機翻版（機翻新聞真的厲害）
《暴亂女郎》劇評——莎莉·溫賴特的更年期朋克劇是她最優秀的作品之一
...這部講述中年女性組建朋克樂隊的高水準電視劇，足以媲美《幸福谷》和《哈利法克斯最後的探戈》。劇情豐富，扣人心弦，幽默元素恰到好處。
莎莉·溫賴特的作品應該被納入英國國民醫療服務體系（NHS）的處方，作為一種激素替代療法。除了雌激素和孕激素片劑、貼片、凝膠和噴霧劑來對抗女性身體所面臨的各種疾病之外，醫生還可以為那些剛剛開始感到“一切都結束了”的女性開出每周一集的《斯科特與貝利》（Scott & Bailey），為那些輕微但明顯處于圍絕經期的女性開出《哈利法克斯最後的探戈》（Last Tango in Halifax），之後每天一小時的《紳士傑克》（Gentleman Jack）來緩解更嚴重的症狀，最後，當你完全被更年期的觸角纏住，需要拿出殺手锏來對抗它時，可以每晚狂刷《幸福谷》（Happy Valley）。
現在，我們又多了一種選擇：她的新劇《暴亂女人》（Riot Women），講述了五個更年期女性面臨的問題：這一切何時才能結束？以及她們該如何熬過這段日子？
首先，我們認識了貝絲（喬安娜·斯坎倫飾），她認為這個問題的唯一答案就是結束自己的生命。她給心愛卻又遲鈍的兒子湯姆（喬尼·格林飾）寫了一張紙條，放在鋼琴上，正準備離開——這時電話響了。是她自私到近乎惡毒的哥哥馬丁打來的，責備她把母親送進養老院，這樣會耗盡他原本指望繼承的遺産，而不是繼續獨自照顧她。貝絲怒斥他，但不足以讓她放棄既定的計劃。直到朋友傑西（洛雷恩·阿什伯恩飾）打來電話，她才停止執行計劃。“你想組個搖滾樂隊嗎？”
故事由此展開。她們的朋友霍莉（塔姆辛·格雷格飾）也接到了電話。霍莉剛剛結束了她30年的警務生涯，她在一家超市逮捕了一名醉酒鬧事的女子——當時她還正遭受潮熱的折磨——并收留了她一晚，因為她無家可歸。第二天早上，霍莉認出那個吵鬧不堪的罪犯是凱蒂（羅莎莉·克雷格飾），當地黑幫老大基思的女兒。到了第二集，貝絲在酒吧裡發現凱蒂在唱卡拉OK，于是把她帶到樂隊的第一次排練現場，讓她擔任樂隊的新主唱，霍莉對此更加不高興。不過，霍莉也邀請了她那毫無樂趣的妹妹伊馮娜（阿米莉亞·布爾莫爾飾）來彈吉他，所以她們倆在可能做出糟糕決定這件事上差不多勢均力敵。
再加上一堆不讨人喜歡的孩子、處于不同程度癡呆狀态的父母、軟弱的男人、壞男人、對員工痛苦漠不關心（而這些痛苦遠不止是感情上的傷害）的老闆、面對醫療冷漠而日益嚴重的身體疾病、一個90年代被送養、如今正在尋找生母的嬰兒——所有這些元素交織在一起，構成了一鍋豐盛而令人回味無窮的“大雜燴”，而且分量十足。當然，這部影片也延續了溫賴特一貫的風格，幽默恰到好處地貫穿始終，從最輕松的（“羅科在集會上就像一棵樹。爆炸前後都是如此。真是令人心碎”）到最沉重的情節，無不體現着她的幽默感。凱蒂13歲時被送去一所貴族學校，母親去世後，父親無法忍受她的存在，最終她被學校開除。“這在各方面都是一種教育。除了……教育本身。”
如同溫賴特所有優秀的作品（以及她之前的黛比·霍斯菲爾德和凱·梅勒等人的作品），《暴亂女郎》涵蓋了大量内容，卻又不顯得冗長乏味，也不會讓觀衆感到意猶未盡。六周後，樂隊成員們為了參加當地的籌款演出而努力恢複狀态，貝絲也學會了堅持自我，對抗那種讓她痛苦不堪的隐形狀态。她與凱蒂的友誼，一部分源于對她才華的欣賞，以及她們共同為“暴亂女樂隊”（曾考慮過“老女人部門”作為樂隊名稱，但最終被否決）創作原創作品的興趣；另一部分則源于她需要扮演母親的角色，而凱蒂，無論她自己怎麼想，也需要母愛的呵護。
