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Well, their isn't really much point to bringing a character back if you're only going to have her stand around and deliver exposition.

Eh, not much of a loss. I mean sure the character was underwritten, but it cuts both ways. She still didn't make much of an impression on those few occasions when she was given something to do. I never got the sense that there was a great character just waiting for the chance to emerge. The...

It matters quite a bit, because that's what the lawsuit is claiming. They're claiming that this episode caused harm to their business. That claim is at the crux of the lawsuit and is the primary basis for the six million dollar figure they're asking for.

"Well, I was going to buy a house from you, until I saw that you had the same names as the victims-of-the-week from a recent CSI episode. Now I must decline." Yeah, that could totally happen. Anyway, it was silly of Goldfinger to use the same names. She should've changed the last names very...

Well, no, but it's the most logical conclusion. The only evidence of the episode's existence is a synopsis, since deleted, that was written on TV.com, a site that relies on user-submitted content. This synopsis arrived alongside a bunch of other episode synopses that were later proven to be...

It's a real spoiler. It comes directly from a CBS press release. Calling Ray a detective is likely just a mistake on CBS's part. I'm pretty sure the rumor of Sofia coming back for the finale was false. It was from those TV.com synopses that were released a couple months back that have since...

It looks like the mistake originated from CBS. It must be a pretty slow news day for Ausiello if he's just copy/pasting CBS press releases.

I don't know. I've always felt it's impossible to tell a story without foregrounding certain characters in some way. It's just the natural organic flow of a story to eventually focus on certain characters over others. That's not to say you shouldn't give the more supporting characters...

This might be a bit overly simplistic, but from what I've read his "Story By" credit basically amounted to him saying, "Hey, what if Nick gets buried alive." All the actual word-to-page scriptwriting was done by the regular CSI writers. For Tarantino, it was still a gun-for-hire gig, albeit a...

Eh, TV show adaptations have a knack for spending years in development hell before they actually, if ever, get made. The folks behind 24 have spent like the last five years talking about how they'd love to make it into a movie, yet as far as I know nobody's ever even attempted to put a single...

CBS has posted a preview scene from the episode. http://www.cbs.com/primetime/csi/video/video.php?cid=544177912&pid=eT7f0DWsP15dmhB6QkL0RAGtOMaB_v73&category=recent&play=true

It's not exactly fair to compare a real episode with an episode that never existed. A nonexistent episode can be as good as you want it to be. Real episodes have a higher degree of difficulty.

It was quite foolish of CBS to put such a high profile episode against the series finale of ER. There was simply no way they were going to win that slot. If it was just another regular episode, that would've been fine. But when you air a high-profile, heavily-promoted episode at a time where...

I assumed the number is a per-year basis. I've never heard of a contract operating on 1.5 year intervals.

You seen how much Fishburne's getting paid? He's not going anywhere. http://www.deadlinehollywooddaily.com/fishburne-is-the-14-million-man-on-cbs/

Networks never "accept" that there shows appeal to older demographics. To do so would be horrible business sense. The 18-49 demo is what advertisers care about, and it's what determines ad rates and ad revenue. To accept skewing older is to accept making less money. However, CSI still has...

The only things those pics say with any certainty is that Ray has at least three scenes in the episode. Will he be the primary focus of the episode? Yeah probably. But he's the lead character on the show, so it kind of makes sense for extra emphasis to be put on him.

Well, describing his style probably warrants an essay, but if forced to give it a simple description, I would probably call his films gritty and frenetic. His two most famous movies are The French Connection and The Exorcist. The film he made with Petersen is To Live and Die in L.A., which...

It's an official press release. http://www.cbspressexpress.com/div.php/cbs_entertainment/release?id=21083