當地時間5月8日，律政題材美劇《傲骨賢妻》(The Good Wife)迎來大結局。不少劇迷看后，評價褒貶不一。

《傲骨賢妻》誕生于2009年，由Robert King和Michelle King夫婦聯手打造。該劇主角是畢業于喬治城大學法律系的Alicia Florrick。13年前，Alicia放棄了自己前途光明的律師職業而成為了一名家庭主婦，全心全意輔佐丈夫Peter Florrick的政治仕途。但身為伊利諾伊州檢察長的Peter卻卷入了召妓丑聞并鋃鐺入獄。為了生計和一雙兒女的前程，Alicia不得不回到法律界，和比自己小十幾二十歲的后輩們在同一起跑線上重新出發。

7年156集，觀眾見證了Alicia在職場和生活中的成長，也經歷著自己生活中的變遷。

大結局播出之后，Robert King和Michelle King夫婦在在CBS網站發表了一封公開信，對結局做了解釋，同時，對劇迷們一路的支持表達感謝。

以下就是Robert King和Michelle King夫婦公開信的全文：

Dearest Good Wife Friends,
最親愛的《傲骨賢妻》的觀眾朋友們，

"Thank you" is easy. "Goodbye" is harder.
說“感謝”容易，說“再見”卻很難。

Thank you for an extraordinary seven seasons of support, encouragement, and commitment to The Good Wife. To say that we could not have done this without you is an understatement.
感謝你們這七季以來對《傲骨賢妻》強有力的支持、鼓勵和追隨。沒有你們，我們不可能做到現在這樣。這樣說，一點也不夸張。

This is the second time we've written you about the creative decisions involved with The Good Wife:—the first was with the end of Will Gardner; now it's with the end of the series. Both goodbyes involved difficult decisions, and if you found some value in the earlier explanation, you might find some in this one.
這是第二次我們就《傲骨賢妻》的創作決策給你們寫信，第一次是跟威爾的結局有關，這一次，是跟全劇的結局有關。這兩次告別都是很艱難的決定，如果在上一次的解釋中你們得到了一些有用的信息，這一次應該也會有收獲。

We wanted this series—a series that stretched over 156 episodes—to have some shape, some structural meaning. So after we realized we wouldn't be cancelled after 13 episodes, we started to devise a vanishing point we could write toward. That structure, in our minds, was simple. The show would start with a slap and end with a slap. Each slap would involve Alicia. This would be the bookend. She would slap someone who victimized her at the beginning of the series; and she would be slapped by someone she "victimized" at the end.
我們希望這部劇集，這部延續了156集的劇，有自己的形態，劇情架構有意義。所以，前13集播出，我們知道這部劇不會被砍以后，我們就思考一個可行的結尾方式。我們覺得這個架構很簡單。整部劇以一個耳光開始，也以一個耳光結束。這兩個耳光都與女主角Alicia有關。這就是結局。在這部劇開始的時候，她要打那個傷害她的人一個耳光，而在結束的時候，被她傷害的人會打她一個耳光。

In this way, the victim would become the victimizer. This is the education of Alicia Florrick.
至此，曾經的受害人已經成為了一個施害者。這就是Alicia Florrick學到的。

Alicia's character, to us, was about change. Each season she made choices she could never have made the season before. So over the course of seven years, she became tougher, more powerful, more cunning. Of course, we loved Alicia for this. Each decision made sense in the moment, and we forgave her or congratulated her each time. Even her decision in this last episode—the one that resulted in Diane being hurt—came out of her parental need to keep Grace from following in her path. She didn't want Grace to put her future on hold in order to stand by Peter.
在我們看來，Alicia這個角色主要體現轉變。她在每一季都會做出一些在上一季的時候不可能做出的選擇。在這七年當中，她變得愈發強硬、更加有權力，也更加奸猾。當然，我們喜歡這樣的Alicia。她做的每個決定在當時都是合情合理的，我們每一次都原諒她，也為她高興。甚至在大結局中，她的決定傷害到Diane，也是出于母親對孩子的保護，不想讓Grace重蹈自己的覆轍。她不想讓Grace為了支持Peter而犧牲自己的將來。

