Kate Winslet Pushes Her Characters, and Herself, to the Edge
As a young star, she endured Hollywood’s brutal treatment of women.
作为一名年轻的明星，她忍受了好莱坞对女性的残酷对待。
Now she’s putting her resilience and grit on full display.
现在，她充分展示了自己的韧性和勇气。
Kate Winslet was standing in front of a microphone, breathing hard.
凯特·温斯莱特站在麦克风前，呼吸困难。
Sometimes she did it fast; sometimes she slowed it down.
有时她做得很快；有时她做得很快。有时她会放慢速度。
Sometimes the breathing sounded anxious; other times, it was clearly the gasping of someone who was winded.
有时呼吸听起来很急促；其他时候，这显然是某人上气不接下气的喘息声。
Before beginning a new take, Winslet stood stock still, hands opening and closing at her sides; she looked like a gymnast about to bound into a floor routine.
在开始新的拍摄之前，温斯莱特一动不动地站着，双手在身体两侧张开合拢。她看起来就像一名即将开始自由体操训练的体操运动员。
Every breath seemed high-stakes, even though she was well into a long day of recording in a dim, windowless studio in London.
尽管她在伦敦一间昏暗、没有窗户的录音室里进行了一整天的录音，但每次呼吸似乎都充满了风险。
Winslet was adding grace notes to scenes of herself in “The Regime,” a dark satire created by Will Tracy, a writer and producer on “Succession,” that began airing on Max in early March.
温斯莱特在《政权》中为自己的场景添加了装饰音，这是一部黑色讽刺作品，由《继承之战》的编剧兼制片人威尔·特雷西创作，于三月初在《麦克斯》上播出。
Winslet plays Elena Vernham, a dictator ruling precariously over an imaginary Central European country, and she was in the studio rerecording (as is common practice) lines that needed improving, including snippets of Elena’s propaganda: “Even if the protests happening in Westgate were real, which they are not” and “He’s still out there, working with the global elite to destroy everything we’ve built.” Sometimes Winslet laughed out loud after delivering a line, and sometimes she fell completely silent, absorbed in watching a scene of herself with her new recording looped in.
温斯莱特扮演埃琳娜·维纳姆（Elena Vernham），一位在虚构的中欧国家不稳定统治的独裁者，她在录音室重新录制（按照惯例）需要改进的台词，包括埃琳娜的宣传片段：“即使西门发生的抗议活动是真实的，但事实并非如此”以及“他仍然在那里，与全球精英合作摧毁我们建立的一切。”有时温斯莱特在说完台词后会大笑起来，有时她会完全沉默，全神贯注地看着自己的场景，新录音循环播放。
“God, she’s such an awful, awful cow,” she said at one point, sounding appalled but also a little awed.
“天哪，她真是一头可怕的母牛，”她有一次说道，听起来很震惊，但也有点敬畏。
The part of Elena, a despot on the verge of a nervous breakdown, is a departure for Winslet, who has chosen, over the course of her career, a wide range of characters who have in common an intrinsic power.
埃琳娜这个角色是一个处于精神崩溃边缘的暴君，这对温斯莱特来说是一个不同的选择，她在自己的职业生涯中选择了各种各样的角色，这些角色都有共同的内在力量。
Elena is erratic and grasping, with a facade of strength that covers up a sinkhole of oozing insecurity.
埃琳娜性格古怪、贪婪，外表坚强，却隐藏着不安全感。
Winslet gave a lot of thought to how Elena would sound: She chose a high, tight voice, the sound of someone disconnected from the feelings that reside deep in the body.
温斯莱特对埃琳娜的声音花了很多心思：她选择了一种高亢而紧张的声音，一种与身体深处的感觉脱节的声音。
Elena has the slightest of speech impediments, a strange move she makes with her mouth, a hand that flies to her cheek when she is under real stress — those tells are her answer to King Richard’s hump, the body politic deformed.
埃琳娜有轻微的言语障碍，她的嘴有一个奇怪的动作，当她处于真正的压力下时，她的一只手会飞到她的脸颊上——这些都是她对理查国王的驼背和畸形政体的回应。
Onscreen, as Elena, Winslet is coifed and practically corseted into form-fitting skirt suits, with lacquered fake nails.
在银幕上，饰演埃琳娜的温斯莱特戴着头巾，穿着紧身胸衣，穿着合身的裙子套装，还涂了漆假指甲。
The day she was recording, in early January, Winslet might have been any woman at the office: blond hair, a hint of roots starting to show, jeans of no particular timely style that she occasionally tugged up from the waist, a black V-neck sweater she occasionally pulled down at the hem.
一月初，她录制节目的那天，温斯莱特可能是办公室里的任何一位女性：金发，发根开始显露出来，牛仔裤的款式并不特别合时宜，她偶尔会从腰间拉起，一件黑色 V 领毛衣，她偶尔会从下摆拉下来。
It’s only when you look directly at her, face to face, that you see the extraordinary — the dark blue eyes, the beauty marks (not one, but two), the elaborately curved mouth.
只有当你面对面地直视她时，你才会看到她的非凡之处——深蓝色的眼睛、美人痣（不是一个，而是两个）、精心弯曲的嘴巴。
As Winslet recorded, Stephen Frears, one of the show’s two directors, guided Winslet with considerable understatement from his seat across the room: a half-nod here, a thumbs-up there.
正如温斯莱特所记录的那样，该剧的两位导演之一史蒂芬·弗雷尔斯（Stephen Frears）在房间另一边的座位上以相当轻描淡写的方式引导温斯莱特：这里半点头，那里竖起大拇指。
“Was that all right, Stephen?” Winslet called over after one take; she peered over in his direction, expectant, obedient, professional.
“可以吗，史蒂芬？”温斯莱特拍完一张后打来电话；她朝他的方向凝视着，充满期待、顺从、专业。
Frears, who directed “The Queen” and “Dangerous Liaisons,” among others, was silent, with his eyes closed, his head back.
曾执导过《女王》和《危险关系》等影片的弗里尔斯闭着眼睛，向后仰着头，一言不发。
Winslet and a few members of the production team waited for his approval.
温斯莱特和几位制作组成员等待着他的批准。
As the moment stretched on, it seemed that Frears was not deep in thought but deep in sleep.
随着时间的推移，弗雷尔斯似乎并没有陷入沉思，而是陷入了沉睡。
Winslet appeared to register a brief moment of surprise, then smiled and moved on — all right, no problem.
