangle, and circle) represent the analytical solutions (A.S.) of the conventional governing equation at corresponding times.
When the time and space fractional derivative powers are equal and less than one (β = α < 1), the effects of sub- and super-diffusion are superimposed (Fig. 7). The transport coefficient for this case becomes µ = α/β = 1, displaying normal diffusion in theory. However, as shown in Fig. 7, when α and β are equal and close to 1, the velocity, at a fixed x₂ location close to the moving plate at (x_{2} = 0,) does not change for both the conventional and the fractional governing equations. However, for a fixed simulation time, the velocity for a specific x₂ location away from the moving plate increases as the fractional space and time derivative powers decrease from 1 (see Fig. 7a–c).
Velocity profiles of x₁ direction velocity u1 normalized by boundary velocity U₀ when space and time fractional derivative powers are equal, (a) (alpha = beta =) 0.9, (b) (alpha = beta =) 0.8, (c) (alpha = beta =) 0.7. Solid lines correspond to simulations by the fractional governing equation (F.E.) when time t = 0.1 T, 0.2 T, 0.5 T¸ T. Shapes (diamond, square, triangle, and circle) represent the analytical solutions (A.S.) of the conventional governing equation at corresponding times.
The governing equations of unsteady multi-dimensional incompressible and compressible flows in fractional time and multi-fractional space were developed in this study. Since the time behaviour of fluid flows in various fields of engineering are as important as their behaviour in space, the governing multi-dimensional fluid flow equations not only in multi-fractional space but also in fractional time were attempted to be developed in this study. Also, due to the observed anisotropy in fluid flow processes in nature, the fractional scaling of fluid flows was addressed by different fractional powers in different Euclidean directions, resulting in governing equations in multi-fractional space. When their fractional powers in time and in multi-fractional space are specified to unit integer values, the developed fractional equations of continuity and momentum for incompressible and compressible fluid flows reduce to the corresponding conventional Navier–Stokes equations. As such, these fractional governing equations for incompressible and compressible fluid flows may be interpreted as generalizations of the conventional Navier–Stokes equations. For the frictionless flow conditions, the corresponding fractional governing equations were also developed as a special case of the fractional governing equations of incompressible flow. When their derivative fractional powers are specified to unit integers, these equations are shown to reduce to the conventional Euler equations.
The capabilities of the developed fractional governing equations of hydrodynamics were investigated by the first Stokes Problem (i.e., flow due to a wall suddenly set into motion). It was first shown that the results of fractional governing equations when powers of the fractional space and time derivatives are one (β = α = 1) are the same as the analytical solution of the conventional integer order governing equations. Next, the sub- and super-diffusive behaviour of the fractional governing equations were explained in the context of Zaslavsky³⁰’s transport exponent framework. As shown in this numerical application’s results, the developed fractional equations of fluid flow have the potential to accommodate both the sub-diffusive and the super-diffusive flow conditions in addition to the conventional case.
All data generated or analyzed during this study are available from the corresponding author upon reasonable request.
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Hydrologic Research Laboratory and J. Amorocho Hydraulics Laboratory, Department of Civil and Environmental Engineering, University of California, Davis, CA, 95616, USA
M. Levent Kavvas
J. Amorocho Hydraulics Laboratory, Department of Civil and Environmental Engineering, University of California, Davis, CA, 95616, USA
Ali Ercan
Now at Hydraulics Laboratory, Department of Civil Engineering, Middle East Technical University, Ankara, Turkey
Ali Ercan
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M.L.K.: conceptualization; methodology; formal analysis; writing—review & editing. A.E.: formal analysis; methodology; numerical application; visualization; writing—review & editing.
Correspondence to Ali Ercan.
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(Bloomberg) — Asia’s stock benchmark jumped by the most since March 2020 as China’s move to ease some rules related to quarantine and flight bans supercharged a rally sparked by softer-than-expected US inflation.Most Read from BloombergMusk Warns Twitter Bankruptcy Possible as Senior Executives ExitMusk’s First Email to Twitter Staff Ends Remote WorkChina Eases Quarantine, Ends Flight Bans in Covid Zero ShiftFTX Latest: Bankman-Fried’s Crypto Empire Files for BankruptcyBankman-Fried’s Assets Pl
A recent lockdown and mass worker escape from Apple’s top iPhone supplier in China is accelerating the company’s shift to make more smartphones in India.
