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The African American-owned firm at the show's center was built on the legacy of a fictional civil rights icon.
該劇所圍繞的這個(gè)非裔美國人創(chuàng)辦的律所，建立在虛構(gòu)的民權(quán)圖標(biāo)的遺產(chǎn)之上。
But more white lawyers are joining the firm—"diversity hires," managing partner Adrian Boseman jokes at the beginning of Season 1—and by Season 3, it's complicated.
但更多的白人律師加入了這家律所，執(zhí)行合伙人阿德里安·博斯曼曾在第一季開頭時(shí)，開玩笑地稱其為“多元化雇傭”，而到第三季時(shí)，情況變得更為復(fù)雜。
In a recent episode, the firm's black employees call out the partners for paying new white employees more than black associates.
在最近的一集中，合伙人給新入職的白人員工支付的費(fèi)用高于黑人，致使律所的黑人員工號召罷工。
They're outraged, disappointed, and disillusioned. Management hears them out,
他們感到憤怒、失望，而且幻想破滅。管理層聽取了他們的意見。
but in the privacy of his office, Boseman (Delroy Lindo) justifies the practice to his partner and ex-wife, Liz Reddick (Audra McDonald).
但私下在辦公室中，博斯曼（戴爾里·林多扮演）為他的合伙人，同時(shí)也是他的前妻利茲·雷德迪克（奧德拉·麥克唐納扮演）的做法辯護(hù)。
"The ugly truth is, women are valued less than men because we think men can leave us for better-paying jobs,
“丑陋的事實(shí)是，女性的價(jià)值低于男性，因?yàn)槲覀冋J(rèn)為男性可以離開我們從事更高薪的工作；
and black people are valued less than white people because we think white people can leave us for better-paying jobs," he says.
而黑人的價(jià)值低于白人，因?yàn)槲覀冋J(rèn)為白人可以離開我們從事更高薪的工作，”他說。
"I hate it, but that's the reality, and that's what I have to deal with."
“我對此感到深惡痛絕，但這就是現(xiàn)實(shí)，而這正是我必須處理的事情?！?/div>
It's an uncomfortable admission. Boseman fashions himself as a force for good, building the firm by successfully representing black victims of police brutality.
承認(rèn)這種現(xiàn)實(shí)讓人感到并不舒服，博斯曼將自己塑造成一股善良之勢，通過成功表現(xiàn)為警方暴行的黑人受害者而構(gòu)建律所。
But he's also long past idealism and willing to use race—his and others'—to his advantage.
但他也早已不是什么理想主義者，他也會(huì)利用自己和他人的種族優(yōu)勢。
In a more monolithic show, this kind of workplace intrigue often serves as drama for its own sake.
在一部更加整體化的劇集中，這種工作場所中的陰謀往往發(fā)揮著戲劇性的作用。
Here it summons something bigger: The conflict and tension is amplified by the real-world constraints of racism, sexism, and other structural inequalities.
在這部劇中，它召喚出一種更為重要的東西：沖突和緊張因現(xiàn)實(shí)世界中的種族主義、性別歧視和其他結(jié)構(gòu)性不平等現(xiàn)象的種種限制而加劇。
On The Good Fight, whenever the plot hinges on, say, the constraints of a nondisclosure agreement or the congressional articles of impeachment,
在《傲骨之戰(zhàn)》中，當(dāng)情節(jié)需要時(shí)，比如說保密協(xié)議或國會(huì)彈劾條款的限制條件等，
the creators pause the action with a red graphic asterisk and cut to a Schoolhouse Rock!-style musical cartoon explainer.
劇集創(chuàng)作者就會(huì)用紅色星號暫停故事的發(fā)展，然后切換到動(dòng)漫片校舍搖滾的音樂卡通解說員風(fēng)格。
"Structural inequalities" would definitely merit one.
“結(jié)構(gòu)性不平等”確實(shí)值得一提。
The animated shorts are part of what makes the show breathe, an injection of humor in what could otherwise be a depressing 45 minutes.
動(dòng)畫短片給了這部劇可以喘息的時(shí)機(jī)，它為這部原本令人沮喪的45分鐘劇集注入了一絲幽默氛圍。
(Take the episode in which Lucca is mistaken for her infant son's nanny,
（以盧卡被誤認(rèn)為是她幼小兒子的保姆的那一集為例，
an encounter that explodes into a police incident and ends with a video of the confrontation trending on social media.)
這場遭遇爆發(fā)成一場警察涉入的事件，并以一段在社交媒體上瘋傳的對質(zhì)視頻結(jié)束。）
The Good Fight balances its capital-M message by highlighting how ridiculous the political and economic environment can feel these days.
《傲骨之戰(zhàn)》強(qiáng)調(diào)了當(dāng)今的政治和經(jīng)濟(jì)環(huán)境是多么的荒謬，以此來平衡資本市場。