But together all these decisions, legitimate as they were, added up to a character who was becoming more desensitized to her impact. She was becoming more and more like her husband, and, ultimately, Diane was the collateral damage.
但是，所有這些決定，雖然都無可厚非，最終卻促成了這樣一個對自己的行為后果麻木不仁的角色。她變得越來越像她的丈夫，而最終，Diane被連累。

That we found interesting. Over seven years could you completely remake your character? Could a victim become a victimizer?
這是我們覺得有意思的地方。你能在七年間重塑自己的形象嗎？一個受害者能變成施害者嗎？

(By the way, parenthetically, that's the cool thing about TV. It allows you to develop a concept that more resembles life. A character keeps changing over the course of seven years, but instead of reading about it in a novel over a weekend, you experience it over the actual seven years—with actors who age along with their characters—except for Grace who seemed to be 15-years-old for a few years. Sorry.)
（順帶提一句，電視劇最棒的地方就是，它帶給你的經歷更像是一段真真切切的生活。一個角色在這七年之中不斷蛻變，而你作為觀眾，也實實在在地跟每個鮮活的角色一起，生活了七年－－這種體驗要比花一個周末匆匆讀完一本小說豐滿得多。七年里你陪伴著角色們變得成熟，也見證了演員們年齡的增長－－當然除了Grace，她中間有好幾季都是15歲的樣子，抱歉。）

One theme we kept returning to over and over in the series was: politics isn't out there. It's not something that happens in D.C. or on the news. It happens in our offices, our homes, our marriages. That's why we ended the series the way we did. Alicia is no longer a victim of politics. She is someone who takes charge, someone who controls the agenda.
我們在這部劇中不斷強調的一個主題是：政治并不遙遠。政治并不只是在華盛頓特區，或者只在新聞里。我們的辦公室、家里、婚姻里都有政治。這就是我們以這種方式處理結局的原因。Alicia不再是政治的受害者。她已變成有權力，掌控大局的人。

On one level this is empowering. It allowed Alicia to control her fate. But it also changed her. Ironically, at the exact moment she found the power to leave Peter, she realized she had become Peter.
從某種程度上來說，這種轉變賦予了她力量，讓Alicia能夠掌控自己的命運。但同時，這種力量也改變了她。很諷刺的是，在她有能力離開Peter的那一瞬間，她意識到自己已經變成了Peter。

And that's tragic. Yes, Alicia's story contains tragedy. We still love her. And we hope you do too. The ending is supposed to be unsettling. But we don't think characters need to avoid tragedy to be embraced. We were tempted to have Alicia chase after a man in the end—stop him from getting on a train or an airplane at the last minute, hold him, kiss him. We like those endings. But there was something false about it here. It isn't who Alicia is. In the end, the story of Alicia isn't about who she'll be with; it's about who she'll be.
這很可悲。是的，Alicia的故事充滿了悲劇。但我們還是愛她。我們希望你們也一樣。這樣的結局應該會讓人有點不安。但是，我們認為劇中角色沒有必要為了迎合觀眾而避免悲劇。我們也曾經想過在結局的時候讓Alicia去追一個男人，在最后一刻不讓他上火車或飛機，抱住他，親吻他。我們喜歡這樣的結局。但是，這樣的結局有個誤區。這個故事不是講Alicia是誰。最終，這個故事講的并不是Alicia會跟誰在一起，而是Alicia會成為什么樣的人。

