Dr. Langston kills Nate Haskell, but was it murder or self-defense. Meanwhile, a closer look at the crime scene reveals details about Haskell's twisted past and his descent into a serial killer.


(as Jeffrey Hunt)


(created by),

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Episode cast overview, first billed only:
Nora Parkes


Farmer Arvin Thorpe is found murdered at home by Nate, who is identified as his biological son Warren, and fell to his death after a struggle with Langston, who thus liberated his ex Gloria. Nick, Greg and Sara unearth evidence that Nate turned sadist while Arvid abused him and his mother, who is among a series of clandestine graves on the farm, and where he stole the Haskel identity. Sheriff Conrad Ecklie stalls I.A. detective Schultz while Brass sees to the disappearing of crucial evidence against Langston. Written by KGF Vissers

Plot Summary | Plot Synopsis






Release Date:

12 May 2011 (USA)  »

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Aspect Ratio:

1.78 : 1
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Did You Know?


Laurence Fishburne's final appearance as a regular cast member. See more »


When IA officer Schultz turns up, he mentions a previous investigation involving Warwick. The same actor appeared in both episodes, but his name in the first was 'Wagenbach'. See more »


Dr. Raymond Langston: I also need a laptop.
Shopkeeper: Gates or Jobs?
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User Reviews

Season 11: Glossy bubblegum TV but has very little beyond the excess and the effects (MILD SPOILERS)
12 August 2011 | by (United Kingdom) – See all my reviews

I've watched the last few seasons of CSI without comment on them, but this year thought I may as well. I watch this show because my girlfriend likes it and generally we likes to have something for her to relax in front of when the day has been long – Burn Notice, White Collar, Psyche, all these shows fill that role and CSI is slotted in with them in regards our viewing habits. This isn't to say that it is dumb TV, because it isn't, but it is bubblegum stuff – it won't challenge you in terms of plot (the characters will frequently explain stuff to each other to help the viewer keep up) or in terms of content (despite a hint of darkness late in the season, this show has fairly simple morals within its characters). No, instead it makes for easy weekly viewing, with minimal links between episodes – this is one of those shows that (to a certain degree) the episodes could be shown in almost any order without any real problem.

As such CSI continues to do what it has always done – be an impressively slick crime show where the onus is on the all-conquering power of technology and deduction. It is nonsense in terms of reality of course, but it is all so well put together that one is never really bothered by reality, only the reality of the CSI world presented to us here. In its eleventh season now, the show has the success to continue to command the budgets and it uses them well, with plenty of gory effects and impressive visuals. Suffice to say that while some shows blow a budget on having one explosion in an episode, CSI has money to burn and burn it it does, the end result being a very slick and professional product.

The problems are not in the presentation though, it is in the content. CSI has never been a show to have simple, open and shut cases but this season appears to have really gone for it in terms of excessive violence and complexity of the crimes. So we have a couple of obviously comedy crimes (the cat and the bird one for example) but we also have excessively daft ones such as the stealth killer in the rubber outfit and a few others where one gets the feeling where they are struggling for ideas. Even where the crimes are quite straightforward, they tend to be spiced up with unnecessary detail/gore – so the credit card one starts with a brutal scene of a victim being force-fed a chopped up credit card for no real reason other than doing it. This is the same in a lot of episodes and it gives the impression that content is less important than impact of the plots. The writers never gave me anything with real heart in terms of content – it all seemed geared to towards supporting the glossy and expensive effects. The Haskell thread is interesting (particularly at the end of the season) but while the "events" of the plot offer interest, they are delivered so flatly and lacking in real emotional impact that it wasted the potential to go beyond the gloss.

The characters are much the same – and occasionally suggesting that Langston might have a dark side is really not the same as writing characters. Accordingly Fishburne sleeps his way through much of the season, looking bored with his character but happy for the work; it was no surprise to hear of him moving on. In support Helgenberger (also soon to leave), Eads, Fox and others all do their usual stuff and they are part of the cool glossy presentation – but never people or characters (unless the plot requires them to be as a device). The guest stars are frequently and clunky – suggesting cynically that some of the casting is to do with getting headlines. So we have Elliot Gould, Method Man, Ann-Margret, Carrot Top (no, really), Dita Von Teese, Christina Milian and, of course, The Bieber. None of them really add much beyond their names, while Sackhoff's main contribution as a reoccurring guest is to allow a Battlestar Galactica in-joke to be made about the mining process of "fraking" (a swear word from the sci-fi show).

This eleventh season of CSI is unsurprisingly glossy and easy to watch and enjoy as bubblegum television. There isn't really any darkness or complexity to it and nothing about it will challenge the viewer beyond the impact of effects shots or shock devices. I found it easy to watch in the main but too often I was distracted by either how daft it was, or just how unnecessarily flashy or elaborate the whole thing was; I guess like Vegas itself, the show seems to have become an experience of excess, rather than something you sit to watch for drama or character.

4 of 7 people found this review helpful.  Was this review helpful to you?

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