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HBO是擁有42年歷史的有線電視巨頭，已經播出了超過100部美劇和20部迷你劇。看看HBO的節目表，毫不誇張地說，該頻道開創了當今的電視黃金時代。
來看HBO出品的20部最好看的美劇，五一不出門的同學刷劇吧！
It's this wide-ranging spotlight, drifting from the highest levels of political office down to lowly bootleggers and prostitutes, that makes the show something special, offering up morality plays that hold the lives of millions at stake, while putting an actual face on those being affected.
無死角的聚光燈從最頂層的政客辦公室打到最底層的走私販和妓女，成就了這部獨一無二的道德倫理大戲，幾百萬人命懸一線，而事件所涉人物的真實面孔令人唏噓。
Certainly a "water cooler show" if there ever was one, Oz made waves with its violence and sexual content early on and its equally deep and disturbing storytelling once people got over the fact that it was set in a maximum security prison.
如果世界上真的有「噱頭劇」的話，《監獄風雲》當然就是其中一部，它在早期掀起了一陣有關暴力和性慾內容的激烈討論，而一旦觀眾忘記了故事背景其實是最安全的監獄，其故事情節也是既意蘊深刻又令人心煩。
It remains a phenomenon, and as cliché as it may sound, it opened the door for more complex narratives about women and sex, and it did so unapologetically thanks in large part to Kim Cattrall's role as Samantha Jones.
它已經成為一種文化現象，雖然聽起來像老生常談，但這部劇的確開了一個先河，讓人們可以用更複雜的方式來描述女人和性，而這毫無疑問很大一部分得益於金·凱特羅爾（Kim Cattrall）扮演的薩曼莎·瓊斯（Samantha Jones）一角。
Before alternative comedy was a recognized thing, there was Mr. Show with Bob and David, a genius sketch comedy show that had a criminally short run on HBO from 1995 to 1998.
在另類喜劇得名之前，就已經有《鮑勃大衛二人秀》了，可惜這部真正的小品喜劇只在1995年－1998年在HBO短暫上映過。
It's one of the few comedies I can think of where I was often afraid of what was about to happen, like I was watching a horror film or thriller.
這是少數幾部讓我常常擔心劇中情形會真實發生的喜劇之一，就像看恐怖電影或讀驚悚小說那樣。
Few shows have ever achieved such intoxicating sensations of pure hopefulness and near-simultaneous hopelessness in its plots and themes.
沒有哪部劇能像《守望塵世》的情節和主題那樣讓人深深沉醉其中，既有純粹的希望，而與此同時又絕望不已。
The one thing I really love about Girls is that it refuses to conform to identity politics.
我真正喜歡《衰姐們》的一個原因是它從不認可身份「標籤」。
This is a show that you sink into, and that sweeps you along in its own relaxed rhythms, dispensing the sort of calm, surprising laughs that feels almost therapeutic.
這部劇能讓你深陷其中，用悠閒的節奏撫過你的心靈，而劇中或平靜或驚喜的笑點差不多可以算作治癒系的啦。
It blurred the line between reality and TV show, with real-life actors playing themselves on the talk show within the show, and often sending up their public personas.
這部劇模糊了現實和電視劇之間的界線，劇中的真人演員本色出演脫口秀中的自己，而且常常會嘲笑自己的公眾形象。
《矽谷》
Silicon Valley isn't crincringe ge comedy, but it has the same level of antipathy towards much of its cast, which makes the show feel real in a way that sets it apart from other sitcoms.
《矽谷》不是難堪喜劇，卻一樣表現了對劇中大多數角色的反感，使得這部劇從某種程度上感覺很真實，與以往的情景喜劇截然不同。
Those of us who watched Season One and immediately fell in love with the ridiculous NYC misadventures of Brooklyn writer/part-time faux detective Jonathan Ames (Jason Schwartzman) and his pals Ray (Zach Galifianakis) and George Christopher (Ted Danson) felt like we were a part of something special—something off the grid, but better than practically anything on TV.
我們這些人剛看第一季就立刻愛上了布魯克林作家兼冒牌偵探喬納森·愛梅斯（詹森·舒瓦茲曼飾）和小夥伴雷（扎克·加利費安納基斯飾）、喬治·克裡斯託夫（泰德·丹森飾）一起經歷的那些荒誕不經的紐約冒險故事，還感覺自己成了某種特殊劇情的一部分——不落窠臼，但實際上好過電視上的任何故事。
Veep satirizes the political world by distilling it down to what the public likes to watch most: the screw-ups.
《副總統》諷刺政治世界的方式是將政治提煉成了某種觀眾最喜歡看的東西：那就是搞砸一切。
John Oliver has lapped all the other news satire shows by focusing on global issues and devoting up to half of each episode on a single main story.
約翰·奧利弗用《上周今夜秀》敲打了其它的新聞諷刺秀節目，他聚焦全球熱點，並將每集中的一半部分都放在一個主要故事上。
David Milch created a sprawling, fastidiously detailed world in which to stage his gritty morality plays and with it has come as close as anyone to creating a novel on-screen.
大衛·米爾奇在《朽木》中精細地刻畫了一個雜亂無章的世界，在其中呈現他質感粗獷的道德劇，無限接近於創作了一部屏幕上的小說。
Curb can be hard to watch at times, but it was always hilarious, and was HBO's trademark comedy throughout the last decade.
有時候，《抑制熱情》很難看懂，但它總是那麼逗逼，是過去十年裡HBO的招牌喜劇。
Six Feet Under is a television show that attempts to find reason and order in death, but then every episode totally fails.
《六尺之下》這部電視劇很想弄清有關死亡的道理和秩序，然後，每集都完全失敗了。
The geopolitical drama that unfolds in George R.R. Martin's Song of Ice and Fire series is so epic in scope that it can make Lord of the Rings feel like Cliff's Notes.
這部改編自喬治·R·R·馬丁《冰與火之歌》系列奇幻小說的地理政治劇可算一部史詩巨作，相比之下，《指環王》都感覺像是Cliff's Note學習指南了。（註：Cliff's Notes是一家出版社品牌，有一整套學習指南叢書，都是小冊子。）
True Detective was never about its central mystery, the mcguffin of the Yellow King's identity, rather it was a meditation on masculinity, obsession, and—perhaps above all else—craft.
《真探》這部劇和它的中心懸案——黃衣王的身份這個引子——毫無關係，其實它是在思索陽剛之氣、痴迷之心，還有——也許是最重要的——人之技藝。
Murderers aren't one-dimensidimensionalonal; they have feelings, aspirations, justifications, families.
不能從單一維度來看待殺手，他們也有感情，有抱負，有義氣，有家庭。
Series mastermastermind mind David Simon conceived The Wire as a modern Greek tragedy, a morality play set in a drug-infeinfested sted urban war zone where convenconventional tional good guys and bad guys barely exist.
美劇大師大衛·西蒙把《火線重案組》構思成一部現代版的希臘悲劇，一部在毒品泛濫的都市戰場上演繹的道德劇，在那裡，傳統意義上的好人和壞人都不復存在。
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