机翻版（机翻新闻真的厉害）
《暴乱女郎》剧评——莎莉·温赖特的更年期朋克剧是她最优秀的作品之一
...这部讲述中年女性组建朋克乐队的高水准电视剧，足以媲美《幸福谷》和《哈利法克斯最后的探戈》。剧情丰富，扣人心弦，幽默元素恰到好处。
莎莉·温赖特的作品应该被纳入英国国民医疗服务体系（NHS）的处方，作为一种激素替代疗法。除了雌激素和孕激素片剂、贴片、凝胶和喷雾剂来对抗女性身体所面临的各种疾病之外，医生还可以为那些刚刚开始感到“一切都结束了”的女性开出每周一集的《斯科特与贝利》（Scott & Bailey），为那些轻微但明显处于围绝经期的女性开出《哈利法克斯最后的探戈》（Last Tango in Halifax），之后每天一小时的《绅士杰克》（Gentleman Jack）来缓解更严重的症状，最后，当你完全被更年期的触角缠住，需要拿出杀手锏来对抗它时，可以每晚狂刷《幸福谷》（Happy Valley）。
现在，我们又多了一种选择：她的新剧《暴乱女人》（Riot Women），讲述了五个更年期女性面临的问题：这一切何时才能结束？以及她们该如何熬过这段日子？
首先，我们认识了贝丝（乔安娜·斯坎伦饰），她认为这个问题的唯一答案就是结束自己的生命。她给心爱却又迟钝的儿子汤姆（乔尼·格林饰）写了一张纸条，放在钢琴上，正准备离开——这时电话响了。是她自私到近乎恶毒的哥哥马丁打来的，责备她把母亲送进养老院，这样会耗尽他原本指望继承的遗产，而不是继续独自照顾她。贝丝怒斥他，但不足以让她放弃既定的计划。直到朋友杰西（洛雷恩·阿什伯恩饰）打来电话，她才停止执行计划。“你想组个摇滚乐队吗？”
故事由此展开。她们的朋友霍莉（塔姆辛·格雷格饰）也接到了电话。霍莉刚刚结束了她30年的警务生涯，她在一家超市逮捕了一名醉酒闹事的女子——当时她还正遭受潮热的折磨——并收留了她一晚，因为她无家可归。第二天早上，霍莉认出那个吵闹不堪的罪犯是凯蒂（罗莎莉·克雷格饰），当地黑帮老大基思的女儿。到了第二集，贝丝在酒吧里发现凯蒂在唱卡拉OK，于是把她带到乐队的第一次排练现场，让她担任乐队的新主唱，霍莉对此更加不高兴。不过，霍莉也邀请了她那毫无乐趣的妹妹伊冯娜（阿米莉亚·布尔莫尔饰）来弹吉他，所以她们俩在可能做出糟糕决定这件事上差不多势均力敌。
再加上一堆不讨人喜欢的孩子、处于不同程度痴呆状态的父母、软弱的男人、坏男人、对员工痛苦漠不关心（而这些痛苦远不止是感情上的伤害）的老板、面对医疗冷漠而日益严重的身体疾病、一个90年代被送养、如今正在寻找生母的婴儿——所有这些元素交织在一起，构成了一锅丰盛而令人回味无穷的“大杂烩”，而且分量十足。当然，这部影片也延续了温赖特一贯的风格，幽默恰到好处地贯穿始终，从最轻松的（“罗科在集会上就像一棵树。爆炸前后都是如此。真是令人心碎”）到最沉重的情节，无不体现着她的幽默感。凯蒂13岁时被送去一所贵族学校，母亲去世后，父亲无法忍受她的存在，最终她被学校开除。“这在各方面都是一种教育。除了……教育本身。”
如同温赖特所有优秀的作品（以及她之前的黛比·霍斯菲尔德和凯·梅勒等人的作品），《暴乱女郎》涵盖了大量内容，却又不显得冗长乏味，也不会让观众感到意犹未尽。六周后，乐队成员们为了参加当地的筹款演出而努力恢复状态，贝丝也学会了坚持自我，对抗那种让她痛苦不堪的隐形状态。她与凯蒂的友谊，一部分源于对她才华的欣赏，以及她们共同为“暴乱女乐队”（曾考虑过“老女人部门”作为乐队名称，但最终被否决）创作原创作品的兴趣；另一部分则源于她需要扮演母亲的角色，而凯蒂，无论她自己怎么想，也需要母爱的呵护。
这部剧和《幸福谷》一样，探讨了女性身兼多职、承担着日益繁重的照护责任，以及这些责任如何在人的一生中不断演变。孩子们离家后，却从未停止索取。母亲们也变成了孩子，继续索取。如果你被夹在两者之间，孤身一人，身边又没有人可以给予你任何东西，你会怎么办？你会转向同样精疲力竭的朋友们，彼此倾尽所有，互相扶持。你们形成了一个自给自足的圈子，而这个圈子本身又成为维系整个社会运转的链条上的一环。当然，一旦这个圈子破裂，必将带来灾难性的后果，但像这样拥有如此高水准和强大演员阵容的电视剧，或许能为我们争取更多的时间。
补充：(其实这些看豆瓣都有，俺就是想在这里团建一下hhh）