温斯莱特似乎表现出了短暂的惊讶，然后微笑着继续前进——好吧，没问题。
Winslet’s best performances are of imperfect women who persevere, who are flawed enough to do real damage but still evoke from the viewer deep, sometimes uncomfortable sympathy.
温斯莱特最好的表演是那些不完美的女性，她们坚持不懈，她们的缺陷足以造成真正的伤害，但仍然唤起观众深深的、有时令人不安的同情。
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Jack Davison for The New York Times Winslet is not precious or easily rattled; on set, over the years, she has broken a toe, suffered hypothermia and fainted, but very little slows her down when she’s shooting.
《纽约时报》的杰克·戴维森 温斯莱特并不珍贵，也不容易惊慌失措。多年来，她在片场折断了脚趾，患上了体温过低甚至晕倒的情况，但在拍摄时几乎没有什么能让她放慢脚步。
She’s not a fan of a lunch break.
她不喜欢午休。
Her sturdiness works its way into her performances onscreen: Even in many a period drama, Winslet, for all her femininity, conveys the impression of someone who could hold her own in a street fight.
她的坚强也体现在她在银幕上的表演中：即使在许多古装剧中，温斯莱特尽管充满女性气质，却给人留下了在街头打斗中能坚持到底的印象。
On one occasion when she actually found herself in peril, during a house fire at Richard Branson’s home in the British Virgin Islands, Winslet, efficiently assisting the evacuation, picked up Branson’s nearly-90-year-old mother and carried her down several stairs.
有一次，当她发现自己处于危险之中时，理查德·布兰森位于英属维尔京群岛的家发生火灾，温斯莱特高效地协助疏散，抱起布兰森年近 90 岁的母亲，将她抱下几级楼梯。
(Winslet is married to Branson’s nephew, Edward Abel Smith.)
（温斯莱特嫁给了布兰森的侄子爱德华·阿贝尔·史密斯。）
Winslet’s practicality makes her eminently relatable, but it comes with a forceful energy.
温斯莱特的实用性使她非常容易引起共鸣，但同时也充满了强大的能量。
A friend commented to me that Winslet’s patent resilience makes watching her — even in a film about a shipwreck or the Holocaust — an experience in which the viewer’s stress level never interferes with an appreciation of the work.
一位朋友对我评论说，温丝莱特特有的韧性使得观看她的表演——即使是在一部有关海难或大屠杀的电影中——观众的压力水平也不会干扰对作品的欣赏。
“I don’t worry about her,” she says.
“我不担心她，”她说。
“She will turn up OK.
“她会没事的。
Even if she has to eat acorns all winter.”
即使她整个冬天都得吃橡子。”
The day after her dubbing session in London, Winslet and I met near her home on the coast of England; she had decided we would visit a local beach.
在伦敦配音结束的第二天，温斯莱特和我在她位于英格兰海岸的家附近见面。她决定我们要去当地的海滩。
When I entered her car, I noticed on the floor of the back seat a bowl of half-eaten oatmeal that had clearly been there for some time, a sight that made my heart leap — I somehow felt immediately absolved of all my own car-food sins.
当我进入她的车时，我注意到后座的地板上有一碗吃了一半的燕麦片，显然已经放了一段时间了，这一景象让我心跳加速——不知何故，我感觉自己所有的汽车食品罪孽立即得到了赦免。
“There’s just stuff rolling around the back of the car, clink, clink, all the time,” Winslet said.
温斯莱特说：“车后部一直有东西滚动，叮当声，叮当声。”
“Sometimes I look in the back, and I’ll see, like, three apples.” At least, she would console herself, the intention was that apples be eaten.
“有时我回头看，我会看到三个苹果。”至少，她会安慰自己，目的是为了吃苹果。
The procurer of those apples would be her husband, who goes by Ned, and their would-be consumer the couple’s 10-year-old son, Bear.
这些苹果的采购者是她的丈夫（Ned），而他们的潜在消费者则是这对夫妇 10 岁的儿子 Bear。
(Winslet has two other children: a 23-year-old daughter from her first marriage, to Jim Threapleton; and a 20-year-old son from her second marriage, to the director Sam Mendes.)
（温斯莱特还有另外两个孩子：一个 23 岁的女儿，是她第一次婚姻中与吉姆·斯雷普尔顿 (Jim Thrapleton) 所生的；一个 20 岁，是她第二次婚姻中与导演萨姆·门德斯 (Sam Mendes) 所生的儿子。）
The sky was cloud-covered, the air wet and chilled.
天空乌云密布，空气湿冷。
The temperature hovered around 38 degrees, so we loaded our arms with blankets and traipsed in the direction of a white weathered beach hut a short sprint away from the water.
气温徘徊在 38 度左右，所以我们抱起毯子，朝着距离水面不远的白色风化海滩小屋的方向迈进。
Winslet’s hut is just one of thousands along the shores of the United Kingdom — on many beaches, they go on for miles — some of which have been passed down within families for upward of a century.
温斯莱特的小屋只是英国海岸上数千间小屋之一——在许多海滩上，它们绵延数英里——其中一些小屋已经在家庭中传承了一个多世纪。
(This one once belonged to Ned’s grandmother.) Winslet pulled on a lock, and the door swung open to reveal a mostly empty, unheated room with a few beach chairs, a skim board hanging on the wall and a bench in back, which is where we would sit and talk for the next several hours, covered in blankets and eating pastries Winslet bought that morning.
（这个曾经属于内德的祖母。） 温斯莱特拉上一把锁，门打开了，露出了一间几乎空荡荡、没有暖气的房间，里面有几张沙滩椅，墙上挂着一块撇油板，后面有一张长凳，接下来的几个小时里，我们会坐在那儿聊天，盖着毯子，吃着温斯莱特早上买的糕点。
Winslet also had her bathing suit with her.
温斯莱特还带着她的泳衣。
“I might go in for a swim later,” she told me.
“我稍后可能会去游泳，”她告诉我。
Winslet is a devotee of cold-water swimming, which she has enjoyed not just near her home but also in Alaska and Norway, where, she told me, the water was dotted with ice.
温斯莱特是冷水游泳爱好者，她不仅喜欢在她家附近游泳，还喜欢在阿拉斯加和挪威游泳，她告诉我，那里的水里布满了冰。
Cold-water swimming is popular in Britain, but it seems especially well suited to Winslet, who prides herself on stamina: For the 2022 movie “Avatar: The Way of Water,” Winslet, after considerable training, managed to hold her breath underwater for an astonishing seven minutes and 15 seconds (some Navy Seals never break three minutes).
