机翻版（机翻新( xīn)闻真的厉害）
《暴乱女郎》剧( jù)评——莎莉·温赖特的更年期( qī)朋克剧是她最优秀的作( zuò)品之一
这部讲述中年女( nǚ)性组建朋克乐队的高水( shuǐ)准电视剧，足以媲美《幸福( fú)谷》和《哈利法克斯最后的( de)探戈》。剧情丰富，扣人心弦( xián)，幽默元素恰到好处。
莎莉( lì)·温赖特的作品应该被纳( nà)入英国国民医疗服务体( tǐ)系（NHS）的处方，作为一种激素( sù)替代疗法。除了雌激素和( hé)孕激素片剂、贴片、凝胶和( hé)喷雾剂来对抗女性身体( tǐ)所面临的各种疾病之外( wài)，医生还可以为那些刚刚( gāng)开始感到“一切都结束了( le)”的女性开出每周一集的( de)《斯科特与贝利》（Scott & Bailey），为那些轻( qīng)微但明显处于围绝经期( qī)的女性开出《哈利法克斯( sī)最后的探戈》（Last Tango in Halifax），之后每天一( yī)小时的《绅士杰克》（Gentleman Jack）来缓解( jiě)更严重的症状，最后，当你( nǐ)完全被更年期的触角缠( chán)住，需要拿出杀手锏来对( duì)抗它时，可以每晚狂刷《幸( xìng)福谷》（Happy Valley）。
现在，我们又多了一( yī)种选择：她的新剧《暴乱女( nǚ)人》（Riot Women），讲述了五个更年期女( nǚ)性面临的问题：这一切何( hé)时才能结束？以及她们该( gāi)如何熬过这段日子？
首先( xiān)，我们认识了贝丝（乔安娜( nà)·斯坎伦饰），她认为这个问( wèn)题的唯一答案就是结束( shù)自己的生命。她给心爱却( què)又迟钝的儿子汤姆（乔尼( ní)·格林饰）写了一张纸条，放( fàng)在钢琴上，正准备离开——这( zhè)时电话响了。是她自私到( dào)近乎恶毒的哥哥马丁打( dǎ)来的，责备她把母亲送进( jìn)养老院，这样会耗尽他原( yuán)本指望继承的遗产，而不( bù)是继续独自照顾她。贝丝( sī)怒斥他，但不足以让她放( fàng)弃既定的计划。直到朋友( yǒu)杰西（洛雷恩·阿什伯恩饰( shì)）打来电话，她才停止执行( xíng)计划。“你想组个摇滚乐队( duì)吗？”
故事由此展开。她们的( de)朋友霍莉（塔姆辛·格雷格( gé)饰）也接到了电话。霍莉刚( gāng)刚结束了她30年的警务生( shēng)涯，她在一家超市逮捕了( le)一名醉酒闹事的女子——当( dāng)时她还正遭受潮热的折( zhé)磨——并收留了她一晚，因为( wèi)她无家可归。第二天早上( shàng)，霍莉认出那个吵闹不堪( kān)的罪犯是凯蒂（罗莎莉·克( kè)雷格饰），当地黑帮老大基( jī)思的女儿。到了第二集，贝( bèi)丝在酒吧里发现凯蒂在( zài)唱卡拉OK，于是把她带到乐( lè)队的第一次排练现场，让( ràng)她担任乐队的新主唱，霍( huò)莉对此更加不高兴。不过( guò)，霍莉也邀请了她那毫无( wú)乐趣的妹妹伊冯娜（阿米( mǐ)莉亚·布尔莫尔饰）来弹吉( jí)他，所以她们俩在可能做( zuò)出糟糕决定这件事上差( chà)不多势均力敌。
再加上一( yī)堆不讨人喜欢的孩子、处( chù)于不同程度痴呆状态的( de)父母、软弱的男人、坏男人( rén)、对员工痛苦漠不关心（而( ér)这些痛苦远不止是感情( qíng)上的伤害）的老板、面对医( yī)疗冷漠而日益严重的身( shēn)体疾病、一个90年代被送养( yǎng)、如今正在寻找生母的婴( yīng)儿——所有这些元素交织在( zài)一起，构成了一锅丰盛而( ér)令人回味无穷的“大杂烩( huì)”，而且分量十足。当然，这部( bù)影片也延续了温赖特一( yī)贯的风格，幽默恰到好处( chù)地贯穿始终，从最轻松的( de)（“罗科在集会上就像一棵( kē)树。爆炸前后都是如此。真( zhēn)是令人心碎”）到最沉重的( de)情节，无不体现着她的幽( yōu)默感。凯蒂13岁时被送去一( yī)所贵族学校，母亲去世后( hòu)，父亲无法忍受她的存在( zài)，最终她被学校开除。“这在( zài)各方面都是一种教育。除( chú)了……教育本身。”