Home Depot and Walmart are among a large group of retailers set to report earnings in the coming week, along with four technology giants.
In this article, we will discuss 15 best consistent dividend stocks to buy. You can skip our detailed discussion on dividend stocks and their past performance, and go directly to read 5 Best Consistent Dividend Stocks to Buy. Since the start of this year, the plunging stock prices have investors worried about the future of […]
The S&P 500 closed higher Friday, nearly reclaiming the 4,000 market, in a stunning week of gains for the major U.S. equity benchmarks that saw buyers come out in force after inflation data for October showed signs of cost pressures finally slowing. The Dow Jones Industrial Average eked out a narrow gain of 0.01% Friday, ending about 33 points to near 33,749 and posting a 4.2% weekly gain. The S&P 500 index climbed 0.9% Friday for a 5.9% weekly gain. The Nasdaq Composite Index booked at 1.9% gai
USAA has offered financial products to serve veterans for 100 years.
Since hitting an all-time high roughly one year ago, the Nasdaq has plunged as much as 38%. This entrenches the index that was largely responsible for pushing the broader market to new heights in a bear market. Although bear markets can, at times, be scary for new and tenured investors alike, the rewards of patience can easily outweigh those fears.
While there are no guarantees when it comes to investing in the stock market, setting defined goals for your portfolio and investing accordingly in companies that align with your risk tolerance and interests can help you build a profitable basket of holdings that stand the test of time. Vertex Pharmaceuticals (NASDAQ: VRTX) is one company that has fundamentally changed the meaning of a cystic fibrosis diagnosis. This means that among a range of benefits, these drugs can help cystic fibrosis patients live longer.
Ex-FTX CEO Sam Bankman-Fried lost his entire $16 billion fortune in less than a week after his company filed chapter 11 bankruptcy protection on Friday.
"FTX Group Companies commence voluntary Chapter 11 proceedings in the United States," the firm said in a statement posted on Twitter. Founding CEO Sam Bankman-Fried also resigned, FTX said in the statement. "In order to begin an orderly process to review and monetize assets for the benefit of all global stakeholders, John J. Ray III has been appointed Chief Executive Officer of the FTX Group," FTX said.
In this article, we shall discuss the 12 best depressed stocks to buy now. To skip our detailed analysis of the global economic outlook in 2022, go directly and see 5 Best Depressed Stocks To Buy Now. The global macroeconomic outlook continues to be in free-fall, with an increasingly grim outlook for the rest of 2022 […]
One of Wall Street's most implacable bulls has laid out his argument for why he thinks U.S. stocks can continue to rally into year's end after Thursday's game-changing October inflation data.
Lessons from the FTX collapse center more around accounting than crypto complexity, believes ex-Treasury Secretary Larry Summers.
ExxonMobil (NYSE: XOM) reported a record $19.7 billion profit in the third quarter, fueled partly by surging natural gas prices. Meanwhile, cash flow from operations was even higher at $24.4 billion. The oil giant returned a considerable chunk of that excess cash to shareholders through dividends and share buybacks.
Finding solid returns is the goal of the game when it comes to stock investing, and investors of all stripes are always on the lookout for a reliable strategy. One common mode, followed by retail investors seeking accurate clues for stocks on the way up, is keep track of insider trades. Corporate insiders are company officers, in high positions, with responsibility to Board members and shareholders alike for bringing in profits and stock price gains. Their positions give them a deeper knowledge

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Some of the fastest-growing jobs in the U.S. are related to the field of computer science. In fact, the U.S. Bureau of Labor Statistics predicts that computer science jobs will grow 21% between 2021 and 2031. These in-demand jobs, though, typically require candidates to have a master’s degree. 
As a result, more top universities have decided to offer computer science master’s degree programs to meet the growing industry demand. Most recently, the University of Illinois at Urbana—Champaign, which Fortune ranks as having the best online master’s in data science program in the country, announced the launch of its professional master of computer science program (MCS) to be hosted in Chicago. 
“Given that so many high paying jobs in today’s society require computing skills, an education in a computing-related field is an excellent means for social mobility,” Nancy M. Amato, the Abel Bliss professor of engineering and head of the University of Illinois Computer Science Department, tells Fortune.
Students can choose to pursue the degree solely in-person or through a hybrid model in which they take some courses in Chicago. The school also offers a full-time, on-campus master’s in computer science degree program at its Urbana-Champaign campus and a fully online master’s in computer science through Coursera.
