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After the ad aired, as Squarespace tried to promote the hashtag #5to9, a counterversion appeared: #9to5ShouldBeEnough.
广告播出后，当Squarespace试图推广标签“晚五朝九”时，出现了一个相反的版本：“朝九晚五就够了”。
The ad clearly felt, to many of its viewers, like yet another glorification of an economy in which people must work more jobs, for ever longer hours, just to survive to the next paycheck -
对许多观众来说，这则广告显然是对经济的又一次颂扬，在这种经济中，人们必须工作更多，工作时间更长，才能活到发薪日——
often for gig-economy companies that classify them as "independent" contract laborers, instead of offering the sorts of protected, benefited, living-wage jobs for which the women of the original 9to5 group continue to fight.
通常对于那些将她们归为“独立”合同工的零工经济来说，并没有提供那种受保护的、有福利的、有生活保障的工作，而原来朝九晚五的女性继续为之奋斗。
It didn't help that the gig-economy mainstays DoorDash and UberEats aired their own Super Bowl ads branding themselves as genial supporters of small businesses.
不过，零工经济的主要支柱DoorDash和UberEats播出了他们自己的超级碗广告，将自己标榜为小企业的友好支持者，却无济于事。
DoorDash used the "Sesame Street" song "People in Your Neighborhood"; UberEats resurrected the tongue-in-cheek anti-corporate message of "Wayne's World."
DoorDash使用了《芝麻街》的歌曲《你的邻居》；UberEats重新恢复了“韦恩的世界”中的口是心非的反公司信息。
Both companies have taken in billions during the pandemic, skimming hefty fees off the struggling local restaurants whose food they deliver.
这两家公司在新冠疫情期间都获得了数十亿美元的收入，为他们派送的当地餐馆节省了巨额费用。
This was a poor message, AdWeek chided, at a time when "hustle culture feels downright toxic."
这是一个糟糕的信息，《广告周刊》指责说，在“喧嚣文化感觉彻头彻尾有毒”的时候。
Inevitably, though, debate about the ad landed not on Squarespace, but on the shoulders of Parton herself.
不可避免的是，关于这则广告的争论不是落在Squarespace上，而是落在了帕顿自己的肩上。
Was she profiting off the fetishization of an exploitative economy, or was she just another hard-working American with her own side hustle?
她是从剥削经济的拜物教中获利，还是她只是另一个勤劳的美国人，有着自己的一面？
(There's an ad within the ad, for Parton's new fragrance line, which uses a Squarespace site).
（广告中有一则广告，是针对帕顿的新香水系列，它使用了Squarespace网站）。
A Washington Post headline referred to the ad as "Dolly Parton's betrayal," while one in Newsweek argued that the ad "Shows We Live in a Dystopia" - but only after cautiously averring that "Dolly Parton Is Awesome."
《华盛顿邮报》的一则头条新闻称这则广告是“多莉·帕顿的背叛”，而《新闻周刊》的一篇则认为这则广告“表明我们生活在一个反乌托邦中”——但这是在谨慎地宣称“多莉·帕顿太棒了”之后发生的事情。
译文由可可原创，仅供学习交流使用，未经许可请勿转载。
