CSI: NY - Season 1, Part 2

It seems Anthony Zuiker is the driving force, the personality that lights the fire for CSI. He calls himself co-creator of the series, executive producer of the New York franchise, the man who persuaded Gary Sinise to come on board, a West Coast man, large, flamboyant, always jolly, with a neat beard and 'tash. Whenever he talks on these extras, you know it's going to be fun. He's a bit of a gossip, tosses anecdotes about like confetti, but behind the L.A banter you feel the passion. That's what you admire about successful US television series like CSI (few can be as successful as this); they take it seriously, constantly thriving for something better. The professionalism and creativity from all involved, including the actors - especially the actors - is impressive.

The World's Largest Crime Scene refers to the Twin Towers after the terrorist attack ("The best heroes were the CSIs who worked on that"), but the featurette deals with the decision by producer Jerry Bruckheimer and CBS to go for another franchise. They were already working flat out servicing the Las Vegas and Miami shows. Bruckheimer said, "Just pick a city." It could have been Chicago, Dallas, San Francisco, anywhere. They wanted to do something different and so chose New York because of its unique qualities, the crush of humanity in such a small space, the verbose nature of the people ("The bad guys - they love to talk"), the gritty edge, the energy. All the actors were either natives, or, like Sinise, regulars. They shared a New York vibe that is not like anywhere else. Watch Eddie Cahill (Flack) and Carmine Giovinazzo (Danny) interact with people, up front, full on, talk talk talk, not abrasive, zappy, in control/not in control, definitely plugged.

In The Cast Examine The Characters, it's not just the cast, it's Zuiker and others, especially Ann Donahue, another of the original writer/producer/creator gang of three that is CSI, an attractive, thoughtful blonde and counterpoint to Zuiker's bouncy bonhomie. They discuss the actors, why they were chosen and then the actors themselves talk about their feelings for the show, their contributions to the characters - Sinise brought in the military background for Mac Taylor, ex-Marine, 9/11 widower.

Usually, this kind of thing is self-congratulatory and gushy, but not here (Melina - "there's a scientist built inside her." Carmine - "possibly the comic relief of the show." Hill Harper - "a perfectionist about his work") Actually, it is much better than these sound bites imply. "The actors are so important," Ann says, which is a gross understatement. Their selection is as near perfection as these things can be, which is why, in my mind, at least, CSI: NY is the best of the bunch.

The Zoo Year is an odd feature that covers Season 1, Part 1, more than Part 2, and it's all about animals - the horse that gets hit by the car in Officer Blue, the circus elephant in Blood, Sweat & Tears, dogs in Recycling, rats ("They get pregnant two days after giving birth") in Creatures Of The Night. It is hardly breathtakingly relevant, or inspirational, but there are good things, like watching the dog trainer at work and admiring the efficiency of the accident when the horse smashes into the windscreen.

CSI: NY Set Tour is, surprisingly, the best extra. The production designer escorts you through the extensive sets, explaining how things work, what is real and what fake, how the lighting has been arranged, the clever mix of old and new, the fact that they are given only eight days to shoot each episode. It is unconditionally fascinating and reiterates the feeling that you get about all things Crime Scene - they care.

Commentary by Anthony E Zuiker of Tanglewood, the first episode of Season 1, Part 2, concerned with suburban gang culture. Zuiker's commentary is uncharacteristically lacklustre, although I was taken aback when he remarks, almost in passing, that the opening sequence in the snow in Central Park was shot in California.

One of the most positive aspects of Part 1 is its bleached dark look and gritty feel. Zuiker talks of the need "to lighten up the show," as if people prefer the showbizy style of Miami and Vegas. I cannot imagine Sinise showboating like David Caruso, or camping it up like William Petersen. The integrity of the New York crew is paramount. Long may they resist character decoration from West Coast scribes.