冷水游泳在英国很流行，但它似乎特别适合以耐力为傲的温斯莱特：在 2022 年的电影《阿凡达：水之道》中，温斯莱特经过大量训练，成功地在水下屏住呼吸达惊人的 7 分 15 秒（有些海豹突击队队员从来没有休息过 3 分钟）。
On set, she has little interest in the creature comforts that some stars expect: During the filming of “Mare of Easttown,” an HBO limited series from 2021, Winslet’s only real ask of Mark Roybal, one of the show’s executive producers, was that he replace the extra-large trailer he had intended for her with one the same size as those of her colleagues.
在片场，她对一些明星所期待的物质享受没什么兴趣：在拍摄 HBO 2021 年限量剧集《东镇的母马》期间，温丝莱特对该剧执行制片人之一马克·罗伊巴尔唯一真正的要求是，把他原本为她准备的超大预告片换成与她同事的预告片尺寸相同的预告片。
“I’ve seen her literally pulling cables, moving props,” Roybal says.
“我亲眼目睹她拉动电缆、移动道具，”罗伊巴尔说。
“It’s crazy.
“这太疯狂了。
She’s not far from who she was when she grew up.
她与长大后的样子相差不远。
That’s who she is.”
她就是这样的人。”
Winslet was raised in Reading, an hour west of London, in a working-class neighborhood where, she has said, many of her friends were aspiring to be flight attendants and hairstylists.
温斯莱特在伦敦以西一小时车程的雷丁长大，那里是一个工人阶级社区，她说，她的许多朋友都渴望成为空乘人员和发型师。
Unhappy at her local school, she enrolled at age 11 in a private performing-arts school, offsetting some of the cost with voice-over work and a role as a teenage sleuth on a television series.
她在当地学校过得并不开心，11 岁时就进入了一所私立表演艺术学校，通过配音工作和在电视剧中扮演青少年侦探的角色来抵消部分费用。
Her father, an aspiring but ultimately unsuccessful actor, worked for the postal service and sold Christmas trees; when Winslet’s performing-arts school ended for her at age 16, she took a job slicing deli meat until her former principal suggested that she audition for a part in a movie based on the true story of two young girls who colluded in murder.
她的父亲是一位有抱负但最终不成功的演员，在邮政部门工作并出售圣诞树。当温斯莱特 16 岁时，她的表演艺术学校毕业后，她找到了一份切熟食肉的工作，直到她的前校长建议她试镜一部根据两个年轻女孩合谋谋杀的真实故事改编的电影中的一个角色。
Why did the principal think of Winslet?
校长为什么会想到温丝莱特？
“I looked like the girl,” she told me.
“我看起来像那个女孩，”她告诉我。
Winslet was desperate to win the part.
温斯莱特非常渴望赢得这个角色。
“I wrote letters to the character,” she said.
“我给这个角色写了信，”她说。
“You chant.
“你吟诵。
You pray.” It turned out that the resemblance was important to the director, Peter Jackson, who wanted an unknown in the role.
你祈祷吧。”事实证明，这种相似性对于导演彼得·杰克逊来说很重要，因为他想要一个默默无闻的角色。
“That’s the lucky-break moment,” Winslet said.
“那是幸运的时刻，”温斯莱特说。
The movie, “ Heavenly Creatures,” set her career in motion, but she was still a fledgling actor.
电影《天工》开启了她的职业生涯，但她仍然是一个初出茅庐的演员。
When she was brought in to audition for a small part in the 1995 adaptation of Jane Austen’s “Sense and Sensibility,” Winslet pretended she thought she was there to read for the more significant role of Marianne, younger sister to Elinor, played by Emma Thompson.
1995 年，当温斯莱特被带去试镜简·奥斯汀的《理智与情感》中的一个小角色时，她假装她以为自己是来试镜艾玛·汤普森扮演的埃莉诺的妹妹玛丽安这一更重要的角色。
Thompson, who also wrote the screenplay, ultimately championed Winslet’s casting.
汤普森也是该剧的编剧，他最终支持了温斯莱特的选角。
“It was immediately apparent to me that Kate would absolutely capture the quintessence of Marianne,” Thompson says.
“我立刻就意识到凯特绝对能捕捉到玛丽安的精髓，”汤普森说。
“She came in — 19 years old, I think — and had all the passion and the wide gaze of a youthful and optimistic spirit, a soul that believed the best in people.
“她进来时——我想她当时只有 19 岁——充满了激情和开阔的视野，充满了青春和乐观的精神，她相信人们有最好的一面。
I rushed past her in the corridor, needing a pee, and she said as I came rushing back, ‘I know I can do this,’ and I think I might have said, ‘I know you can.’” The two women grew so close that Winslet kept, for many years, a souvenir of the last day of shooting — the box of an apple strudel that they feasted on for consolation as they tearfully prepared to part ways.
我在走廊里冲过她，需要小便，当我冲回来时，她说，‘我知道我能做到，’我想我可能会说，‘我知道你能。’”这两个女人变得如此亲密，以至于温斯莱特多年来一直保留着拍摄最后一天的纪念品——一盒苹果馅饼，当她们含泪准备告别时，她们吃了一盒苹果馅饼作为安慰。
(When Thompson turned 40, Winslet gave her the box for her birthday.)
（汤普森 40 岁那年，温斯莱特把这个盒子送给了她作为生日礼物。）
In late 1995, Winslet was passed a long treatment for a film called “Titanic,” the printout of which she recently found in storage, discovering that she had written on the front page, “I love this.” The part of Rose in “Titanic” catapulted her into the realm of the 20th century’s great cinematic heroines.
1995 年末，温斯莱特通过了一部名为《泰坦尼克号》的电影的长篇处理，她最近在仓库中发现了这部电影的打印版本，发现她在首页上写下了“我喜欢这个”。 《泰坦尼克号》中罗丝的角色使她跻身20世纪伟大电影女英雄的行列。
More endearing than Scarlett O’Hara, less thorny than Erin Brockovich, Rose is a Juliet-like figure in love with love who subverts the plot, surviving tragedy instead of succumbing to it.
罗丝比斯嘉丽·奥哈拉更可爱，不像艾琳·布罗科维奇那么棘手，她是一个像朱丽叶一样热爱爱情的人物，她颠覆了情节，从悲剧中幸存下来，而不是屈服于悲剧。
Since then, Winslet’s best performances are of imperfect women who persevere, who are flawed enough to do real damage but still evoke from the viewer deep, sometimes uncomfortable sympathy.