“We have consistently seen that demand for all Illinois computer science programs—throughout the University of Illinois system—far outstrips supply. Additionally, demand for computer scientists everywhere is skyrocketing; and Chicago is no exception,” Amato says. “We want to meet students where they are, and we can accomplish this through our new professional MCS program in Chicago.”
The new hybrid computer science master’s program at the University of Illinois is being hosted in partnership with the Discovery Partners Institute (DPI), a unit of the University of Illinois System that’s focused on tech talent development, applied research and development, and tech business building. 
“The labor market is at its tightest in recent memory, and demand for computer scientists is skyrocketing,” Bill Jackson, DPI executive director, said in a statement. “The addition of this program creates a clear next step for UIUC graduates to stay in state and get another degree from one of the best computer science programs in the world.”
The partnership will support Chicago by providing more resources to address the demand for highly skilled computer science gradutes, Amato says. 
“This program will help us to retain elite computer scientists now in Chicago who oftentimes seek employment or graduate school on the coasts,” she adds. “Producing more graduates in this field across the UI System will bolster the state’s economy.”
The program is cohort-style, and students must complete 32 hours of coursework to graduate, but the program does not include a thesis or dissertation assignment. The curriculum is the same across the university’s other MCS offerings and is taught by the same faculty.
Applications for the upcoming cohort, which starts in January, are due Oct. 31, 2022. The GRE isn’t required to apply. The estimated cost for part-time and full-time Illinois residents is $19,320 to $25,760, respectively. For nonresidents it’s $36,798 for part-time and $49,064 for full-time, according to Illinois’ director of graduate programs.
See how the schools you’re considering fared in Fortune’s rankings of the best master’s degree programs in data science (in-person and online), nursing, computer science, cybersecurity, psychology, public health, and business analytics, as well as the doctorate in education programs and MBA programs (part-time, executive, full-time, and online).

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KTLA
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by: Rachel Menitoff
Posted: Oct 3, 2022 / 10:53 PM PDT
Updated: Oct 4, 2022 / 06:27 AM PDT
by: Rachel Menitoff
Posted: Oct 3, 2022 / 10:53 PM PDT
Updated: Oct 4, 2022 / 06:27 AM PDT
A Studio City homeowner has been released from the hospital and is facing a long recovery after allegedly being attacked with a metal pole by a homeless man outside of his home.  
According to the victim’s wife, Cecilia Guile, two men had set up a campsite in a wooded area near their driveway, just off busy Ventura Boulevard, and had been there for several days.  
“I want to feel safe, and I never thought they would be violent, but you know, I unload my groceries here and I want to be able to do that without having to look over my shoulder and worry,” Guile told KTLA. 
Guile said that she called police but was told there was not much they could do other than ask the men to leave. 
When the problems continued, Guile’s husband, who did not want to be identified, stepped in and asked the men to relocate.  
According to Guile, that’s when one of the men became violent and started striking her husband from behind with a metal pole.  
Her husband was rushed to the hospital with a broken scapula and three fractured ribs.  
“It could have been a lot worse,” Guile told KTLA. “If he had been hit over the head or in the spinal column, he wouldn’t be here, and I really don’t want that to happen to anyone else.”  
Steve Down, Guile’s neighbor, heard the attack from his balcony.  
“We hear people arguing, homeless people in the neighborhood, frequently, but this one sounded very violent,” Down said. “I could hear a physical fight happening and I heard the word ‘kill,’ somebody was saying. So I called 911 at that point.”  
In security footage shared with KTLA by Down, one of the men can be seen leaving his front yard. Guile said it’s the same man who she believes attacked her husband before leaving the area.  
Guile said she has now filed paperwork with the Los Angeles Police Department to get signage that lets people know about the consequences of trespassing.  
“I, as a citizen, have rights and I want to feel safe,” she told KTLA.  
The neighborhood has also gotten together to install fencing and other kinds of protections in the area.  
Down told KTLA that since the pandemic, the area where they live attracts quite a few homeless encampments.  
“I think they’ve left for now, but the area, where it is, right off of Ventura Boulevard, somebody will move in shortly,” he said.  
Down also said he’s reached out to the senior lead at LAPD, to his council members and to the Mayor’s office in hopes of bringing attention to the issues.  
Anyone who may recognize the man in the video is urged to contact LAPD.  
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