网上有up在上传生肉资源，熊家做了第一集，还有另一个字幕组也说会做。
编剧/导演 Sally Wainright
...文中提到的的Debbie Horsfield是另一部剧《Age Before Beauty》（焕颜人生）的编剧
...Kay Mellor 也是一位女编剧，出道作是《加冕街》（某一集或几集吧），作品有《暴力辛迪加》《儿童病房》等，感觉在豆瓣都好冷门……
主演 Rosalie Craig 饰 Kitty，是专业的音乐剧演员，也算开辟新赛道了，看采访说她也要做功课学习转变唱法，大家都好厉害！看了一下豆瓣条目，已经在《猫头鹰谋杀案》《卡萨诺瓦》《后翼弃兵》等剧里有出演，估计担主角是第一次。Kitty 是主角，展现挺多，就不多说废话了。
...Tamsin Greig 饰 Holly，这位比较好认，《布莱克书店》在国内还是挺火的。感觉 Holly 的戏份是除了上两位外比较多的了，其实之前以为是群像，实际还是以 Kitty 和 Beth 为主，可能她们的遭遇更 drama, 又有交集。其实 Holly 的人生也不轻松，她的两个儿子槽多无口，母亲患上了老年痴呆，妹妹和母亲又不太合得来，离婚的老公是警察局上司，警局的环境也不太好，不知道她当年是怎么过来的。Holly 比较像一个老好人，但对男的很刚。不知道后续会不会再丰富这些角色，这种好剧请多出几季！
...Amelia Bullmore 饰 Yvonne，这位看的时候想到她演过的一位 Posh Lady，查了一下应该是《绅士杰克》里？看过不少，眼熟但想不起来。《神探夏洛克》《王冠》《幸福谷》甚至《加冕街》……作品真的很多。 Yvonne 的角色展现不多，一开始有点咄咄逼人，后来又有点萌。没深入说她与母亲的关系，期待后续能多展现一些。后几集有一些吐槽很犀利，就是没有中文字幕看了个大概。
Amelia Bullmore 饰 Yvonne
还有很多《幸福谷》里的演员再就业，懒得淘了……Jess 女儿的女朋友 Inez 一开始幻视了哈利波特里的芙蓉，结果人家是唐克斯……
最后贴一下原文：（英国人嘴真毒）
Riot Women review – Sally Wainwright’s menopausal punk drama is one of her best
By Lucy Mangan
This high-pedigree TV drama about midlife women who form a punk band is up there with Happy Valley and Last Tango in Halifax. It’s rich, plot-packed, and perfectly seasoned with humour
Sally Wainwright should be prescribed on the NHS as a form of HRT. Alongside oestrogen and progesterone tablets, patches, gels and sprays to counter the myriad ills female flesh is heir to, doctors could prescribe a weekly dose of Scott & Bailey for those who are just beginning to feel that Summat’s Up, moving on to Last Tango in Halifax for the lightly but definitely perimenopausal, followed by a daily hour of Gentleman Jack to alleviate more intense symptoms and culminating in a nightly binge of Happy Valley once you’re fully entangled in menopause’s proliferating tentacles and need to bring out the big guns before they drag you under for good.
