(单词翻译:单击)
The arena was saturated with Yellowstone paraphernalia.
活动舞台上摆满了《黄石》的各种道具。
Attendees took selfies with cardboard cutouts of the characters.
出席人员与这些人物的人形纸板牌自拍。
A Yellowstone store sold mugs, T-shirts, jewelry, and dinnerware adorned with the signature stylized Y that’s the brand of the Yellowstone ranch.
《黄石》的一家商店出售马克杯、T恤、珠宝和成套餐具，这些商品都带有典型标识“Y”，这是《黄石》牧场的标牌。
The literal one: The Duttons stamp it on their cattle, as well as on some of their cowboys.
字面解释是: 达顿们将这个字母印在他们的牛上，一些牛仔也会将其印在自己身上。
Sheridan insists that Yellowstone is not a “red-state show.”
谢里丹坚持认为《黄石》并非一部“红州(美国共和党占据绝对优势的州)电视剧”。
“They refer to it as ‘the conservative show’ or ‘the Republican show’ or ‘the red-state Game of Thrones,’” he told me.
“他们称其为‘保守派剧’、‘共和党剧’、‘红州的权力游戏，’”他告诉我。
“And I just sit back laughing. I’m like, ‘Really?’ The show’s talking about the displacement of Native Americans and the way Native American women were treated and about corporate greed and the gentrification of the West, and land-grabbing. That’s a red-state show?”
“我只是坐在那里大笑。我心想，‘真是如此吗?’ 这部剧讨论的是美国原住民的流离失所，以及美国原住民女性被对待的方式，还有企业的贪婪，西部地区的仕绅化以及土地掠夺。这真是一部红州剧吗?”
Sheridan is right that the show’s politics are not easy to pin down.
谢里丹说得对，这部剧的政治观点并不容易确定。
Yes, its red-state milieu—all those guns and horses and big, open vistas—along with its veneration of honest toil, cowboy masculinity, violence, and characters who have a general resistance to change may have drawn rural dads who fear, like John Dutton, the end of their own ways of life in a changing America.
是的，这部剧的红州环境（枪炮、马匹和广阔的远景）以及对诚实劳作、牛仔男子气概和暴力的崇拜，还有对抵制变革的人物的崇拜，这些可能吸引了像约翰·达顿这样的农村父亲，他们担心自己的生活方式在不断变化的美国走向终结。
But Yellowstone doesn’t have an explicit ideology that maps onto a traditional red–blue spectrum.
但《黄石》并没有明确的、映射传统红蓝光谱的意识形态。
It’s a mishmash of generally anti-capitalist, anti-modernist populism; pro-rancher libertarianism; conservative environmentalism; and a sympathetic, pro–Native American revolt of the oppressed.
这部剧糅杂了普遍的反资本主义、反现代主义的民粹主义; 支持牧场主的自由主义; 保守的环保主义; 这部剧还同情以及支持美洲原住民受压迫者进行反叛。
The series isn’t a sop to conservative values, or at least it’s not only that.
这部系列剧并不是为了迎合保守的价值观，或者至少不仅仅是这样。
What Sheridan is up to is slyer, or maybe just more muddled.
谢里丹想要传达的更隐晦，或者可能只是更混乱。
Sheridan told me he aims to do “responsible storytelling,” to depict the moral consequences of certain behaviors and decisions.
谢里丹告诉我，他的目标是“负责任的讲故事”，描述某些行为和决策产生的道德后果。
He says he was strongly influenced by Clint Eastwood’s 1992 film, Unforgiven, which “upended” the black-hat/white-hat conventions of the traditional Western.
他表示他深受克林特·伊斯特伍德1992年的电影《不可饶恕》的影响，这部电影“颠覆”了传统西部片中坏人戴黑帽、好人戴白帽的传统。
Eastwood “let the sheriff be a bully and the hero be this drunken, vicious killer.”
伊斯特伍德“让警长成为一个恶霸，让英雄成为一个醉醺醺的邪恶杀手。”
He “shattered the myth of the American Western,” Sheridan said.
他“打破了美国西部片的神话，”谢里丹说。
“So when I stepped into that world, I wanted there to be real consequences. I wanted to never, ever shy away from, This was the price.”
“所以当我踏入那个世界时，我希望是真实的结果。我想永远、永远都不要逃避，这就是代价。”
