《傲骨賢妻》劇終 一個美劇時代的完結

Whether you credit Mad Men (2007-2015) orBreaking Bad (2008-2013), TV’s recent renaissancebegan with a literal interpretation of moralrelativism: Man is the measure of all things.

無論你是否對《廣告狂人》(2007-2015)或《絕命毒師》(2008-2013)贊譽有加，(你都不能否認)近期電視熒屏的復興始于對道德相對論的文學解讀：男性是衡量萬物的唯一準則。

And then there was The Good Wife, a TV seriesrevolving around a woman.

這時一部圍繞女人的電視劇——《傲骨賢妻》橫空出世。

Created by Michelle and Robert King in 2009, The Good Wife centers on betrayed politicalspouse Alicia Florrick, played by Julianna Margulies.

《傲骨賢妻》由米歇爾和羅伯特•金夫婦于2009年打造，該劇圍繞著遭遇政客丈夫背叛的妻子艾麗西亞•福洛瑞克(朱麗安娜•瑪格麗絲飾演)展開。

It came to an end on May 8, and it may be the show with the largest and most lastinginfluence, having produced a new kind of heroine, one no longer hamstrung by the traditionalexpectations of easy emotion or instant “likability”.

5月8日，《傲骨賢妻》完結，這部劇最大和最深遠的影響或許就在于創(chuàng)造了一種新式女主人公，她不再被感情簡單的和一眼就能“招人喜歡”的傳統(tǒng)期望拖累。

Shows like House of Cards (2013-), How to Get Away With Murder (2013-), Jessica Jones(2015-) and even Penny Dreadful (2014-) owe as much, if not more, to The Good Wife than anyof their cable peers or even the expanding digital universe. Their female leads continue tostretch boundaries that Alicia Florrick refused to acknowledge.

《傲骨賢妻》對很多劇集的影響遠超其他同期劇，像《紙牌屋》(2013-)、《逍遙法外》(2013-)、《杰西卡•瓊斯》(2015-)、甚至《低俗怪談》(2014-)，它們的流行也有《傲骨賢妻》的功勞。這些劇集中女性主人公也像艾麗西亞•福洛瑞克一樣突破傳統(tǒng)。

With her careful smile and watchful demeanor, Alicia kept her own counsel and refused to becategorized.

艾麗西亞謹慎的微笑和警惕的舉止讓人猜不透她的心思，她獨樹一幟，拒絕被劃歸為某一類人。

Her enigmatic mien was even more surprising given the familiarity of the character. TheGood Wife was a fictionalized look at what happens to a political wife after she’s forced to“assume the position”, between podium and flag, as her erring spouse confesses his sins tothe cameras.

在熟悉了這個人物之后，我們會被她的高深莫測驚呆?！栋凉琴t妻》虛構了一個政客的妻子在丈夫出軌之后繼續(xù)扮演好一個妻子的角色的故事，當她犯了錯的丈夫在鏡頭前懺悔自己的惡行時，她被迫站在演講臺和國旗之間(接受這種屈辱)。

But miraculously, neither Margulies nor the Kings followed the usual script. Alicia wasn’tspunky, plucky or feisty, and she wasn’t visibly wounded, emotionally damaged, fatally self-effacing or popping Valium in the bathroom.

不過，出乎意料的是瑪格麗絲和金氏夫婦都沒有按常規(guī)劇本的套路走。艾麗西亞的表現(xiàn)既不怒氣沖沖也不勇敢、好強，你甚至在她身上看不到傷痕、情感創(chuàng)傷、謙卑，她更不會在浴室里放安眠藥。

With a restraint that bordered on the heroic yet never played as such, Margulies created awhole new type of character. Neither devoid of emotion nor hostage to it, Alicia was a womanwho had learned to control what she could: this moment of her life. Then the next moment ofher life. And so on.

受限于從未有人扮演過類似的女主人公，瑪格麗絲只能自己創(chuàng)造了一個全新的角色。艾麗西亞并非全無感情，但又不受制于感情，她懂得如何控制自己能夠掌控的一切：自己當下的生活。之后再考慮以后的生活等。

She stood alone for many years, both as a character and a presence. Homeland’s (2011-)Carrie Mathison appeared, powerful but, with her grimacing tears and brilliant madness,Alicia’s polar opposite.

多年來她孤獨地獨自承擔著這個現(xiàn)象級的角色。然后《國土安全》(2011-)的女主凱莉•馬蒂松出現(xiàn)了，不過伴隨著她強悍外表的是痛苦的眼淚和絕頂?shù)寞偪?，而艾麗西亞恰恰相反?/p>

Claire Underwood on House of Cards (2013-) shared Alicia’s use of silence and noncommittalstares, but Claire came from a place of near comic-book ruthlessness. She was noeverywoman facing the rubble of betrayal, the demands of work and family, the treachery ofoffice politics.

《紙牌屋》(2013-)中的克萊爾•安德伍德和艾麗西亞一樣擅用沉默和態(tài)度曖昧的眼神，但克萊爾卻有著近似漫畫書中人物般的冷酷無情。面對愛人出軌的狼藉、工作和家庭的重壓、辦公室政治的背叛時，她的表現(xiàn)根本不像普通女人。

Though the Kings chose to end The Good Wife, and end where it began– with Alicia’s husbandfacing jail and she once again asked to define the terms of the show’s title, it really doesn’tmatter. The show has already left its mark: We will see Alicia’s deceptively tranquil gaze andenigmatic power reflected in the faces of increasingly diverse female characters for years tocome.

盡管金氏夫婦選擇用開篇一樣的情節(jié)完結《傲骨賢妻》——艾麗西亞的丈夫面臨牢獄之災，而她又一次被要求當一個和劇名一樣的“傲骨賢妻”，但這已無所謂。劇集早已(在整個行業(yè))留下了自己的印記：艾麗西亞帶有迷惑性的波瀾不驚的眼神和高深莫測的能量，我們將在未來在越來越多的各類女性角色身上看到。