《紐約時(shí)報(bào)》2018年度十佳美劇

TV gets better and better, but it does not necessarily do so in a straight line.

電視會(huì)越來(lái)越好，但變好的軌跡未必是直線。

The first several months of 2018, I worried I might have a hard time filling this list. The last half of the year, though, came on with a burst of creativity that kept me adding and subtracting to the last minute.

2018年頭幾個(gè)月，我曾擔(dān)心這份清單會(huì)很難做。而到了后半年，創(chuàng)造力迸發(fā)，讓我在最后一刻還在增減這份清單。

This is one reason I don’t rank it in order. I’d be lying if I told you I liked my No. 7 show measurably better than No. 8, and you could make a solid Top 10 out of my near-misses (“Babylon Berlin,” “Crazy Ex-Girlfriend” and “Better Call Saul” among them).

這是我不給清單排名的原因之一。如果我告訴你，我對(duì)第7名的喜愛(ài)遠(yuǎn)勝第8名，那是在撒謊，而即便是用差了一點(diǎn)點(diǎn)沒(méi)有被我選上的劇，也可以做出一份妥妥的十佳清單(比如《巴比倫柏林》、《瘋狂前女友》和《風(fēng)騷律師》)。

‘The Americans’ (FX) 《美國(guó)諜夢(mèng)》(The Americans，F(xiàn)X頻道)

You had to know the ending was going to hurt. The final season of this family spy drama with a melancholy heart as big as Mother Russia brought the long con of Elizabeth and Philip Jennings (Keri Russell and Matthew Rhys) to an end. The devastating, though largely bloodless, finale stayed true to the series’s theme that often the greatest sacrifices you make for a doomed cause are emotional. (Streaming on Amazon.)

你得知道結(jié)局會(huì)很傷人。這部家庭間諜劇有著《俄羅斯媽媽(Russian Mom)》一般巨大的陰郁內(nèi)核，在最后一季，伊麗莎白和菲利普·詹寧斯夫婦(凱麗·拉塞爾[Keri Russell]和馬修·瑞斯[Matthew Rhys]扮演)的長(zhǎng)線騙局走到了終結(jié)。結(jié)局雖然悲慘，但大體上并未流血，且保持了該劇的主題，即你為一項(xiàng)沒(méi)落事業(yè)所做的最大的犧牲往往是令人動(dòng)情的。(亞馬遜的視頻流點(diǎn)播)

‘America to Me’ (Starz) 《美國(guó)于我》(The America to Me，Starz頻道)

I cringe when critics say, “You have to watch this” — there’s no better way to make TV sound like a chore. But this 10-part documentary, set at a racially integrated school in Oak Park, Ill., was not homework. The sprawling, nuance-minded story explored the difficulties of racial inequity, even in a socially conscious school. But more than that, it was an involving, big-hearted story of kids, their dreams, their challenges, their triumphs and their everyday drama. You don’t have to watch “America to Me.” But you’ll be glad if you do. (Streaming on Starz.)

當(dāng)劇評(píng)人們說(shuō)“你必須得看這個(gè)”的時(shí)候，我還挺猶豫，因?yàn)檫@太容易把看劇變成一種負(fù)擔(dān)了。但這部發(fā)生在伊利諾伊州橡樹(shù)園(Oak Park)，以多種族混合學(xué)校為背景的十集紀(jì)錄片，并不是家庭作業(yè)。故事進(jìn)展緩慢、處理精妙，探索了種族不平等的困難之處，甚至是在一個(gè)有社會(huì)意識(shí)的學(xué)校。但還不止于此，它是一個(gè)代入感強(qiáng)，有著寬闊胸懷的故事，它是關(guān)于孩子、關(guān)于他們的夢(mèng)想、他們的挑戰(zhàn)、他們的勝利和喜怒哀樂(lè)的。你不一定要看《美國(guó)于我》。但如果你選擇看的話我會(huì)很高興。(Starz視頻流)

‘Atlanta Robbin’ Season’ (FX) 《亞特蘭大》第二季(Atlanta Robbin，F(xiàn)X頻道)

The second season of “Atlanta” had a theme: money, scams and the precarious struggle of its characters on the periphery of the hip-hop business to hang on to what they have. But this creation by Donald Glover and company also retained its ability to become anything from episode to episode: gothic horror in the episode “Teddy Perkins,” picaresque comedy in “Barbershop” and poignant coming-of-age in “F.U.B.U.” At a peak moment for pop-culture Afro-surrealism (“Random Acts of Flyness” on TV, “Sorry to Bother You” in the theaters), “Atlanta” remained the kingpin. (Streaming on FX Plus.)

