《紐約時(shí)報(bào)》選出2017十佳美劇！最離奇、最燒腦的都在這

Like an obscene image spray-painted on your car, this docu-parody was an out-of-nowhere surprise, but in this case a welcome one. It began as a raunchy sendup of true-crime documentaries, developed into an astute comedy of teen social-media mores and ended up a surprisingly moving study of how pigeonholing kids can set them onto a life path before they have the chance to learn who they really are.

這部惡搞紀(jì)錄片的電視劇就像出現(xiàn)在你汽車上的色情涂鴉一樣，完全讓你出乎意料，不過(guò)是驚喜的那種。本劇的開頭是一段對(duì)真實(shí)犯罪紀(jì)錄片的黃暴惡搞模仿，隨后發(fā)展為一部關(guān)于青少年社交媒體習(xí)俗的精彩喜劇，最后出人意料地演變?yōu)橐粋€(gè)感人的故事，探討不同背景的孩子在還沒有機(jī)會(huì)了解自己到底是誰(shuí)的情況下，如何走上人生之路。

Better Things 《更美好的事》

Pamela Adlon elevated the second season of her comedy into a raw and poetic story of the feverish love-hate relationship between three generations of mothers and daughters. (That Louis C.K., disgraced for sexual offenses, wrote much of the season should not overshadow Ms. Adlon’s feat as creator, star, writer and director.) The show is devastating without being sentimental, and Ms. Adlon’s Sam Fox is one of the best character studies on TV today.

帕梅拉•阿德隆在第二季將這部喜劇升華為一個(gè)質(zhì)樸而充滿詩(shī)意的故事，講述了三代母女之間的愛恨情仇(本季大部分內(nèi)容是因性侵而聲名狼藉的路易斯•C•K創(chuàng)作的，但這掩蓋不了阿德隆作為主創(chuàng)、主演、編劇和導(dǎo)演的成就)。這部電視劇令人悲痛，卻不過(guò)于感傷，阿德隆飾演的山姆•?？怂故侨缃駸善辽弦粋€(gè)最好的角色研究案例。

Crazy Ex-Girlfriend 《瘋狂前女友》

The third season, beginning this fall, interrogated the “crazy” in Rachel Bloom’s musical comedy of obsession by exploring her character Rebecca’s diagnosis with borderline personality disorder — while still delivering multiple spot-on song parodies a week.

《瘋狂前女友》是一部關(guān)于迷戀的音樂喜劇，今年秋季播出的第三季探討了麗貝卡(蕾切爾•布魯姆飾)的邊緣性人格障礙，展現(xiàn)了主角瘋狂的一面，而且每周依然能夠奉上多首恰到好處的滑稽歌曲模仿。

The Deuce 《墮落街傳奇》

“This is my job,” Candy (Maggie Gyllenhaal), a prostitute hoping to become a porn mogul, tells a discount-seeking client in this series’ pilot. A drama about the 1970s sex business, on a channel with a penchant for salacious sex, could have gone wrong in many ways. It went right, very right, because David Simon and his collaborators (including female writers and directors) treated sex work as work: an economic system with dangers, calculations and financial and physical pressures.

“這是我的工作，”希望成為色情業(yè)大亨的妓女坎迪(瑪吉•吉倫哈爾飾)在該劇的試播集中對(duì)一個(gè)試圖砍價(jià)的客戶說(shuō)。這部講述上世紀(jì)70年代性交易行業(yè)的電視劇在一個(gè)偏愛色情題材的頻道上播出，在很多方面都可能跑偏。但《墮落街傳奇》沒有，一點(diǎn)都沒有，因?yàn)榇笮l(wèi)•西蒙和他的同事(包括女性編劇和導(dǎo)演)把性工作視為一種工作：一種充滿危險(xiǎn)、算計(jì)、財(cái)務(wù)壓力和生理壓力的賺錢方式。

The Good Place 《善地》

The network sitcom with the most insight into life just happens to be full of characters who are dead. This afterlife comedy, about a group of misfits in a troubled paradise, is full of twists I don’t have the room to list or the heart to spoil, but its real appeal is a top-notch cast performing prime time’s most entertaining philosophy lesson.

這部情景喜劇充滿深刻的人生洞見，主角是一群已經(jīng)死去的人。他們死后升入一個(gè)麻煩眾多的天堂，在那里格格不入?！渡频亍返膭∏槌錆M反轉(zhuǎn)，我在這里沒有足夠篇幅詳述，也不忍心劇透。但這部劇真正的吸引力在于，一群頂級(jí)演員在黃金時(shí)間段為觀眾呈上最有趣的哲學(xué)課。

Halt and Catch Fire 《奔騰年代》

The final season of this digital-culture origin story, which began in the early ’80s, took us through the popularization of the World Wide Web. But it also brought full circle the troubled partnership of Cameron (Mackenzie Davis) and Donna (Kerry Bishé), their passion for discovery rekindled by four magic words: “I have an idea.”