如同温赖特( tè)所有优秀的作品（以及她( tā)之前的黛比·霍斯菲尔德( dé)和凯·梅勒等人的作品），《暴( bào)乱女郎》涵盖了大量内容( róng)，却又不显得冗长乏味，也( yě)不会让观众感到意犹未( wèi)尽。六周后，乐队成员们为( wèi)了参加当地的筹款演出( chū)而努力恢复状态，贝丝也( yě)学会了坚持自我，对抗那( nà)种让她痛苦不堪的隐形( xíng)状态。她与凯蒂的友谊，一( yī)部分源于对她才华的欣( xīn)赏，以及她们共同为“暴乱( luàn)女乐队”（曾考虑过“老女人( rén)部门”作为乐队名称，但最( zuì)终被否决）创作原创作品( pǐn)的兴趣；另一部分则源于( yú)她需要扮演母亲的角色( sè)，而凯蒂，无论她自己怎么( me)想，也需要母爱的呵护。
这( zhè)部剧和《幸福谷》一样，探讨( tǎo)了女性身兼多职、承担着( zhe)日益繁重的照护责任，以( yǐ)及这些责任如何在人的( de)一生中不断演变。孩子们( men)离家后，却从未停止索取( qǔ)。母亲们也变成了孩子，继( jì)续索取。如果你被夹在两( liǎng)者之间，孤身一人，身边又( yòu)没有人可以给予你任何( hé)东西，你会怎么办？你会转( zhuǎn)向同样精疲力竭的朋友( yǒu)们，彼此倾尽所有，互相扶( fú)持。你们形成了一个自给( gěi)自足的圈子，而这个圈子( zi)本身又成为维系整个社( shè)会运转的链条上的一环( huán)。当然，一旦这个圈子破裂( liè)，必将带来灾难性的后果( guǒ)，但像这样拥有如此高水( shuǐ)准和强大演员阵容的电( diàn)视剧，或许能为我们争取( qǔ)更多的时间。
补充：(其实这( zhè)些看乐剧汇都有，俺就是想( xiǎng)在这里团建一下hhh）
网上有( yǒu)up在上传生肉资源，熊家做( zuò)了第一集，还有另一个字( zì)幕组也说会做。
编剧/导演( yǎn) Sally Wainright
文中提( tí)到的的Debbie Horsfield是另一部剧《Age Before Beauty》（焕颜( yán)人生）的编剧
Kay Mellor 也是一位女编剧，出道( dào)作是《加冕街》（某一集或几( jǐ)集吧），作品有《暴力辛迪加( jiā)》《儿童病房》等，感觉在乐剧汇( bàn)都好冷门……
主演 Rosalie Craig 饰 Kitty，是专业( yè)的音乐剧演员，也算开辟( pì)新赛道了，看采访说她也( yě)要做功课学习转变唱法( fǎ)，大家都好厉害！看了一下( xià)乐剧汇条目，已经在《猫头鹰( yīng)谋杀案》《卡萨诺瓦》《后翼弃( qì)兵》等剧里有出演，估计担( dān)主角是第一次。Kitty 是主角，展( zhǎn)现挺多，就不多说废话了( le)。
Joanna Scanlan 饰 Beth，一个隐身的女人，学( xué)校的主任、领养妈妈、离异( yì)女性，还有一位失智的老( lǎo)母。被索取了这么多，拯救( jiù)她的还是给予爱，真是哭( kū)死。短评里有人说 Beth 和 Kitty 比隔( gé)壁《双雌大盗》还好磕，真的( de)！都说“I love you"了！也只有 Kitty 知道她想( xiǎng)自杀，一次次叮嘱她别再( zài)有这念头。照片是看有 up 搬( bān)运的采访里也戴了这个( gè)眼镜，萌萌的。《流人》第四季( jì)也有她！《绅士杰克》也是，作( zuò)品还有《幕后危机》《无意冒( mào)犯》等，获奖作品是剧集《Getting On》（继( jì)续下去）和电影《After love》2020（爱的后事( shì)）。