《亞特蘭大》第二季的主題：金錢(qián)、騙局和角色們?yōu)樽プ∈种兴械亩谖膺吘壍拇嗳鯍暝５萍{德·格洛弗(Donald Glover)等人的這部劇仍然擁有在每集之間變化無(wú)窮的能力：“Teddy Perkins”的哥特恐怖，“Barbershop”的惡漢喜劇，以及“F.U.B.U.”中沉痛的成年故事。在非裔超現(xiàn)實(shí)主義流行文化(電視系列片《隨機(jī)機(jī)智行為》和電影《扮工室上位攻略》)的巔峰時(shí)刻，《亞特蘭大》仍是扛鼎之作。(FX Plus流媒體播出)

‘Barry’ (HBO) and ‘Killing Eve’ (BBC America) HBO出品的《巴里》(Barry)和BBC America出品的《殺死伊芙》(Killing Eve)

I pair these shows together not to cheat an extra show into my list — well, maybe a little bit — but because they’re two sides of a bloody coin. Both are mordant stories about assassins: Barry (Bill Hader), a burned out ex-soldier who longs to become an actor, and Villanelle (Jodie Comer), a gleeful huntress playing cat-and-mouse with an intelligence-agency bureaucrat (Sandra Oh). But beyond the obvious, these two stories show how some of today’s best TV exists in a gray area between genres. “Barry,” a half-hour “comedy” from Hader and Alec Berg, developed into something closer to a melancholy short drama; the creator Phoebe Waller-Bridge infused “Eve” with the brio of a dark comedy, though its hour length marked it as “crime drama.” Label them what you like; each hit its target. (“Barry” is streaming on HBO; “Killing Eve” is streaming on Hulu.)

我將這兩部劇放在一起，不是為了耍賴(lài)多塞一個(gè)劇進(jìn)榜單——當(dāng)然了，可能有那么點(diǎn)兒——而是因?yàn)樗鼈兪且幻堆扔矌诺膬擅?。兩部都是關(guān)于刺客的尖酸故事：巴里(比爾·哈德?tīng)朳Bill Hader]飾)是個(gè)心灰意懶的退伍軍人，渴望去當(dāng)演員，Villanelle(朱迪·科默[Jodie Comer]飾)是一個(gè)歡快的女獵手，和情報(bào)局官僚(吳珊卓[Sandra Oh]飾)玩起了貓捉老鼠的游戲。但在表面之下，這兩則故事顯示出當(dāng)今最佳的一些劇集如何存在于不同題材之間的灰色地帶?！栋屠铩肥枪?tīng)柡蛠喠?middot;博格(Alec Berg)的半小時(shí)“喜劇”，漸漸轉(zhuǎn)向了陰郁的短劇;在《殺死伊芙》里，編劇菲比·沃勒-布里奇(Phoebe Waller-Bridge)給“伊芙”注入了黑色喜劇色彩，雖然一小時(shí)的長(zhǎng)度讓它被打上了“犯罪正劇”的標(biāo)簽。但是不管你管它們叫什么，它們都達(dá)到了各自的目的。(《巴里》在HBO上流媒體播出;《殺死伊芙》在Hulu上流媒體播出。)

‘BoJack Horseman’ (Netflix) 《馬男波杰克》(BoJack Horseman，Netflix)

All things being equal, I prefer not to list the same show two years in a row. (This was the tiebreaker that barely eliminated “The Good Place.”) “BoJack” is a pristine example; after five seasons, it is so perceptive, moving and hilarious that it is easy to imagine it cemented on this list permanently. Threading a nuanced arc about the #MeToo movement with a running joke about a robot built out of household appliances and sex toys, the season solidified this cartoon’s case as the best series ever made for streaming. (Streaming on Netflix.)