這部關(guān)于數(shù)字文化起源的電視劇從上世紀(jì)80年代講起，最后一季帶我們回顧萬(wàn)維網(wǎng)的普及。在這一季里，卡梅隆(麥肯齊•戴維斯飾)和唐娜(凱莉•比什飾)充滿麻煩的合作關(guān)系恢復(fù)如初，他們對(duì)發(fā)現(xiàn)的熱情被那句神奇的話重新點(diǎn)燃：“我有一個(gè)想法。”

Lady Dynamite 《炸天女郎》

Things got weird in 2017. Television seemed at times to be dreaming, serving up ambitious hallucinations like “Legion” and “The Young Pope” as well as surrealistic curiosities like “At Home with Amy Sedaris.” The second season of Maria Bamford’s first-person comedy was the disorienting tops, using fractured storytelling to capture the experience of living and working with bipolar disorder from all angles.

2017年有點(diǎn)詭異，電視機(jī)好像有時(shí)會(huì)做夢(mèng)一樣，播出的作品包括《大群》和《年輕的教宗》等雄心勃勃的虛幻作品，以及《和艾米•塞達(dá)里斯一起在家》等超現(xiàn)實(shí)作品?，旣悂?bull;班福德這部第一人稱敘事喜劇在第二季達(dá)到了混亂的巔峰，采用斷裂的敘事方式，從各個(gè)角度展現(xiàn)了和躁郁癥患者一起生活和工作的經(jīng)歷。

The Leftovers 《守望塵世》

The last season of this series about faith, loss and mystery was constructed like an octagonal chapel, each of its eight episodes a stained-glass window lit with emotion and humor. It may or may not have answered its central question — what happened to millions of people who vanished from the earth — but it was a powerful expression of the ways people soldier on through the unknown.

《守望塵世》是一部關(guān)于信仰、失去和神秘未知的電視劇。該劇最后一季就像一個(gè)八角形的小教堂，每一集就像一扇被情感和幽默照亮的彩色玻璃窗。它可能回答了、也可能沒有回答劇中的核心問(wèn)題——從地球上消失的那數(shù)百萬(wàn)人都怎么樣了——但它有力詮釋了人們應(yīng)對(duì)未知情況時(shí)勇敢向前的樣子。

One Day at a Time 《活在當(dāng)下》

You’d have thought they didn’t make them like this anymore. This reimagining of the 1970s comedy revived a staid genre — the socially conscious, three-camera family sitcom — by updating the characters and their problems. Centered on a Cuban-American family in Los Angeles, the new “One Day” also spotlighted working-class struggles and veterans’ issues, enlivened by crack performances from Justina Machado and Rita Moreno.

你可能認(rèn)為不會(huì)有人再拍這種電視劇了?！痘钤诋?dāng)下》翻拍自上世紀(jì)70年代的同名喜劇，新版通過(guò)塑造新的角色和劇情，讓一種過(guò)時(shí)電視劇類型——關(guān)注社會(huì)問(wèn)題的三攝像頭家庭情景喜劇——重現(xiàn)生機(jī)。新版《活在當(dāng)下》圍繞洛杉磯的一個(gè)古巴裔美國(guó)家庭展開，同樣是關(guān)注工薪階層的艱辛和退伍軍人的問(wèn)題，賈斯蒂娜•馬查多和麗塔•莫雷諾的精彩表演為該劇增添了活力。

Twin Peaks: The Return 《雙峰：歸來(lái)》

The reunion of David Lynch and Mark Frost had a nominal plot: the odyssey of Dale Cooper (Kyle MacLachlan) back from the otherworldly waiting room where he’d spent the 25 years since he last tasted cherry pie. But mainly it was a direct download from the subconscious of Mr. Lynch, who directed every episode: part horror story, part slapstick, all twisted fantasy. It was a well, to paraphrase the mysterious Woodsman, that descended deep and retrieved strange, intoxicating water.

大衛(wèi)•林奇和馬克•弗羅斯特的再度聯(lián)手，名義上合作創(chuàng)作了一個(gè)故事：戴爾•庫(kù)珀(凱爾•麥克拉克倫飾)自從最后一次品嘗櫻桃派之后，在一個(gè)超自然的等候室里度過(guò)了25年的時(shí)光，本劇便是講述他歸來(lái)后的冒險(xiǎn)之旅。不過(guò)，這部劇基本都是按照林奇的想法呈現(xiàn)的，每一集都由他執(zhí)導(dǎo)：它有點(diǎn)像恐怖故事，也有點(diǎn)像鬧劇，充滿怪誕的幻想。用劇中那個(gè)神秘林中人的話說(shuō)，它是一口井，下潛到深處，便可以汲取令人陶醉的奇異之水。