从那时起，温斯莱特最好的表演都是那些不完美的女性，她们坚持不懈，她们的缺陷足以造成真正的伤害，但仍然唤起观众深深的、有时令人不安的同情。
In her role as Hanna, a former Nazi prison guard in “The Reader,” for which she won an Oscar, Winslet employs a forceful physicality that the viewer eventually understands as the unyielding rigidity of a woman who can’t make sense of complexity.
温丝莱特在《朗读者》中饰演前纳粹狱警汉娜，并因此获得了奥斯卡奖，她在片中运用了一种强有力的身体特征，观众最终将其理解为一个无法理解复杂性的女性的不屈僵化。
She pulls off a more exuberant high-wire act in her portrayal of Clementine in “Eternal Sunshine of the Spotless Mind,” a character whose fervent soul spills all over the place.
她在《美丽心灵的永恒阳光》中对克莱门汀的塑造更加精彩，这个角色的热情灵魂无处不在。
When she meets Joel, the halting figure played by Jim Carrey, Clementine is careering as fast as the train on which they’re talking; she veers dangerously close, emotionally, to going off the rails altogether, with just enough charm and smarts to pull herself to safety, to keep Joel, and viewers, more intrigued than alarmed.
当克莱门汀遇到金·凯瑞饰演的乔尔（金·凯瑞饰演的那个犹豫不决的人物）时，克莱门汀正像他们正在谈话的火车一样快地猛冲过去。她在情感上危险地接近完全脱轨，但凭借足够的魅力和智慧将自己拉到安全地带，让乔尔和观众更感兴趣而不是惊慌。
Winslet seems to relish pushing her characters — and herself — to the edge.
温斯莱特似乎很喜欢将她的角色——以及她自己——推向边缘。
Todd Haynes, who directed Winslet in “Mildred Pierce,” an HBO limited series about a divorced mother during the Great Depression, recalled one scene she shot in an evening gown on a rainy, frigid night in Queens.
托德·海恩斯 (Todd Haynes) 在 HBO 限定剧《米尔德里德·皮尔斯》(Mildred Pierce) 中执导了温斯莱特，该剧讲述了大萧条时期一位离婚母亲的故事。他回忆起她在皇后区一个寒冷的雨夜穿着晚礼服拍摄的一个场景。
After the first take, Winslet, drenched and chilled, screamed out, elated, “This is what we get to do with our lives!” Winslet’s response did not surprise Haynes, given the roles she’d chosen in the past.
第一次拍摄后，浑身湿透、冰冷的温斯莱特兴奋地尖叫起来，“这就是我们一生要做的事！”考虑到温丝莱特过去选择的角色，她的反应并不令海恩斯感到惊讶。
“I think the pain that she sometimes endures is part of the thrill and excitement that she fully embraces in her work,” he says.
“我认为她有时忍受的痛苦是她在工作中完全拥抱的兴奋和兴奋的一部分，”他说。
“Kate wants to be put in places she’s never been before and be fearless about it.”
“凯特希望被带到她以前从未去过的地方，并且无所畏惧。”
Moments like that, Winslet said, do thrill her: “It is living at the absolute edges of the physical lengths to which one can go to feel the most exhilarated and alive,” she said.
温斯莱特说，这样的时刻确实让她感到兴奋：“这是生活在身体长度的绝对边缘，一个人可以感受到最兴奋和最有活力的感觉，”她说。
Women who take risks interest her.
她对敢于冒险的女性感兴趣。
In an upcoming biopic, “Lee,” which Winslet produced, she embodies Lee Miller, a onetime model who emerged from a traumatized youth to become a significant World War II photographer.
在温斯莱特制作的即将上映的传记片《李》中，她扮演了李·米勒（Lee Miller）的角色，她曾是一名模特，后来从受过创伤的青年时期成长为一名重要的二战摄影师。
But Winslet also clearly sees the discomfort she experiences on set as an inevitable part of moviemaking, something she has chosen to embrace rather than bemoan.
但温斯莱特也清楚地看到她在片场经历的不适是电影制作中不可避免的一部分，她选择拥抱而不是哀叹。
“Still never to this day would I say: ‘I’m cold.
“直到今天我仍然不会说：‘我冷。
I have to stop,’” Winslet said.
我必须停下来，”温斯莱特说。
I’m cold, I thought to myself.
我冷了，我心里想。
I have to stop.
我必须停下来。
We’d been sitting in that unheated shack, the ocean waves growing louder as the tide rolled in, for almost three hours, as if Winslet, in this instance too, would never be the one to suggest a break.
我们坐在那个没有暖气的小屋里，随着潮水滚滚，海浪越来越大，整整三个小时，仿佛温斯莱特永远不会是那个建议休息的人。
Every so often, labradoodles, cocker spaniels, retrievers, dachshunds and their owners trotted by the aperture of the shack’s open door.
时不时地，拉布拉多犬、可卡犬、寻回犬、腊肠犬和它们的主人小跑着从小屋开着的门缝走过。
The number of people walking their dogs seemed to have picked up, even as the day got colder; Winslet theorized, without resentment, that maybe word had gotten out.
尽管天气越来越冷，遛狗的人数似乎有所增加；温斯莱特毫无怨恨地推断，也许消息已经传出去了。
Finally, we agreed it was time to go, but by then it was too late for Winslet, who had plans to visit a new godchild, to go swimming.
最后，我们同意是时候出发了，但对于计划去拜访新教子的温斯莱特来说，去游泳已经太晚了。
If only I’d brought a bathing suit, we could have both gone, I said as we left, meaning not a word of it.
如果我带了泳衣就好了，我们就可以一起走了，我在离开时说道，意思是只字不提。
Winslet brightened at the thought: We’d go tomorrow, she assured me — she could lend me a bathing suit!
温丝莱特一想到这一点就高兴起来：我们明天就去，她向我保证——她可以借给我一件泳衣！
Some measure of Winslet’s fame is tied to her beauty, but she seems intent on deflating its importance, using her influence to convey the message that women have value beyond their looks.
温斯莱特的名气在一定程度上与她的美貌有关，但她似乎有意淡化美貌的重要性，利用她的影响力来传达这样的信息：女性的价值超越了她们的外表。
In “Mare of Easttown,” Winslet, who played Marianne (Mare) Sheehan, a small-town detective grieving a dead son, refused to let editors retouch so much as a wrinkle.