There is hope in the ending too—we believe. Alicia composes herself and marches toward the future. The two slaps to our mind are chapter endings and headings. If the slap that started the series woke Alicia up—helped her overcome her naivety about her husband and the world's corruption—then this second slap wakes her up to her own culpability. The question is what will she do with that?
在我們看來，這個結局也蘊含著希望。Alicia調整好自己，朝未來出發。那兩個耳光既是故事的結束，也是開始。如果說開篇的那個耳光讓Alicia幡然醒悟，讓她打破了之前對自己丈夫和這個不堪世界的天真想法，那么這第二個耳光則讓她清醒認識到了自己的罪行。現在的問題是，她會如何應對？

Anyway, we should leave it there. We loved writing this series. We loved the comedy, the drama, the tragedy. We loved the lion telephone with Glenn Childs' voice. Elsbeth Tascioni facing off with Bob Balaban. Moo Cow. Eli's raised eyebrow. The Sexual harassment video Alicia and Will were forced to watch. Will clearing Alicia's desk. Cary's trip on mushrooms. Diane's weakness for guns. The YouTube videos the NSA guys sent back and forth.
不管怎樣，結局就是這樣了。我們很喜歡創作這部劇的過程。我們喜歡其中的喜劇、鬧劇和悲劇。我們喜歡Glenn Childs配音的獅子電話，喜歡Elsbeth Tasci和Bob Balaban對峙，喜歡Moo Cow，Eli喜感的眉毛，Alicia和Will被迫一起看的性騷擾視頻，Will大怒掀翻Alicia的桌子，Cary嗑藥后嗨翻天的樣子，Diane怕槍的樣子，以及NSA小哥們互發的油管搞笑視頻。

It's hard to not write for these characters anymore. They seem very real to us—as if we'll turn a corner at the market and find Patti Nyholm there shopping for diapers; or turn another corner and find Judge Abernathy Feeling the Bern.
不再繼續創作這些角色是件難受的事。他們對我們來說是非常真實的人物，就好像我們在市場轉角就能碰到Patti Nyholm在買尿不濕，或者在另一個街角看到Abernathy法官參加支持桑德斯的活動（Feeling the Bern是美國大選中支持伯尼-桑德斯的選民選定的口號）。

We've had fun. Thank you for having fun with us. We've also felt sad. Drama embraces both. So thank you for feeling sad with us too. And mostly, thank you for allowing these characters into your home every week for seven years.
創作的過程很歡樂。謝謝你們與我們分享這些歡樂。我們也有點傷感。電視劇就是這樣的。所以，也謝謝你們跟我們一起傷感。最重要的是，謝謝你們讓這些角色連續七年，每周都走進你家。

It's been an honor to write for them, as well as for you.
創作這些角色，為你們創作，都是我們的榮幸。

With all our gratitude and affection,
獻上我們所有的感激和深情，

Robert & Michelle King
羅伯特和米歇爾-金夫婦

*附贈《傲骨賢妻》經典臺詞*

Not everybody can pursue their dreams, someone has to work.
不是每個人都能追逐他們的夢想，總有人要工作。

Life rarely gives you a chance to reverse a past regret.
人生很少給你機會讓你挽回過往的遺憾。

It won't be getting things easier, but you do get better at it. Life can only make you stronger.
事情不會變得容易，但是你會讓你自己更擅長處理這些事。生活只會讓你變得更強大。

When I was starting out, I got one great piece of advice. Man can lazy, women can not.
我剛出道的時候，聽到過一個很好的建議。男人可以偷懶，女人不行。

You expect the worst in people, you'll never be disappointed.
期待人性中最惡的部分，你就永遠不會失望。

The most powerful men are the ones no one knows exist.
最有權力的人是那些沒人知道的人。

The law is supposed to be fair, not impersonal. In fact I would argue that the law is always personal. It has to see the human side too or else it's meaningless.
法律應該是公正的，但不應該沒有人情味。其實，我覺得法律一直都是有人情味的。法律必須看到人性的這一面，不然就毫無意義。

Poetry is easy; it's the parent-teacher conferences that are hard.
寫詩不難，家長會才是最難的。

（中國日報網英語點津 Helen）