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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.
该剧所围绕的这个非裔美国人创办的律所，建立在虚构的民权图标的遗产之上。
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.
但更多的白人律师加入了这家律所，执行合伙人阿德里安·博斯曼曾在第一季开头时，开玩笑地称其为“多元化雇佣”，而到第三季时，情况变得更为复杂。
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，合伙人给新入职的白人员工支付的费用高于黑人，致使律所的黑人员工号召罢工。
They're outraged, disappointed, and disillusioned. Management hears them out,
他们感到愤怒、失望，而且幻想破灭。管理层听取了他们的意见。
but in the privacy of his office, Boseman (Delroy Lindo) justifies the practice to his partner and ex-wife, Liz Reddick (Audra McDonald).
但私下在办公室中，博斯曼（戴尔里·林多扮演）为他的合伙人，同时也是他的前妻利兹·雷德迪克（奥德拉·麦克唐纳扮演）的做法辩护。
"The ugly truth is, women are valued less than men because we think men can leave us for better-paying jobs,
“丑陋的事实是，女性的价值低于男性，因为我们认为男性可以离开我们从事更高薪的工作；
and black people are valued less than white people because we think white people can leave us for better-paying jobs," he says.
而黑人的价值低于白人，因为我们认为白人可以离开我们从事更高薪的工作，”他说。
"I hate it, but that's the reality, and that's what I have to deal with."
“我对此感到深恶痛绝，但这就是现实，而这正是我必须处理的事情。”
It's an uncomfortable admission. Boseman fashions himself as a force for good, building the firm by successfully representing black victims of police brutality.
承认这种现实让人感到并不舒服，博斯曼将自己塑造成一股善良之势，通过成功表现为警方暴行的黑人受害者而构建律所。
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义者，他也会利用自己和他人的种族优势。
In a more monolithic show, this kind of workplace intrigue often serves as drama for its own sake.
在一部更加整体化的剧集中，这种工作场所中的阴谋往往发挥着戏剧性的作用。
Here it summons something bigger: The conflict and tension is amplified by the real-world constraints of racism, sexism, and other structural inequalities.
在这部剧中，它召唤出一种更为重要的东西：冲突和紧张因现实世界中的种族主义、性别歧视和其他结构性不平等现象的种种限制而加剧。
On The Good Fight, whenever the plot hinges on, say, the constraints of a nondisclosure agreement or the congressional articles of impeachment,
在《傲骨之战》中，当情节需要时，比如说保密协议或国会弹劾条款的限制条件等，
the creators pause the action with a red graphic asterisk and cut to a Schoolhouse Rock!-style musical cartoon explainer.
剧集创作者就会用红色星号暂停故事的发展，然后切换到动漫片校舍摇滚的音乐卡通解说员风格。
"Structural inequalities" would definitely merit one.
“结构性不平等”确实值得一提。
The animated shorts are part of what makes the show breathe, an injection of humor in what could otherwise be a depressing 45 minutes.
动画短片给了这部剧可以喘息的时机，它为这部原本令人沮丧的45分钟剧集注入了一丝幽默氛围。
(Take the episode in which Lucca is mistaken for her infant son's nanny,
（以卢卡被误认为是她幼小儿子的保姆的那一集为例，
an encounter that explodes into a police incident and ends with a video of the confrontation trending on social media.)
这场遭遇爆发成一场警察涉入的事件，并以一段在社交媒体上疯传的对质视频结束。）
The Good Fight balances its capital-M message by highlighting how ridiculous the political and economic environment can feel these days.
《傲骨之战》强调了当今的政治和经济环境是多么的荒谬，以此来平衡资本市场。