Now we have an addition to the arsenal: her new drama Riot Women, about a quintet of menopausees facing the question of when all this shite is going to stop and how they are going to manage until it does.
First, we meet Beth (Joanna Scanlan), who has decided that the only answer to this question is to take her own life. A note is written to her beloved but thoughtless son, Tom (Jonny Green), and propped on the piano and she is getting prepared – when the phone rings. It’s her brother, Martin, selfish to the point of viciousness, calling to berate her for putting their mother in a home that will eat up the inheritance he was looking forward to instead of continuing to care for her by herself. Beth roars back at him, but not cathartically enough to turn her from her chosen path. She only stops trying to see her plan through when her friend Jess (Lorraine Ashbourne) rings. “D’you want to be in a rock band?”
And we’re off. The call has gone out to their friend Holly (Tamsin Greig) too. She has just ended 30 years in the police force by arresting a drunk and disorderly woman – further disoriented by a hot flush – in a supermarket and giving her a bed for the night as she has no home to go to. The next morning, Holly recognises the magnificently obstreperous felon as Kitty (Rosalie Craig), daughter of local gangster Keith. She will be even less delighted in episode two when Beth discovers Kitty doing karaoke in a bar and brings her along to the first band rehearsal as their new and soon indispensable singer. Though Holly has also invited her joyless sister, Yvonne (Amelia Bullmore), to play guitar so they are roughly equal on the potentially bad decision-makinge.
Add in a thick sprinkling of unrewarding children, parents at various stages of dementia, weak men, bad men, bosses who cannot or will not address the suffering of employees whose problems run deeper than hurt feelings, mounting physical problems in the face of medical indifference, a baby given up for adoption in the 90s and now looking for his birth mother and you have a rich and moreish stew that is offered up in generous portions. And it is, of course, in Wainwright’s customary manner, perfectly seasoned with humour, from the lightest (“Rocco was a tree in assembly. Before and after an explosion. It was heartbreaking”) to the darkest. Kitty was expelled from the posh school she was sent away to at 13 after her mother died and her father couldn’t stand the sight of her. “It was an education in all sorts of way. Apart from … education.”
Like all Wainwright’s best work (and work by the likes of Debbie Horsfield and Kay Mellor before her), Riot Women covers a lot of ground without getting bogged down or leaving the viewer feeling shortchanged. As the band fights to get into a fit state to play at the local fundraiser in six weeks’ time, Beth learns to stand her ground and fight against the invisibility that did so much to make her miserable. She bonds with Kitty partly through admiration of her talent and their shared interest in writing original material for the Riot Women (“Old Bags’ Department” was considered as a band name but ultimately vetoed) but also because she needs to mother, and Kitty, whatever she thinks, needs mothering.
It is a drama that, like Happy Valley, looks at the multitudinous roles women manage, the caring responsibilities that accumulate and how they evolve over a lifetime. Children leave home but never stop taking. Mothers become children and take some more. What do you do if you are caught between the two, alone, and no one is around to give you anything? You turn to your equally depleted friends, dig deeper and give what you can to each other. You become a self-supporting circle, which itself becomes a link in the chain that can keep an entire society going. There will be merry hell to pay when that breaks, of course, but TV with this sort of pedigree and cast will buy us a little more time.
Riot Women aired on BBC One and is on iPlayer now.
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