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Jump in, The Waterfront’s Fine
There’s nothing quite like a just-this-side-of-campy organized-crime family drama to help pass the sticky, grimy days of summer.
If you’ve ever missed Melrose Place, here’s a show for you: love triangles and hidden identities, abductions and double-crosses, class warfare and child-custody disputes, a purportedly stylish woman whose wardrobe seems to consist only of knockoff Chanel tweed suits that she wears in North Carolina humidity. And The Waterfront has fun with these little bits of texture and grain, making it feel as though the show is winking at its viewers while also remaining committed to a story about, as Billy Costigan Jr. paraphrases Nathaniel Hawthorne in The Departed, families rising and falling in America. Most of the focus in these eight episodes isn’t on the smuggling itself, but rather on how the decision to return to crime transforms this family, turning them harder and more paranoid, making them curious about what the future holds, stoking their obsession with honor in a world that feels increasingly reprehensible.
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