在《东镇的母马》中，温丝莱特饰演玛丽安·希恩（Marianne (Mare) Sheehan），一位为死去的儿子悲伤的小镇侦探，她拒绝让剪辑师修饰哪怕是一条皱纹。
A “global ambassador” for L’Oréal Paris, she appears in an ad in full hair and makeup, then pins up her blond strands and starts wiping her makeup off, all the while speaking to the viewer with the urgency and focus she would give to any climactic monologue.
作为巴黎欧莱雅的“全球大使”，她在广告中以盛大的发型和妆容出现，然后将金色的发丝固定起来，并开始擦掉妆容，同时以她在任何高潮独白中所表现出的紧迫感和专注力向观众讲话。
“To believe that you are worth it is something we can all help each other to do,” she says.
“相信你是值得的，我们都可以互相帮助，”她说。
“And perhaps as we all walk through the world, we can show up for each other without judgment.”
“也许当我们行走在这个世界上时，我们可以不加评判地为彼此出现。”
Winslet came of age in the era of waif-chic, which has made her all too expert in the subject of harsh objectification.
温斯莱特在流浪时尚时代长大，这使她在严酷的物化主题上变得非常专家。
After her role in “Titanic,” public scrutiny of her body was so chronic and exacting that it threatened to consume her.
在她出演《泰坦尼克号》之后，公众对她身体的审视如此长期和严格，以至于有可能吞噬她。
The British tabloids tracked her weight as if it were a matter of national security; Joan Rivers cracked wise about Winslet sinking the Titanic.
英国小报追踪她的体重，就好像这是一个国家安全问题一样。琼·里弗斯讲述了温斯莱特沉没泰坦尼克号的故事。
In a 1998 Rolling Stone article, Winslet said that she was a heavyset teenager who “sensibly lost the weight doing Weight Watchers.
在 1998 年《滚石》杂志的一篇文章中，温斯莱特说她是一个身材魁梧的青少年，“通过慧俪轻体明显地减轻了体重。
End of story.” She now openly acknowledges that at one brief point in her life, she struggled with an eating disorder.
故事结束。”她现在公开承认，在她生命中的某个短暂时刻，她曾与饮食失调作斗争。
“I never told anyone about it,” she said of that time.
“我从来没有告诉过任何人这件事，”她谈到那次时说道。
“Because guess what — people in the world around you go: ‘Hey, you look great!
“因为你猜怎么着——你周围世界的人都会说：‘嘿，你看起来棒极了！
You lost weight!’” For that last bit, Winslet slipped into a pitch-perfect American accent — Los Angeles, maybe a film executive.
你减肥了！’”在最后一句话中，温斯莱特操起了一口完美的美国口音——洛杉矶口音，也许是一位电影高管。
“So even the compliment about looking good is connected to weight.
“因此，即使是对外表的赞美也与体重有关。
And that is one thing I will not let people talk about.
这是我不会让人们谈论的一件事。
If they do, I pull them up straight away.” (For the sake of simplicity, I will direct the reader to assume that curses have been edited out of any Winslet quote on the subject of weight, celebrity or tabloids.)
如果他们这样做了，我会立即把他们拉起来。” （为了简单起见，我将引导读者假设温斯莱特有关体重、名人或小报的任何引用中的咒语已被删除。）
In the hut, I had wondered aloud to Winslet about the impact of Ozempic on all this.
在小屋里，我向温斯莱特大声询问臭氧对这一切的影响。
“I actually don’t know what Ozempic is,” Winslet said.
“我实际上不知道 Ozempic 是什么，”温斯莱特说。
“All I know is that it’s some pill that people are taking or something like that.” I told her that Ozempic — which apparently has not yet saturated English culture as it has in the United States — was a very in-demand diabetes drug now commonly taken off-label for weight loss.
“我只知道这是人们正在服用的某种药丸或类似的东西。”我告诉她，Ozempic——显然还没有像在美国那样渗透到英国文化中——是一种非常受欢迎的糖尿病药物，现在通常被用于减肥用途。
“But what is it?” Winslet said, her mouth full of pastry.
“但是那是什么？”温斯莱特嘴里塞满了糕点说道。
I went on: It was a shot people took that dampened their interest in food.
我继续说道：人们采取的这一举措削弱了他们对食物的兴趣。
Winslet looked appalled — as if I’d just told her that millions of Americans were voluntarily injecting themselves with something that made them feel dead inside when they looked at a sunset.
温斯莱特看上去很震惊——就好像我刚刚告诉她，数以百万计的美国人正在自愿给自己注射某种东西，让他们在看日落时感觉内心已经死了。
“Oh, my God,” she said.
“哦，天哪，”她说。
“This sounds terrible.
“这听起来很糟糕。
Let’s eat some more things!” She made a show of eating more of her pastry, crumbs tumbling onto the blankets.
我们再吃点东西吧！”她假装吃了更多的糕点，面包屑掉到了毯子上。
Together we watched a short video highlighting Winslet’s early career; at one moment, seeing red carpet shots of herself the year after she won the Oscar for “The Reader,” Winslet commented sharply, “Look how thin I was.” This was not Winslet yearning for that moment; it was Winslet feeling sadness for that former self, a young woman who was separating from her second husband and could barely eat from stress, watching her private life become the subject of entertainment-news headlines.
我们一起观看了一段简短的视频，重点介绍了温斯莱特的早期职业生涯；有一次，温斯莱特看到自己凭借《朗读者》获得奥斯卡奖一年后的红毯照片，尖锐地评论道：“看看我有多瘦。”这并不是温斯莱特所向往的那一刻；这只是温斯莱特所向往的。温斯莱特为以前的自己感到悲伤，她是一个与第二任丈夫分居的年轻女子，因压力而几乎无法进食，看着自己的私生活成为娱乐新闻头条的主题。
What Winslet accepted as the norm back then she now understands as small cruelties that she is relieved her younger counterparts no longer have to endure in quite the same way.
温斯莱特当时认为是常态的事情现在被她理解为小小的残酷，她为年轻的同龄人不再需要以同样的方式忍受而感到宽慰。
Although a few actors of Winslet’s age have scoffed at what they perceive as the preciousness of intimacy coordinators, Winslet thought her entire experience as a young actor might have been different had they been available to her.
尽管一些与温斯莱特同龄的演员嘲笑他们所认为的亲密协调员的珍贵，但温斯莱特认为，如果有他们在场，她作为一名年轻演员的整个经历可能会有所不同。
“I would have benefited from an intimacy coordinator every single time I had to do a love scene or be partially naked or even a kissing scene,” she said.
