以下翻譯自
ttps://www.pastemagazine.com/articles/2016/07/the-44-best-political-tv-shows-of-all-time.html?p=2
譯筆不妥處請不吝指正。
David Simon在 HBO之一流影集所做到的偉大成就，是對壓迫美國城市沉淪的力量用十分透明的方式提出其完全死心的影像。每一季就像愈變愈大的社會性油畫裏的磚頭，從地面開始蓋起──第一季的警察與第二季的碼頭工──漸次擴大包括政治人物（第三季）、教師（第四季）和記者（第五季）。所有這些體制都卡在一種惡性循環，那就是清高理想遭到嚴酷現實所擊倒。「火線重案組」將焦點放在那些受困於這個壞掉系統中的人物，常用令人心酸的簡潔手法，給我們看這是怎麼發生的與為何發生，並且還會繼續發生，即使有些勇往直前的遠見之士──像第三季的“Bunny” Colvin（Robert Wisdom飾）帶了他那大膽的「Hamsterdam」實驗──努力帶動變革，也沒有用。如果說個人的事永遠是政治的事，此言為真，則「火線重案組」便是一件偉大的政治藝術品：它繪出一幅濃濃悲觀的大畫，而又決不丟下裏頭的個人故事。（Kenji Fujishima撰）
The great achievement of David Simon’s stellar HBO series lies in the sheer clarity with which it articulates its despairing vision of the oppressive forces that keep American cities down. Each season is like a brick in an ever-expanding social canvas, starting from the ground up—police officers in Season One and dock workers in Season Two—and eventually broadening to include politicians (Season Three), schoolteachers (Season Four) and journalists (Season Five). All of these institutions are locked in a vicious cycle of high-minded ideals beaten down by harsh realities. The Wire, by focusing on the human figures trapped in this broken system, shows us, with often heartbreaking lucidity, how and why this happens, and may keep on happening even as hard as some bold visionaries—like Season Three’s “Bunny” Colvin (Robert Wisdom) with his daring “Hamsterdam” experiment—try to enact change. If it is true that the personal is always political, then The Wire stands as one of the great political works of art: one that paints a deeply pessimistic big picture, while never forsaking the personal stories within.—Kenji Fujishima
另請閱讀黃崇凱〈在絕望與憤怒之間〉文。
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