Television settings tend to be generic “spaces,” rather than “places.” Like the city of popular imagination, however, CSI’s Las Vegas is a crucial “place.” It is simultaneously spectacular and banal, as each episode opens with dizzying shots of the Strip in full-on nocturnal splendor, or of sprawling subdivisions baking in the midday desert. These tableaux quickly become crime scenes, as bodies are discovered, and our CSIs arrive to investigate. Vegas itself is, of course, one huge “crime scene,” as any critical history of the city will argue, resplendent with crimes against morality, against taste, against social justice, and even against nature itself. Everyone knows this, and this is exactly what has made it so compelling. CSI brings this experience home, rendering it as an unending quest at the human scale of the city, where locals and visitors toil, play, seethe, and mourn in the shadow of its spectacle. In this clip, from “Room Service” (602), Vegas is literally split in this regard, with only the fact of death uniting its victims. What does CSI’s Vegas add to the popular and critical perceptions of the city? What does it tell us about contemporary representations of place in popular media?