“每次我必须拍爱情场景、半裸甚至接吻场景时，我都会从亲密协调员那里受益匪浅，”她说。
“It would have been nice to have had someone in my corner, because I always had to stand up for myself.” And often, she didn’t — she felt that whatever was being asked of her was simply part of the job.
“如果有人站在我的立场上就好了，因为我总是必须坚持自己的立场。”但通常情况下，她并没有这样做——她觉得无论对她提出什么要求，都只是工作的一部分。
She has a litany of unspoken objections she wished she had felt empowered to make: “I don’t like that camera angle.
她有一连串不言而喻的反对意见，她希望自己有权提出这样的反对意见：“我不喜欢那个拍摄角度。
I don’t want to stand here full-frontal nude.
我不想全裸地站在这里。
I don’t want this many people in the room.
我不希望房间里有这么多人。
I want my dressing gown to be closer.
我希望我的晨衣更贴身。
Just little things like that.
只是诸如此类的小事。
When you’re young, you’re so afraid of pissing people off or coming across as rude or pathetic because you might need those things.
当你年轻的时候，你非常害怕激怒别人，或者给人留下粗鲁或可悲的印象，因为你可能需要这些东西。
So learning to have a voice for oneself in those environments was very, very hard.”
因此，在这些环境中学会为自己发声是非常非常困难的。”
On set, she rarely felt empowered to complain, even when the conditions were difficult.
在片场，即使条件很困难，她也很少感到有权抱怨。
In a 1997 Los Angeles Times article, Winslet, still exhausted from the seven-month shoot of “Titanic,” described the experience as an “ordeal,” recalling two moments of filming in the water that sounded distressing in her telling (though she emphasized to me that she was never in danger).
在 1997 年《洛杉矶时报》的一篇文章中，因拍摄《泰坦尼克号》七个月而疲惫不堪的温斯莱特将这次经历描述为一次“磨难”，她回忆起在水中拍摄的两个时刻，这在她的讲述中听起来令人痛苦（尽管她向我强调，她从未遇到危险）。
When I spoke to the film’s director, James Cameron, he said that although the set was extremely safe, he might have given Winslet more space to raise whatever subjective concerns about the work she was feeling at the time.
当我与电影导演詹姆斯·卡梅隆交谈时，他说虽然片场非常安全，但他可能会给温丝莱特更多的空间来提出她当时对工作的主观担忧。
“You have to sort of be given permission before the fact,” he said.
“你必须在事前获得许可，”他说。
“I can’t say, sitting here today, that I made that abundantly clear.” He described Winslet as “a force of nature,” adding that “when someone projects that kind of energy and that kind of power to the people around her, it’s difficult to see when they’re in trouble emotionally.”
“今天坐在这里，我不能说我已经说得很清楚了。”他将温斯莱特描述为“一种自然的力量”，并补充说，“当有人向她周围的人投射这种能量和力量时，很难看出他们何时陷入情感困境。”
Like many of her characters, Winslet considers herself a survivor: She survived two public divorces, and she survived the paparazzi, packs of men who chased her in cars or staked out her house.
和她饰演的许多角色一样，温斯莱特认为自己是幸存者：她经历了两次公开离婚，也经历了狗仔队、一群开着车追赶她或监视她房子的男人。
(When she was a new mother, she would put on a hat and sunglasses, hand her baby over a wall to the next-door neighbor, climb over the wall herself, then take the baby through the backyard gate and get on a city bus, where, she swears, no one ever recognized her.)
（当她还是个新妈妈时，她会戴上帽子和墨镜，把孩子越过墙交给隔壁邻居，自己爬过墙，然后带着孩子穿过后院大门，登上一辆城市公交车，她发誓，在那里从来没有人认出她。）
It’s clear that some of the strength Winslet projects — her nothing-stops-me attitude on set — is a defense she built up, by necessity, years ago.
很明显，温斯莱特展现出的一些力量——她在片场无所畏惧的态度——是她多年前建立的必要防御。
“I was already experiencing huge amounts of judgment, persecution, all this bullying,” she said.
“我已经经历了大量的评判、迫害和所有这些欺凌，”她说。
“People can call me fat.
“人们可以说我胖。
They can call me what they want.
他们可以随心所欲地称呼我。
But they certainly cannot say that I complained and I behaved badly.
但他们当然不能说我抱怨、我表现不好。
Over my dead body.” To object, especially for young women, was to risk a ruined reputation.
在我的尸体上。”反对，尤其是对年轻女性来说，就是冒着名誉受损的风险。
“I would not have known how to do that without people in power turning around and saying, ‘Oh, Jesus Christ, you know, her again, that complainer,’” Winslet said.
温斯莱特说：“如果没有当权者转身说，‘哦，天啊，你知道，又是她，那个抱怨者，我就不知道该怎么做。’”
“I would rather suffer in silence than ever let that happen to me, even still today.”
“我宁愿默默忍受，也不愿让这种事发生在我身上，即使是今天也是如此。”
To Winslet, as a mother, it’s a particular horror that the public body-shaming once reserved for celebrities is now a trial that any young woman with a phone might go through.
对温斯莱特来说，作为一名母亲，尤其可怕的是，曾经为名人保留的公开身体羞辱现在变成了任何拥有手机的年轻女性都可能经历的考验。
For British television, she recently made an improvised film, “I Am Ruth,” with her daughter, Mia Threapleton, about a mother trying to understand the unraveling of her teenager; behind the closed door of her bedroom, amid the privacy of the world of her phone, Threapleton’s character is enduring bullying on social media in response to revealing images she has posted of herself.
最近，她与女儿米娅·斯雷普尔顿 (Mia Thrapleton) 为英国电视台制作了一部即兴电影《我是露丝》(I Am Ruth)，讲述了一位母亲试图了解自己十几岁孩子的真相的故事；在卧室紧闭的门后，在手机的私密世界中，斯雷普尔顿饰演的角色在社交媒体上遭受着欺凌，因为她发布了自己的照片。
With “I Am Ruth,” Winslet became an Everymom, opening her up to interactions of a different kind.
凭借《我是露丝》，温丝莱特成为了一名普通妈妈，让她接受了不同类型的互动。
“I’ll go to the grocery store, I’ll go anywhere, like walking down the street, and people will stop me,” she said.