Tamsin Greig 饰 Holly，这位比较好认，《布莱( lái)克书店》在国内还是挺火( huǒ)的。感觉 Holly 的戏份是除了上( shàng)两位外比较多的了，其实( shí)之前以为是群像，实际还( hái)是以 Kitty 和 Beth 为主，可能她们的( de)遭遇更 drama, 又有交集。其实 Holly 的( de)人生也不轻松，她的两个( gè)儿子槽多无口，母亲患上( shàng)了老年痴呆，妹妹和母亲( qīn)又不太合得来，离婚的老( lǎo)公是警察局上司，警局的( de)环境也不太好，不知道她( tā)当年是怎么过来的。Holly 比较( jiào)像一个老好人，但对男的( de)很刚。不知道后续会不会( huì)再丰富这些角色，这种好( hǎo)剧请多出几季！
Lorraine Ashbourne 饰 Jess，这位( wèi)真的没认出来。作品有《布( bù)里奇顿》《流浪猫鲍勃》《一呼( hū)一吸》《王冠》《不可遗忘》《失魂( hún)舍伍德》等。Jess 是组局的人，像( xiàng)一位调停者，管理一个酒( jiǔ)吧和一大家子人还有这( zhè)个乐队。Jess 的家庭情况也挺( tǐng)复杂，看得人带入很多，最( zuì)后和解还是有第三者介( jiè)入（女儿的女朋友），感觉这( zhè)个实践起来有点困难了( le)。
Amelia Bullmore 饰 Yvonne，这位看的时候想到( dào)她演过的一位 Posh Lady，查了一下( xià)应该是《绅士杰克》里？看过( guò)不少，眼熟但想不起来。《神( shén)探夏洛克》《王冠》《幸福谷》甚( shèn)至《加冕街》……作品真的很多( duō)。 Yvonne 的角色展现不多，一开始( shǐ)有点咄咄逼人，后来又有( yǒu)点萌。没深入说她与母亲( qīn)的关系，期待后续能多展( zhǎn)现一些。后几集有一些吐( tǔ)槽很犀利，就是没有中文( wén)字幕看了个大概。
还有( yǒu)很多《幸福谷》里的演员再( zài)就业，懒得淘了……Jess 女儿的女( nǚ)朋友 Inez 一开始幻视了哈利( lì)波特里的芙蓉，结果人家( jiā)是唐克斯……
最后贴一下原( yuán)文：（英国人嘴真毒）
Riot Women review – Sally Wainwright’s menopausal punk drama is one of her best
By Lucy Mangan
This high-pedigree TV drama about midlife women who form a punk band is up there with Happy Valley and Last Tango in Halifax. It’s rich, plot-packed, and perfectly seasoned with humour
Sally Wainwright should be prescribed on the NHS as a form of HRT. Alongside oestrogen and progesterone tablets, patches, gels and sprays to counter the myriad ills female flesh is heir to, doctors could prescribe a weekly dose of Scott & Bailey for those who are just beginning to feel that Summat’s Up, moving on to Last Tango in Halifax for the lightly but definitely perimenopausal, followed by a daily hour of Gentleman Jack to alleviate more intense symptoms and culminating in a nightly binge of Happy Valley once you’re fully entangled in menopause’s proliferating tentacles and need to bring out the big guns before they drag you under for good.
