外媒評(píng)選2015大最爛8部美劇

　　The Brink

　　《政局邊緣》

　　Proving that like rival Showtime, HBO could also swing and miss badly, this political comedy felt like it was birthed in a time machine and sent forward to the Platinum Age of Television, where its overacting.

　　這部政治喜劇證明了HBO電視網(wǎng)能和對(duì)手Showtime電視網(wǎng)那樣，播出的劇集水平不穩(wěn)定且有失水準(zhǔn)?！墩诌吘墶汾s腳自己誕生在時(shí)光機(jī)中，被送去電視的鉑金時(shí)代，而整個(gè)就很浮夸演員表現(xiàn)過(guò)猛。

　　Fear the Walking Dead

　　《行尸之懼》

　　For years, fans of AMC's The Walking Dead talked about how they wanted to learn more about the origins of the zombie epidemic, but it probably took them only six hours of this lame spinoff to realize they didn't care that much. The worst thing about Fear the Walking Dead was its lack of urgency. A couple of things happened by the end of the season that hinted at a better show to come, but there was no pleasure at all in getting to that point.

　　這么多年來(lái)，AMC電視臺(tái)《行尸走肉》的粉絲們表達(dá)著他們有多想知道更多僵尸疫病的起源，但對(duì)于這部無(wú)力的僵尸衍生電視劇，他們可能只花上六小時(shí)就能了解自己壓根對(duì)此不感興趣?！缎惺畱帧纷钤愕氖莿∏檫M(jìn)展太拖延。這季末發(fā)生的幾件事暗示接下來(lái)的表演會(huì)更精彩，然而知道這點(diǎn)也不會(huì)讓我們多開森。

　　Flesh and Bone

　　《骨肉之軀》

　　When stars like Sarah Hay, Raychel Diane Weiner, Sascha Radetsky and Irina Dvorovenko were actually dancing, Flesh and Bone achieved some of its lyrical goals, but too often it settled for campy, turgiddrama, superficial and perplexing characterizations and all-too-predictable storytelling.

　　當(dāng)劇中的影星——像莎拉·海伊、瑞秋·戴安娜·韋納、薩沙·瑞德斯基和艾蓮娜·德沃若溫科真的在舞動(dòng)時(shí)，《骨肉之軀》有了一些抒情美，不過(guò)它給人留下的影響基本上是設(shè)定做作浮夸，人物塑造膚淺難懂，故事敘述又毫無(wú)懸念可言。

　　Happyish

　　《難得幸福》

　　Sometimes bad comes out of nowhere and makes you sad. Before his death, Philip Seymour Hoffman was the star of this buzz-heavy pilot and critics were eager to see more. But the show’s failure wasn’t the fault of replacement star Steve Coogan; nobody could save the theatrical, overwritten essays as television that creator Shalom Auslander penned. It was a turgid spectacle that wasted great actors and never felt real for a second (and was canceled).

　　有時(shí)候不好的事沒(méi)由來(lái)地就發(fā)生了，你隨之憂郁。菲利普·塞默·霍夫曼生前曾出演了這部劇的試映集，引起了人們的諸多討論，評(píng)論家們也期待其更多表演。然而(霍夫曼去世讓此劇停更)史蒂夫·庫(kù)根沙接替——這部劇的失敗不能歸結(jié)于此。即使是由洛姆·奧斯蘭德操刀，恐怕也沒(méi)人能把戲劇性且信息量過(guò)大的文章改成電視劇。這部無(wú)聊的劇浪費(fèi)了好演員(凱瑟琳·哈恩、凱莉·普雷斯頓也有參演)，且讓人不想再看第二部(因而也在今年被取消了)。

　　The Slap

　　《一記耳光》

　　There may not have been a more annoying show on television in 2015. The American remake of the Australian show was filled with big stars (Uma Thurman, Peter Sarsgaard, Thandie Newton, Brian Cox, Zachary Quinto), which made it seem like a big deal. The result? A poorly written mess that forced me to the obvious conclusion/joke — that I wanted to slap every person on the show, not just the bratty kid who deserved it. Don’t have a title that makes jokes too easy. That’s annoying, too.

　　2015年也許沒(méi)有哪部電視劇能比它更讓人惱怒了。這部美國(guó)翻拍了澳大利亞的電視劇大腕云集(其中有烏瑪·瑟曼、彼得·薩斯加德、桑迪·牛頓、布萊恩·考克斯和扎克瑞·昆圖)，這它似乎看著像那么回事。可結(jié)果呢?這部寫得一團(tuán)糟的劇讓我不得不下此結(jié)論，或是得到這樣一個(gè)大笑話，那就是，我想給參演此劇的人一個(gè)臉巴子，不僅僅是該讓人扇他的搗蛋小孩。所以說(shuō)取的劇名別這么容易讓人看玩笑!這也很氣人!

　　True Detective

　　《真探》

　　No show in 2015 had such a precipitous drop from well-deserved phenomenon to well-deserved punching bag as Nic Pizzolatto's crime drama. It became a parody of itself, an unrelenting slog ofbelabored misery, hollow red herrings, pointless plot resets, meaningless revelations and excruciatingly heavy-handed father-son dynamics.

　　2015年沒(méi)有一部劇能像尼克·皮佐拉托編寫的犯罪片這樣急轉(zhuǎn)直下，人們本認(rèn)為此劇甚好，可它轉(zhuǎn)眼便被人噴，也算當(dāng)之無(wú)愧。《真探》本身就是一個(gè)笑柄。它不厭其煩地給觀眾抖又臭又長(zhǎng)的悲劇，空洞的不相干之事，無(wú)用的情節(jié)回顧，毫無(wú)意義的內(nèi)情以及父子間粗暴又令人苦惱的互動(dòng)。

　　Truth Be Told

　　《老實(shí)說(shuō)》

　　Everything about it was predictable and dropped on viewers like an anvil. The show that was originally called People Are Talking tried to talk about race with a sledge hammer, making the whole experience feel like something from the ’80s, while series like Black-ish and Fresh Off the Boat are doing a much funnier and more nuanced and effective job of actually being honest.

　　這部劇就像給觀眾扔去了一整塊鐵砧，你一看就知道后續(xù)劇情。這部原來(lái)叫做《人人都在說(shuō)》的劇試著用大錘來(lái)談?wù)撊朔N，使得整個(gè)經(jīng)歷像是二十世紀(jì)八十年代的事。顯然像《喜新不厭舊》和《初來(lái)又乍到》這樣的劇坦言事實(shí)的同時(shí)，更加有趣、更細(xì)致，取得的成效也更好。

　　Wicked City

　　《邪惡之城》

　　Perhaps ABC got a little too full of itself with American Crime and wanted to chase after another "cable drama" of sorts. Except Wicked City was tone-deaf from the start: absurd, offensive, predictable andjuvenile. Stick to the soaps and comedies, ABC.

　　也許播出《美國(guó)重案》后，美國(guó)廣播公司自我感覺(jué)太過(guò)良好，想要探尋另一種類型的有線電視劇。不過(guò)《邪惡之城》從最開始就“五音不全”——這部劇荒謬而唐突，毫無(wú)懸念又不成熟。美國(guó)廣播公司還是專注于肥皂劇和喜劇吧。