“我会去杂货店，我会去任何地方，比如走在街上，人们会阻止我，”她说。
A parking attendant put her hand on Winslet’s arm and started to weep; Winslet knew intuitively it was about “I Am Ruth.”
一名停车服务员把手放在温斯莱特的手臂上，开始哭泣。温斯莱特凭直觉知道这是关于“我是露丝”的。
In her roles, and in her own life, Winslet has moved, sure-footed, from the role of ingénue to the role of the fierce protector.
在她的角色和她自己的生活中，温丝莱特坚定地从天真无邪的角色转变为凶猛的保护者的角色。
Roybal described Winslet as an advocate for the crew on “Mare of Easttown,” someone who would personally call the executives if she felt there was some inequity on their part.
罗伊巴尔将温斯莱特描述为“东镇之海”剧组人员的拥护者，如果她认为高管们存在一些不平等，她会亲自打电话给高管们。
While shooting “Mare,” Winslet sat in the trunk of a car where the then-19-year-old Angourie Rice would be filming a kissing scene, so Winslet — a safe, big-sister figure — could personally pass on notes from the director coming in through a radio.
在拍摄《母马》时，温斯莱特坐在汽车后备箱里，当时 19 岁的安格瑞·赖斯 (Angourie Rice) 正在车里拍摄接吻场景，因此温斯莱特——一个安全的大姐姐形象——可以亲自通过收音机传递导演的笔记。
By the time she filmed “Mare,” Winslet had decades worth of emotional experiences she could readily access.
当她拍摄《母马》时，温斯莱特已经拥有了数十年的情感经历，她可以轻松获得。
“In the beginning,” she said, “I would rummage around my emotional toolbox and pull out something that had actually happened to me.
“一开始，”她说，“我会翻遍我的情感工具箱，找出一些真实发生在我身上的事情。
But that stopped working for me at a certain point.
但到了某个时候，这对我就不再起作用了。
I don’t know why.
我不知道为什么。
As you get older, you live more life; you have more real experiences that you add to the emotional toolbox without realizing that you’re doing it.
随着年龄的增长，你的生活会更加丰富；你有更多真实的经历，你将它们添加到情感工具箱中，却没有意识到你正在这样做。
And so sometimes, as you get older, quite honestly, emotions are easier to access because they just simmer below the surface all the time — because there’s just so damn many of them.” Winslet’s scripts are heavily covered in notes laying out the emotional marks she would need to hit.
所以有时候，老实说，随着年龄的增长，情绪会更容易被触达，因为它们一直在表面之下酝酿着——因为情绪实在是太多了。”温斯莱特的剧本里充满了注释，列出了她需要达到的情感标记。
The hazard of watching Winslet as Mare is that her acting is so nuanced that you suddenly see others’ elsewhere as telegraphed semaphore (the bitter wife, her arms folded across her chest; the disappointed teacher, mouth tugged downward).
观看温斯莱特饰演的马雷的危险在于，她的表演是如此细致入微，以至于你突然将其他人的表演视为电报信号（苦涩的妻子，双臂交叉在胸前；失望的老师，嘴角向下）。
In a scene from “Mare” in which Winslet tries to tell her grandson’s pediatrician about her travails with her son, Kevin, who died by suicide, she is reflecting not any one thing but instead the several conversations her character seems to be having simultaneously: one with the pediatrician, one with her past self, as she drifts in and out of being present, and another with her current self, as she struggles to control the frustration she feels at how little the doctor can grasp of this painful history.
在《母马》的一个场景中，温斯莱特试图向她孙子的儿科医生讲述她与自杀身亡的儿子凯文的痛苦经历，她所反映的不是任何一件事，而是她的角色似乎同时进行的几场对话：一场与儿科医生的对话，一场与她过去的自己的对话，当她时隐时现，另一场与她现在的自己对话，她努力控制自己因医生对这段痛苦的历史了解甚少而感到的挫败感。
Watching Winslet, we don’t see a protective mother; we see our own mothering, the depth of our own complicated feelings about the mistakes we’ve made, the gap between all that we feel and all that can’t be easily said.
看着温斯莱特，我们看到的不是一位保护性的母亲；而是一位母亲。我们看到了自己的母爱，看到了自己对所犯错误的复杂感受，看到了我们所感受到的一切与所有无法轻易说出的一切之间的差距。
Winslet seemed uncomfortable talking about her process, not so much because she feared it would sound pretentious, but because it was personal.
温斯莱特似乎不太舒服地谈论她的过程，并不是因为她担心这听起来很自命不凡，而是因为这是私人的。
Long after “Mare” was finished shooting, Winslet wept in interviews when talking about the character’s loss of a son; she couldn’t stop reverting to those emotions she so carefully internalized, any more than she could clear out all the lines of dialogue that have lodged themselves in her consciousness, no matter how much she would like to forget them.
《母马》拍摄结束很久之后，温斯莱特在接受采访时谈到这个角色失去儿子的经历时流下了眼泪。她无法停止回到那些她如此小心地内化的情感，就像她无法清除所有已经扎根在她意识中的对话台词一样，无论她多么想忘记它们。
“I finally realized I needed a bit of therapy” to move on from playing Mare, she said.
她说，“我终于意识到我需要一些治疗”才能继续扮演马雷。
“You actually change something in your brain chemistry about how you think — you know, it’s very, very strange.” She would be at the store buying jeans and realize that she was buying the jeans that Mare would wear — awful-looking jeans, in fact.
“你实际上改变了你大脑中关于你的思维方式的化学物质——你知道，这非常非常奇怪。”她会在商店买牛仔裤，然后意识到她买的是马雷会穿的牛仔裤——事实上，这条牛仔裤看起来很糟糕。
Her children would sidle up next to her at the house, on days after filming that had left her depleted.
在拍摄完让她疲惫不堪的几天后，她的孩子们会在家里躲在她身边。
“Kevin’s not real,” they would whisper, as if letting her in on a secret.
“凯文不是真实的，”他们会低声说道，仿佛让她知道了一个秘密。
“And neither is Mare.
「马雷也不是。
It’s just pretend.” Being an actor, of course, entails coming all too close to the knowledge that for someone in the world, that suffering, that pain, is real.
这只是假装而已。”当然，作为一名演员，需要非常接近地认识到，对于世界上的某个人来说，那种痛苦、那种痛苦是真实的。
Winslet’s empathy — a protective instinct that extends to her characters — is part of what makes her performances so powerful.