在所有條件相同的情況下，我不想連續(xù)兩年列出同一部劇。(這是《善地》[The Good Place]最終未能入選的決定因素。)《馬男波杰克》是第一次破例;經(jīng)歷了五季，它還是那樣敏銳、動(dòng)人和歡快，不難想象它永遠(yuǎn)留在這個(gè)名單上。這一季通過(guò)一個(gè)用家用電器和性玩具制造的機(jī)器人作為老梗，串起了關(guān)于“#我也是”(#MeToo)運(yùn)動(dòng)的微妙敘事弧，鞏固了這部卡通片身為流媒體制作的最佳劇集地位。(通過(guò)Netflix流媒體觀看。)

‘The Good Fight’ (CBS All Access) 《傲骨之戰(zhàn)》(The Good Fight，CBS All Access)

The second season of “The Good Fight” was the first great TV response to the election of Donald Trump, which has been marked mostly by a glut of late-night comedy and nostalgia revivals. As the firm of Diane Lockhart (Christine Baranski) dove into the politics and conflicts of the Trump era — immigration, judicial appointments, #MeToo and a certain rumored Russian-hotel tape — what had been a perfectly decent sequel to “The Good Wife” returned invigorated, absurdist and energized for battle. (Streaming on CBS All Access.)

《傲骨之戰(zhàn)》的第二季屬于電視界對(duì)唐納德·特朗普當(dāng)選的早期精彩回應(yīng)，其主要標(biāo)志是大量深夜喜劇和懷舊復(fù)興。隨著黛安·洛克哈特(克里斯汀·芭倫斯基[Christine Baranski]飾)的事務(wù)所深入了解特朗普時(shí)代的政治和沖突——移民，司法任命，“#我也是”運(yùn)動(dòng)和一些傳聞中的俄羅斯酒店錄音帶——這部《傲骨賢妻》(The Good Wife)的絕妙續(xù)集恢復(fù)了活力和荒誕感，再度充滿了戰(zhàn)斗活力。(通過(guò)CBS All Access流媒體觀看。)

‘Homecoming’ (Amazon) 《歸鄉(xiāng)》(Homecoming, 亞馬遜)

This defense-industry conspiracy thriller moved with military efficiency and artistic stealth. Julia Roberts’s first starring role for TV was her best in years, and she turned in an astonishing, finely calibrated performance. Adapting the series from a podcast drama, the director Sam Esmail applied the cinephilic wizardry he honed on “Mr. Robot” to a take on the paranoid thrillers of the ’70s. Best of all, the whole season took a mere 10 half-hour episodes, which flew by but possessed the screen as if they had all the time in the world. (Streaming on Amazon.)

這部國(guó)防業(yè)陰謀驚悚劇中的軍事效率和藝術(shù)性的偽裝打動(dòng)人心。朱莉婭·羅伯茨(Julia Roberts)第一次出演電視劇，這也是她多年來(lái)的最佳角色，她帶來(lái)了令人驚訝、極為精準(zhǔn)的表演。該劇由播客廣播劇改編而來(lái)，導(dǎo)演山姆·艾斯梅爾(Sam Esmail)運(yùn)用了他在《黑客軍團(tuán)》(Mr. Robot)中爐火純青的電影手法，呈現(xiàn)出1970年代妄想狂驚悚片的效果。最精彩的是，這部全季10個(gè)半小時(shí)的劇中，情節(jié)飛馳而過(guò)，但又不慌不忙，好像有的是時(shí)間。(通過(guò)亞馬遜流媒體觀看。)

‘Lodge 49’ (AMC) 《49號(hào)旅社》(Lodge 49，AMC)

Every year there’s a show or two for which my honest review is: “I can’t describe this. Just watch it.” “Lodge 49” gets to its story eventually, enfolding real estate, surfing and the arcane secrets of alchemy. But this comic-melancholy hangout is most worth watching for its generous portraits of the strivers and losers at and around a fraternal lodge in down-and-out Southern California. Oddball and amiable, “Lodge 49” looked for meaning in sports-bar restaurants and closing aerospace factories, and it found a peculiar magic. (Streaming on AMC.)

