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維網(wǎng)的普及。在這一季里，卡梅?。溈淆R?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?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題——從地球上消失的那數(shù)百萬人都怎么樣了——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。《活在當(dāng)下》翻拍自上世紀(jì)70年代的同名喜劇，新版通過塑造新的角色和劇情，讓一種過時(shí)電視劇類型——關(guān)注社會(huì)問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)古巴裔美國家庭展開，同樣是關(guān)注工薪階層的艱辛和退伍軍人的問題，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》

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了25年的時(shí)光，本劇便是講述他歸來后的冒險(xiǎn)之旅。不過，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，它是一口井，下潛到深處，便可以汲取令人陶醉的奇異之水。

英文來源：紐約時(shí)報(bào)
翻譯&編輯：董靜
審校：yaning