温斯莱特的同理心——一种延伸到她的角色身上的保护本能——是她的表演如此强大的部分原因。
The day after our talk in the hut, Winslet and I headed back to the beach in her car.
我们在小屋谈话后的第二天，温斯莱特和我开着她的车返回海滩。
On our way over, Ned, already waiting there with Bear, called to check in.
在我们过来的路上，内德已经和贝尔一起在那里等候，打电话来登记。
“The sun is shining,” he told his wife.
“阳光明媚，”他告诉妻子。
“It’s really special.
“这真的很特别。
But I think everybody got the memo.
但我想每个人都明白了。
So — quite a few people.” Ned’s subtext was clear: She would not have a lot of privacy.
所以——相当多的人。”内德的潜台词很明确：她不会有太多隐私。
“Great!” Winslet said, then laughed, not quite a nervous laugh but a sendup of one.
“太棒了！”温斯莱特说道，然后笑了，不是紧张的笑，而是讽刺的笑。
At the beach, Bear was kicking around a soccer ball with his dad.
在海滩上，小熊和他的爸爸一起踢足球。
Chatty, funny, smiley, he told a story about the time his dog peed on his favorite soccer ball — he cocked his leg just so, a bit of brilliant and spontaneous mimicry, which I observed again when he put on the voice of his older brother, urging him on in a bit of daredevilry.
他健谈、风趣、面带微笑，讲了一个关于他的狗在他最喜欢的足球上撒尿的故事——他把腿翘起来，这是一种出色而自发的模仿，当他用他哥哥的声音、有点大胆地催促他时，我再次观察到了这一点。
I changed quickly into a suit that Winslet lent me and put on a long fleece-lined coat made just for this winter-swimming business, and then there was no more avoiding it: I joined Winslet at the shore.
我迅速换上温斯莱特借给我的一套衣服，再套上一件专门为冬泳而做的羊毛衬里长外套，然后就再也没有什么可回避的了：我和温斯莱特一起到了岸边。
We hesitated briefly, and suddenly a pack of young men were walking by.
我们犹豫了一下，突然一群年轻人走过来。
“Oh, there really are a lot of people,” she said, and for a moment I thought I saw a look of real distress on her face.
“哦，真的有很多人，”她说，有那么一刻我以为我看到了她脸上真正痛苦的表情。
I remembered she told me that she left New York in 2010, after living there for many happy years, in part because the paparazzi seemed to be picking up their focus on her: She noticed herself looking over her shoulder too often and decided it was time to get away.
我记得她告诉我，她在那里生活了许多幸福的岁月后，于 2010 年离开了纽约，部分原因是狗仔队似乎开始关注她：她注意到自己经常回头看，因此决定是时候离开了。
Winslet quickly whipped her head around and trained her eyes back toward the ocean.
温斯莱特迅速转过头，将目光重新投向大海。
It would clearly be better to move forward than stand paralyzed and exposed on the shore, so in we went.
显然，继续前进比瘫痪在岸上暴露要好，所以我们进去了。
A step, then another — she jog-walked her way into the water, and I had no choice but to follow.
一步，然后又一步——她小跑着走进了水里，我别无选择，只能跟着。
“You have to commit, Susan!” she called out.
“你必须做出承诺，苏珊！”她喊道。
I managed to pull my focus away from the daggers of cold and look up in the direction of her voice.
我设法把注意力从寒冷的匕首上移开，抬头看向她声音的方向。
Fifteen feet away, she was submerged up to her chin.
十五英尺外，她的下巴被淹没了。
Her eyes were closed.
她的眼睛闭着。
She was far enough out from the shore to be unrecognizable to the public.
她距离海岸足够远，公众无法认出她。
The water hid her.
水把她藏起来了。
She breathed in and out slowly, meditatively.
她缓慢地吸气、呼气，陷入沉思。
A minute passed, then a few more.
一分钟过去了，又过了几分钟。
And then she was up, cursing, cursing the water, cursing the whole idea, laughing, heading toward shore.
然后她站起来，咒骂着，咒骂着水，咒骂着整个想法，笑着向岸边走去。
Jack Davison is a British photographer known for his black-and-white portraiture.
杰克·戴维森是一位英国摄影师，以其黑白肖像画而闻名。
He last photographed Cate Blanchett for the magazine.
他最后一次为该杂志拍摄凯特·布兰切特 (Cate Blanchett)。
Susan Dominus is a staff writer for The New York Times Magazine.
苏珊·多米纳斯 (Susan Dominus) 是《纽约时报》杂志的特约撰稿人。
In 2018, she was part of a team that reported on workplace sexual harassment issues and won a Pulitzer Prize for public service.
2018年，她作为报道工作场所性骚扰问题的团队的一员，获得了普利策公共服务奖。
More about Susan Dominus
关于苏珊·多米纳斯的更多信息
What Is a New York Movie?
什么是纽约电影？
: Whether it was “A Complete Unknown” with 1960s Greenwich Village or “Anora” with present-day Brooklyn, filmmakers put new frames around the city .
：无论是 20 世纪 60 年代格林威治村的《完全未知》，还是当今布鲁克林的《阿诺拉》，电影制片人都在这座城市周围放置了新的框架。
From Bad Boy to Good Dad : Christian Slater’s tumultuous past has given way to a “very happy” family life .
从坏男孩到好爸爸：克里斯蒂安·斯莱特动荡的过去已经让位于“非常幸福”的家庭生活。
He plays a father on “Dexter: Original Sin,” too — but to keep a serial killer in check, you still need some edge.
他在《嗜血法医：原罪》中也扮演了一位父亲——但要控制连环杀手，你仍然需要一些优势。
Sex, Death and Nicole Kidman : Between her experience on “Babygirl” and her mother’s death, the star has come to understand a lot about women in unfulfilled lives .
性、死亡和妮可·基德曼：从《女婴》的经历到她母亲的去世，这位明星对那些生活不圆满的女性有了很多了解。
Streaming Guides: If you are overwhelmed by the endless options, don’t despair — we put together the best offerings on Netflix , Max , Disney+ , Amazon Prime and Hulu to make choosing your next binge a little easier.
流媒体指南：如果您对无穷无尽的选择感到不知所措，请不要绝望 - 我们汇集了 Netflix、Max、Disney+、Amazon Prime 和 Hulu 上的最佳产品，让您更轻松地选择下一场狂欢。
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观看时事通讯：注册即可获取有关可流式传输和观看的最佳电影和电视节目的推荐，并将其发送到您的收件箱。