每年總會(huì)有一兩部劇，真讓我評(píng)論的話，我只能說(shuō)：“我無(wú)法形容。只能自己看。”《49號(hào)旅社》最終講完了它的故事，其中包括房地產(chǎn)、沖浪，以及煉金術(shù)的神奇秘密。但這個(gè)漫畫(huà)般的憂郁聚會(huì)場(chǎng)所最值得一看的，是它為破敗南加州這個(gè)兄弟會(huì)之內(nèi)及周邊那些努力者和失敗者描繪的大量肖像。古怪而又可親，《49號(hào)旅社》在體育酒吧餐廳和關(guān)閉的航空工廠當(dāng)中尋找意義，它發(fā)現(xiàn)了一種奇特的魔力。 (通過(guò)AMC流媒體觀看。)

‘Pose’ (FX) 《姿態(tài)》(Pose，F(xiàn)X)

On the demanding floor of New York’s 1980s ballroom competitions, the judging standard was flawlessness. But to me, moments of transcendence matter more than lack of faults. And in those moments, Ryan Murphy’s resplendent series soared like a plumed miracle. “Pose” had clumsy and oversentimental aspects. But it also had an immediate verve, cut-to-the-bone performances and heart to spare. I’ll probably think of “Pose” more than anything else when I think of 2018 TV, and if that’s not the definition of “best,” then it’s something better. (Streaming on FX Plus.)

在紐約1980年代舞廳競(jìng)賽的那些苛刻的舞池里，評(píng)判的標(biāo)準(zhǔn)就是完美無(wú)缺。但對(duì)我來(lái)說(shuō)，超驗(yàn)的瞬間比不出錯(cuò)更重要。瑞安·墨菲(Ryan Murphy)這部精彩的劇集，就是在這種瞬間里恣意飛揚(yáng)。《姿態(tài)》有笨拙和過(guò)分傷感的方面。但它也有一種直接的韻味，切入內(nèi)心的表演和充沛的感情。提到2018年的電視劇時(shí)，我可能最多還是會(huì)想到《姿態(tài)》，如果這不意味著它是年度“最佳”，那么可能比“最佳”還要好。(通過(guò)FX Plus流媒體觀看。)

‘Sharp Objects’ (HBO) 《利器》(Sharp Objects，HBO)

I teetered between this limited series and the excellent “My Brilliant Friend” for what you might call the HBO literary-adaptation slot. “Sharp Objects,” adapted by Marti Noxon from the novel by Gillian Flynn, was the more inventive reimagining for the screen, and thus better TV as TV. Noxon captured the open-wound psyche of Camille Preaker (a wholly committed Amy Adams). The director, Jean-Marc Vallée, created a soundscape and aesthetic that was almost tactile: You could feel the humidity, hear the lazy insects. Few series have done so well at putting you in a protagonist’s mind and in her world. (Streaming on HBO.)

我在這部有局限的劇和優(yōu)秀的《我的天才女友》之間猶豫，不知哪部才是HBO的最佳文學(xué)改編。由馬蒂·諾克森(Marti Noxon)改編自吉莉安·弗林(Gillian Flynn)小說(shuō)的《利器》，為電視屏幕進(jìn)行了更具創(chuàng)造性的重構(gòu)，因此作為電視劇來(lái)說(shuō)更勝一籌。諾克森捕捉了卡米爾·普里克(由全心投入的艾米·亞當(dāng)斯[Amy Adams]飾演)深受創(chuàng)傷的心理。導(dǎo)演讓-馬克·瓦雷(Jean-MarcVallée)創(chuàng)造了幾乎觸手可及的音景與美學(xué)：你可以感受到空氣的濕度，聽(tīng)到昆蟲(chóng)懶散的聲音。很少有哪些劇集能夠如此精美，讓你能夠走進(jìn)主角的內(nèi)心和她的世界。(通過(guò)HBO流媒體觀看。)