CSI: New York--'Silent Night'

CSI Files

Captain
Synopsis:

A deaf woman is horrified to discover the body of her nineteen-year-old daughter, Allison, shot to death in her bedroom. Mac calls in an interpreter to Gina Mitchum, who clings to her remaining child, a baby named Elizabeth. She tells Mac that the vibrations from the shotgun blast woke her, and tells the CSI that her daughter had been seeing a boy named Seth Wolf, but that they'd been fighting recently. Seth becomes even more interesting to the CSIs when DNA tests reveal that Elizabeth was Allison's daughter, not Gina's, and that blood from Elizabeth's father was found at the Mitchums' house, indicating he is the shooter. Seth Wolf is listed on the birth certificate as Elizabeth's father, but he denies the possibility--and insists he didn't kill Allison. Another boy sparks Mac's interest--Cole Rowan, a fellow student alongside Allison at the Manhattan School for the Deaf, until a hearing aid implant allowed him to hear normally.

Stella and Danny investigate the murder of McKenzie Wade, a champion figure skater. Her friend Krista discovered her body, and she tearfully tells the CSIs that she switched practice times with McKenzie. The CSIs wonder if Krista was the real target and Danny interrogates the Zamboni driver, Frank, who had an unhealthy fixation on Krista, but he maintains his innocence. A letter containing mathematical equations and a chip of an experimental type of paint lead the CSIs to Tom Howard, whose office at New Jersey Advance Tech overlooks the rink. Tom watched McKenzie skate everyday and saw her working on her technique, but when he approached her at the rink to try to offer her advice, she brushed him off, thinking he was a stalker. He tried to carve his suggestions into the ice with her skate lacer, but when she grabbed it from him, they fought for it and she fell on it. Tom fled, leaving the young skater dead in his wake. Both cases bring up troubling memories for Lindsay, who tells Stella that as a teen she survived a crime in which all of her friends were killed.

Gina is out with baby Elizabeth and her husband Dennis when an unhinged Cole Rowan pushes Dennis aside and leaps in Gina's SUV with her and Elizabeth, forcing Gina to drive at gunpoint. She gets off a call to the police, and they manage to stop and surround the car while Cole tearfully explains the shooting of Allison was an accident--he came to take the baby so that he could make sure she wasn't raised deaf like he and Allison were. Flack is able to extract the baby from the car while Mac tackles Cole. After making sure Gina and her family are safe, Mac seeks Peyton out and tells her he wants to make their relationship work.

Analysis:

"Silent Night" has the feel of a sweeps episode. Two big guest stars--Academy Award winner <font color=yellow>Marlee Matalin</font> and figure skating champ <font color=yellow>Sasha Cohen</font>--and the revelation of the often hinted at secret from Lindsay's past. However, comparing the episode to the actual sweeps offerings--including the excellent offerings "And Here's To You, Mrs. Azrael" and "Raising Shane"--it simply isn't as strong, Matalin's powerful performance aside.

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Once again another phenomal review. You have a gift with writing & words & it shows quite well.

I too wish we got a Stella zinger at the end instead of having to watch Sacha Cohen skate around. Maybe it was meant to be a tribute to McKenzie Wade but I would've prefered to hear Stella say something witty to Tom. I think most of us know that she's pretty funny & that's one of many reasons why I adore her so much.

I was also hoping to hear more about Lindsay's deep, dark secret but I guess we'll have to wait for the next round of sweeps to learn more. Hopefully the writers will be able to stay consistent & not stray away from this.

Good stuff as always :cool:.
 
I'm afraid I can't agree with you on the Peyton/Mac reunion. When she started to call him, I was hoping it was with the news that she was going to leave because they couldn't work together. Sadly TPTB didn't hear my silent pleas and next thing it's Mac going for a second chance with her. Ah well, that's why fast forward buttons were invented.

One thing that puzzled me. How could the vibration from the shotgun blast wake the mother if she was sensing it through her feet?
 
I don't think she was asleep, was she? She was on her way to bed after checking on her daughter and we saw the lights flashing on the baby monitor and then the shotgun blast? Do I have the sequence mixed up? I definitely remember her feet being on the ground when the gun went off.
 
^that is correct, Springmoon . She wasn't asleep. She went to lay down, saw the baby monitor light flash and put her feet on the ground to check on her when she felt the vibrations.
 
...he marches right back to Peyton and, in a surprising move given his usual restraint, pulls Peyton into an embrace

Except that it isn't that surprising. If you recall in PWM, he was the one who pulled her to him to kiss her in the damn hallway where anyone could've seen them. At least they were in an office for this one.

Mac is still struggling mightily. Gotta love him for trying to muddle through, at least. Hell, I'll still love him if he didn't :D
 
I enjoyed your review. I also liked the Mac/Peyton stuff, which is a change for me. I think I mainly loved the intensity Gary Sinise showed in their last scene.

Anyway, good job. Also - I agree on the inconsistency with Lindsay's character. Why exactly is this coming to a head now? *scratches head*
 
Thanks guys! :D

Re: Mac and Peyton: I understand some don't like them. Each pairing is going to have its fans and its detractors (there are definitely pairings I dislike). It's subjective. But Mac and Peyton work for me--I think they're both pretty private, quiet people who've found themselves totally bowled over by the passion they feel for each other. As audrina mentioned, there's an intensity to Sinise's performance when Mac is with Peyton, and that opens up a whole new side of his character that I really enjoy seeing.

As for Lindsay, as much as I'm not a fan of the character, I don't think she's been served well by the writers lately. They've made her downright unlikeable--who says "just leave me alone!" to someone trying to reach out and help her? Even "I can't talk about it" or "please don't ask me" would have been more mature and sympathetic.

It also didn't help that Carmine was much more convincing in his crying scene in RSRD than Anna was here. :eek:

I wonder if Anna's pregnancy did throw off the revelation a bit. If it did, I think they should have just tabled it until she got back from maternity leave and then had a case that almost exactly mirrored Lindsay's past--a school shooting or a group of dead teens--something that would have made more sense. The problem there is that they had Lindsay reacting exactly the opposite in "Manhattan Manhunt" and no real way to explain why she's suddenly done a 180. I think what it comes down to is that the character was just poorly conceived/planned from the get-go, and it seems like all efforts to crawl out of that just make things worse.
 
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