這部劇和《幸福谷》一樣，探讨了女性身兼多職、承擔着日益繁重的照護責任，以及這些責任如何在人的一生中不斷演變。孩子們離家後，卻從未停止索取。母親們也變成了孩子，繼續索取。如果你被夾在兩者之間，孤身一人，身邊又沒有人可以給予你任何東西，你會怎麼辦？你會轉向同樣精疲力竭的朋友們，彼此傾盡所有，互相扶持。你們形成了一個自給自足的圈子，而這個圈子本身又成為維系整個社會運轉的鍊條上的一環。當然，一旦這個圈子破裂，必将帶來災難性的後果，但像這樣擁有如此高水準和強大演員陣容的電視劇，或許能為我們争取更多的時間。
補充：(其實這些看豆瓣都有，俺就是想在這裡團建一下hhh）
網上有up在上傳生肉資源，熊家做了第一集，還有另一個字幕組也說會做。
編劇/導演 Sally Wainright
...文中提到的的Debbie Horsfield是另一部劇《Age Before Beauty》（煥顔人生）的編劇
...Kay Mellor 也是一位女編劇，出道作是《加冕街》（某一集或幾集吧），作品有《暴力辛迪加》《兒童病房》等，感覺在豆瓣都好冷門……
主演 Rosalie Craig 飾 Kitty，是專業的音樂劇演員，也算開辟新賽道了，看采訪說她也要做功課學習轉變唱法，大家都好厲害！看了一下豆瓣條目，已經在《貓頭鷹謀殺案》《卡薩諾瓦》《後翼棄兵》等劇裡有出演，估計擔主角是第一次。Kitty 是主角，展現挺多，就不多說廢話了。
...Tamsin Greig 飾 Holly，這位比較好認，《布萊克書店》在國内還是挺火的。感覺 Holly 的戲份是除了上兩位外比較多的了，其實之前以為是群像，實際還是以 Kitty 和 Beth 為主，可能她們的遭遇更 drama, 又有交集。其實 Holly 的人生也不輕松，她的兩個兒子槽多無口，母親患上了老年癡呆，妹妹和母親又不太合得來，離婚的老公是警察局上司，警局的環境也不太好，不知道她當年是怎麼過來的。Holly 比較像一個老好人，但對男的很剛。不知道後續會不會再豐富這些角色，這種好劇請多出幾季！
...Amelia Bullmore 飾 Yvonne，這位看的時候想到她演過的一位 Posh Lady，查了一下應該是《紳士傑克》裡？看過不少，眼熟但想不起來。《神探夏洛克》《王冠》《幸福谷》甚至《加冕街》……作品真的很多。 Yvonne 的角色展現不多，一開始有點咄咄逼人，後來又有點萌。沒深入說她與母親的關系，期待後續能多展現一些。後幾集有一些吐槽很犀利，就是沒有中文字幕看了個大概。
Amelia Bullmore 飾 Yvonne
還有很多《幸福谷》裡的演員再就業，懶得淘了……Jess 女兒的女朋友 Inez 一開始幻視了哈利波特裡的芙蓉，結果人家是唐克斯……
最後貼一下原文：（英國人嘴真毒）
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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