《屏住呼吸》(Halt and Catch Fire):你可能从未听过的最佳电视剧 (2021)
Halt and Catch Fire: TV's Best Drama You've Probably Never Heard Of (2021)

原始链接: https://www.sceneandheardnu.com/content/halt-and-catch-fire

该剧发生了显著的转变,焦点从最初的反英雄乔转移到唐娜和卡梅隆的动态合作关系上。后续几季描绘了乔的衰落以及他所面临的后果,而唐娜和卡梅隆的初创公司“叛乱”则成为故事中心。 这种改变为该剧注入了活力和真实感,用真诚的抱负和情感共鸣的 stakes 取代了 melodrama。该剧在细致刻画女性友谊方面表现出色,赋予唐娜和卡梅隆 agency、缺点和 ambition——这些品质在银幕上很少给予女性。 她们不断发展的关系,以支持、冲突和原谅为标志,是亮点之一。与此同时,其他角色,如乔和戈登,也在成长,学习连接的价值并找到平静。最终,该剧成熟为一个关于共同抱负和创造有意义的事物的故事,展现了人才是真正的回报,而不是仅仅实现目标的工具。

## 暂停与起火:一颗隐藏的宝石 一篇 Hacker News 的讨论将《暂停与起火》highlighted为一部被严重低估的电视剧。该剧灵感源自《新机器的灵魂》,讲述了个人电脑和创业场景的早期发展,以其对创新、野心以及科技公司内部斗争的真实描绘而引起观众共鸣。 评论员称赞李·佩斯饰演的魅力型营销大师表演极具吸引力,并指出令人信服地塑造此类角色非常困难。许多人推荐该剧,因为它的人物角色贴近生活,准确地描绘了创业文化(包括“黑箱”团队的优势和信任年轻人才的好处),以及对那些记得早期 BBS/WWW 时代的人来说具有怀旧吸引力。 虽然有些人认为后几季的质量有所下降,但总体共识是它是一部引人入胜的剧集,特别是对于那些对计算机的“黄金时代”以及技术进步背后的故事感兴趣的人来说。
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原文

The best thing the show’s writers ever did was realize that Joe wasn’t the most interesting character. Subsequent seasons trace the dissolution of his complex, as he finds himself confronting the limits of his charisma and the consequences of his actions. It’s the death of the antihero, and in its place rises a show imbued with newfound life, as the burgeoning business partnership between its two main female characters becomes the central narrative.

Season 2’s opening sequence establishes this wonderfully energetic change of pace with a three-minute scene shot entirely in one take. The handheld camera swings and pans around a suburban home crammed with coders, construction tools and cables strewn across the ground. It’s a cinematographic manifestation of the crackling energy, messiness and all, between people taking a risk to create something new. Here, we meet Mutiny, Donna and Cameron’s video game subscription service that takes center stage in Season 2 and 3.

As the two navigate the passions and pitfalls of running a startup, the melodramatic tension of the first season is replaced with a palpable lightness and ambition. There are still plenty of great dramatic revelations and story beats, but none of it feels forced or in service of a half-baked antihero arc. The stakes feel genuine and emotionally potent.

The partnership between Donna and Cameron is largely the impetus for this. I can’t think of a better portrayal of female friendship on television that I’ve seen than the one in this show. Rather than be defined by their relations to Joe and Gordon or by tropes like the working mother, they’re given agency and allowed to be flawed and ambitious and all the other things media has constantly told women not to be.

Cameron, who grew up learning how to survive on her own, opens up to collaborate and trust others — but there’s a constant fear of losing the company to which she’s dedicated her whole life. Donna, who has experienced the heartbreak of a failed product once before, comes into her own as a leader — but, by trying to always make the most logical decisions for the company, loses the partnership she needed most.

The progression of their friendship — the ways in which they support, hurt, and eventually forgive each other — is treated with such nuance, and it’s a genuinely moving relationship to watch unfold.

Their bond is just one of the many complex dynamics this show explores. As the show matures, so do its characters. Joe learns to understand the importance of those around him — that people are not only the means to an end, but the end itself. Gordon, so eager in earlier seasons to prove himself and be remembered for something, finds confidence and peace in the present, and leaves a legacy that will long reverberate in characters and viewers alike. As much as these characters grow and evolve, what remains at their core is what brought them together in the first place: a shared ambition to build something that makes a difference in the world.

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