(单词翻译:单击)
The Emmy blanking prompted a story in the Daily Mail, of all places, suggesting that Yellowstone—which the conservative New York Times columnist Ross Douthat has called “the most red-state show on television”—is just too “anti-woke” to win favor with Emmy voters.
《黄石》落选艾美奖促使《每日邮报》发了一篇报道，称这部剧太“反觉醒”了，无法赢得艾美奖评委的青睐。《纽约时报》保守派专栏作家罗斯·杜塞称它是“电视上的最红州剧(红色是共和党的代表色，红州是支持共和党的州，偏保守)”。
To date, Yellowstone has never won an Emmy.
迄今为止，《黄石》从未获得过艾美奖。
Its New York–media–focused competitor, Succession, which also debuted in June of 2018, has captured 48 nominations, winning 13 times.
专注于纽约媒体的竞争剧《继承之战》于2018年6月上映，获得了48项提名，赢得了13次奖项。
In September, it won Outstanding Drama Series for a second time.
9月，该剧第二次获得最佳剧情类电视剧奖。
Though very different from each other in setting and sensibility, the two shows are mirror images.
虽然这两部剧在背景和情感上都有很大的不同，但它们互为镜像。
Both have at their core an aging, raging, tyrannical patriarch trying to hold on to an empire (a ranch in one case, a media conglomerate in the other), threatened by a changing world he doesn’t like or understand while trying, Lear-like, to fend off his own heirs, whose fecklessness, incompetence, addictions, and general psychopathology would seem to make them ill-suited for taking the reins of the enterprise.
两部剧的核心都是围绕一位年迈、愤怒、专横的族长展开，他们都试图保住一个帝国(一个是牧场，另一个是媒体集团)，他们都受到不断变化的世界(他们不愿意接受或是不理解这种改变)的威胁，同时又如同李尔王一样，试图抵御自己的继承人，因为他们不负责任、无法胜任、毒品成瘾，普遍的精神障碍似乎使他们不适合接管企业。
Both feature these patriarchs pitting their deeply flawed children against one another in sometimes vicious ways.
这两部剧中的族长都让他们有严重缺陷的孩子相互对立，有时会以恶毒的方式开启竞争。
Both are dark, edgy, and occasionally soapy.
两部剧情节都很黑暗、惊心动魄，偶尔又如肥皂剧一般虚幻。
You can make a parlor game out of drawing parallels between the various characters.
你甚至可以玩一个室内游戏，在不同的角色之间圈出相似之处。
Succession’s highest-rated episode got only about a tenth of the viewers that a typical Yellowstone episode did last season, but it gets more respect.
《继承之战》最火一集的收视率只有上一季《黄石》普通剧集的十分之一，但这部剧却得到了更多的尊重。
To be fair, the disparity in critical acclaim may be due in part to a difference in artistic quality.
公平地说，评论界的褒贬不一可能在一定程度上是由艺术质量上的参差造成的。
Succession has a crackle and a bite that, at its best, gives it the feel of a Restoration drama.
《继承之战》有一张紧张感、刺痛感，最妙的是，给人一种复辟时期戏剧的感觉。
Yellowstone is sappier and messier, owing as much to Dallas as to Sheridan’s professed influences—Cormac McCarthy and the Coen brothers.
《黄石》没有那么讨巧，也更混乱一些，这是因为达拉斯和谢里丹自称的影响力——科马克·麦卡锡和科恩兄弟。
At times Yellowstone betrays the strain on a lone writer who perhaps has been stretched too thin. (Sheridan told me he’s never watched Succession.)
有时，《黄石》暴露了一个孤独的作家的压力，他的弦可能被拉得太紧了。(谢里丹告诉我，他从没看过《继承之战》。)
But the critical disparity is also accounted for by the cultural and political bubbles we’ve sorted ourselves into.
但这种重大差异也是由我们将自己归类的文化和政治泡沫所造成。
Succession—depicting and aimed at coastal elites—makes noise on Twitter and at awards shows.
描绘并瞄准沿海精英的《继承之战》在推特和颁奖典礼上引起了轰动。
Yellowstone is popular in the heartland and Sun Belt, where it’s become not just a TV series but a lifestyle.
《黄石》在中心地带和阳光地带(美国南部北纬37度以南的地区)很受欢迎，它在那里不仅仅是一部电视剧，而且成为了一种生活方式。
In March, I attended the Cactus Reining Classic, an equestrian competition in Scottsdale, Arizona; some of Sheridan’s horses were competing and he was serving as a commentator.
3月，我参加了在亚利桑那州斯科茨代尔举行的仙人掌赛马经典赛(马术竞赛);谢里丹的一些马参加了比赛，而且他担任解说员。