Now we have an addition to the arsenal: her new drama Riot Women, about a quintet of menopausees facing the question of when all this shite is going to stop and how they are going to manage until it does.
First, we meet Beth (Joanna Scanlan), who has decided that the only answer to this question is to take her own life. A note is written to her beloved but thoughtless son, Tom (Jonny Green), and propped on the piano and she is getting prepared – when the phone rings. It’s her brother, Martin, selfish to the point of viciousness, calling to berate her for putting their mother in a home that will eat up the inheritance he was looking forward to instead of continuing to care for her by herself. Beth roars back at him, but not cathartically enough to turn her from her chosen path. She only stops trying to see her plan through when her friend Jess (Lorraine Ashbourne) rings. “D’you want to be in a rock band?”
And we’re off. The call has gone out to their friend Holly (Tamsin Greig) too. She has just ended 30 years in the police force by arresting a drunk and disorderly woman – further disoriented by a hot flush – in a supermarket and giving her a bed for the night as she has no home to go to. The next morning, Holly recognises the magnificently obstreperous felon as Kitty (Rosalie Craig), daughter of local gangster Keith. She will be even less delighted in episode two when Beth discovers Kitty doing karaoke in a bar and brings her along to the first band rehearsal as their new and soon indispensable singer. Though Holly has also invited her joyless sister, Yvonne (Amelia Bullmore), to play guitar so they are roughly equal on the potentially bad decision-makinge.
Add in a thick sprinkling of unrewarding children, parents at various stages of dementia, weak men, bad men, bosses who cannot or will not address the suffering of employees whose problems run deeper than hurt feelings, mounting physical problems in the face of medical indifference, a baby given up for adoption in the 90s and now looking for his birth mother and you have a rich and moreish stew that is offered up in generous portions. And it is, of course, in Wainwright’s customary manner, perfectly seasoned with humour, from the lightest (“Rocco was a tree in assembly. Before and after an explosion. It was heartbreaking”) to the darkest. Kitty was expelled from the posh school she was sent away to at 13 after her mother died and her father couldn’t stand the sight of her. “It was an education in all sorts of way. Apart from … education.”
Like all Wainwright’s best work (and work by the likes of Debbie Horsfield and Kay Mellor before her), Riot Women covers a lot of ground without getting bogged down or leaving the viewer feeling shortchanged. As the band fights to get into a fit state to play at the local fundraiser in six weeks’ time, Beth learns to stand her ground and fight against the invisibility that did so much to make her miserable. She bonds with Kitty partly through admiration of her talent and their shared interest in writing original material for the Riot Women (“Old Bags’ Department” was considered as a band name but ultimately vetoed) but also because she needs to mother, and Kitty, whatever she thinks, needs mothering.
It is a drama that, like Happy Valley, looks at the multitudinous roles women manage, the caring responsibilities that accumulate and how they evolve over a lifetime. Children leave home but never stop taking. Mothers become children and take some more. What do you do if you are caught between the two, alone, and no one is around to give you anything? You turn to your equally depleted friends, dig deeper and give what you can to each other. You become a self-supporting circle, which itself becomes a link in the chain that can keep an entire society going. There will be merry hell to pay when that breaks, of course, but TV with this sort of pedigree and cast will buy us a little more time.
Riot Women aired on BBC One and is on iPlayer now.
