Whether you credit Mad Men (2007-2015) or Breaking Bad (2008-2013), TV’s recent renaissance began with a literal interpretation of moral relativism: Man is the measure of all things.

无论你是否对《广告狂人》（2007-2015）或《绝命毒师》（2008-2013）赞誉有加，（你都不能否认）近期电视荧屏的复兴始于对道德相对论的文学解读：男性是衡量万物的唯一准则。

And then there was The Good Wife, a TV series revolving around a woman.

这时一部围绕女人的电视剧——《傲骨贤妻》横空出世。

Created by Michelle and Robert King in 2009, The Good Wife centers on betrayed political spouse Alicia Florrick, played by Julianna Margulies.

《傲骨贤妻》由米歇尔和罗伯特•金夫妇于2009年打造，该剧围绕着遭遇政客丈夫背叛的妻子艾丽西亚•福洛瑞克（朱丽安娜•玛格丽丝饰演）展开。

It came to an end on May 8, and it may be the show with the largest and most lasting influence, having produced a new kind of heroine, one no longer hamstrung by the traditional expectations of easy emotion or instant “likability”.

5月8日，《傲骨贤妻》完结，这部剧最大和最深远的影响或许就在于创造了一种新式女主人公，她不再被感情简单的和一眼就能“招人喜欢”的传统期望拖累。

Shows like House of Cards (2013-), How to Get Away With Murder (2013-), Jessica Jones (2015-) and even Penny Dreadful (2014-) owe as much, if not more, to The Good Wife than any of their cable peers or even the expanding digital universe. Their female leads continue to stretch boundaries that Alicia Florrick refused to acknowledge.

《傲骨贤妻》对很多剧集的影响远超其他同期剧，像《纸牌屋》（2013-）、《逍遥法外》（2013-）、《杰西卡•琼斯》（2015-）、甚至《低俗怪谈》（2014-），它们的流行也有《傲骨贤妻》的功劳。这些剧集中女性主人公也像艾丽西亚•福洛瑞克一样突破传统。

With her careful smile and watchful demeanor, Alicia kept her own counsel and refused to be categorized.

艾丽西亚谨慎的微笑和警惕的举止让人猜不透她的心思，她独树一帜，拒绝被划归为某一类人。

Her enigmatic mien was even more surprising given the familiarity of the character. The Good Wife was a fictionalized look at what happens to a political wife after she’s forced to “assume the position”, between podium and flag, as her erring spouse confesses his sins to the cameras.

在熟悉了这个人物之后，我们会被她的高深莫测惊呆。《傲骨贤妻》虚构了一个政客的妻子在丈夫出轨之后继续扮演好一个妻子的角色的故事，当她犯了错的丈夫在镜头前忏悔自己的恶行时，她被迫站在演讲台和国旗之间（接受这种屈辱）。

But miraculously, neither Margulies nor the Kings followed the usual script. Alicia wasn’t spunky, plucky or feisty, and she wasn’t visibly wounded, emotionally damaged, fatally self-effacing or popping Valium in the bathroom.

不过，出乎意料的是玛格丽丝和金氏夫妇都没有按常规剧本的套路走。艾丽西亚的表现既不怒气冲冲也不勇敢、好强，你甚至在她身上看不到伤痕、情感创伤、谦卑，她更不会在浴室里放安眠药。

With a restraint that bordered on the heroic yet never played as such, Margulies created a whole new type of character. Neither devoid of emotion nor hostage to it, Alicia was a woman who had learned to control what she could: this moment of her life. Then the next moment of her life. And so on.

受限于从未有人扮演过类似的女主人公，玛格丽丝只能自己创造了一个全新的角色。艾丽西亚并非全无感情，但又不受制于感情，她懂得如何控制自己能够掌控的一切：自己当下的生活。之后再考虑以后的生活等。

She stood alone for many years, both as a character and a presence. Homeland’s (2011-) Carrie Mathison appeared, powerful but, with her grimacing tears and brilliant madness, Alicia’s polar opposite.

多年来她孤独地独自承担着这个现象级的角色。然后《国土安全》（2011-）的女主凯莉•马蒂松出现了，不过伴随着她强悍外表的是痛苦的眼泪和绝顶的疯狂，而艾丽西亚恰恰相反。

Claire Underwood on House of Cards (2013-) shared Alicia’s use of silence and noncommittal stares, but Claire came from a place of near comic-book ruthlessness. She was no everywoman facing the rubble of betrayal, the demands of work and family, the treachery of office politics.

《纸牌屋》（2013-）中的克莱尔•安德伍德和艾丽西亚一样擅用沉默和态度暧昧的眼神，但克莱尔却有着近似漫画书中人物般的冷酷无情。面对爱人出轨的狼藉、工作和家庭的重压、办公室政治的背叛时，她的表现根本不像普通女人。

Though the Kings chose to end The Good Wife, and end where it began– with Alicia’s husband facing jail and she once again asked to define the terms of the show’s title, it really doesn’t matter. The show has already left its mark: We will see Alicia’s deceptively tranquil gaze and enigmatic power reflected in the faces of increasingly diverse female characters for years to come.

尽管金氏夫妇选择用开篇一样的情节完结《傲骨贤妻》——艾丽西亚的丈夫面临牢狱之灾，而她又一次被要求当一个和剧名一样的“傲骨贤妻”，但这已无所谓。剧集早已(在整个行业)留下了自己的印记：艾丽西亚带有迷惑性的波澜不惊的眼神和高深莫测的能量，我们将在未来在越来越多的各类女性角色身上看到。