In the 2010s, Hillary Clinton emerged as a central character not only in American political life but also in its imagined political scenarios. This article considers the centrality of Clinton as a model for women's legal and political empowerment in CBS drama The Good Wife (2009–16), arguing that the show's generic blend of the television procedural with melodrama and soap is key to both its normative portrayal of women in the corporate workplace and its positioning of Clinton as an aspirational figure for white liberal feminists. A similar tension is also central to Clinton's bid for the presidency in 2016, and this article dissects the ways in which Clinton's anticipated victory has provided a powerful but ultimately misleading “feminist” fantasy for many television shows of the last decade. A final section concludes this article with a brief analysis of The Good Wife's 2017 spin-off The Good Fight, to argue that this show pivots from a fantasy of women's empowerment to a much more interesting dystopic picture, tapping into the surrealism of the present moment to convey the difficulty of women's aspiration under a Trump administration in ways that more directly, if still imperfectly, tackle the failings of liberal feminism to account for racial and economic difference.

中文翻译：

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想象中的希拉里：《好妻子》和《好战》中的女权主义、幻想和虚构的克林顿

在 2010 年代，希拉里·克林顿不仅在美国政治生活中，而且在其想象的政治场景中都成为了中心人物。本文将克林顿的中心地位视为 CBS 戏剧中女性法律和政治赋权的典范好妻子（2009-16），认为该节目将电视程序与情节剧和肥皂剧的通用融合是其对企业工作场所女性的规范描绘以及将克林顿定位为白人自由女权主义者的理想人物的关键。类似的紧张局势也是克林顿在 2016 年竞选总统的核心，本文剖析了克林顿的预期胜利为过去十年的许多电视节目提供了强大但最终误导的“女权主义”幻想的方式。最后一节总结了这篇文章，简要分析了好妻子的 2017 年分拆好战, 认为这个节目从女性赋权的幻想转向更有趣的反乌托邦画面，利用当下的超现实主义，以更直接的方式传达女性愿望的困难，如果仍然不完美，解决自由女权主义在解释种族和经济差异方面的失败。