This episode is one of the very few in which something slipped past the censors. As we see Callie handing Crockett his drink her baggy shirt sleeve falls open revealing her nipple for a split second before the scene cuts back to Crockett.
We see the splitting up of Crockett and Tubbs in this episode. Tubbs tackles the Clemente case, while Crockett deals with Callie and Charlie. This separation later became more frequent during season 5, an aspect criticized as taking away one of the show's primary appeals - the rapport between the leads.
The last six minutes of this episode, set to Godley & Creme's "Cry," is considered by many fans to be one of the defining scenes of Vice as a show and among the best endings of the second season. This is also one of several episodes that does not end on a freeze frame.
Among the fine details of the "Cry" ending is the cut from the mountains of sand under which the bodies are buried to Callie building mounds of sand - suggesting her complicity in the killings.
As they sit under the beach umbrella, Crockett muses to Tubbs that having to wait reminds him of the plight of characters in a "Becket" play. Tubbs is surprised to discover that his partner (a man he joked would not know a Bauhaus from an outhouse) is aware of Becket and asks when he read his plays. Crockett tells him he is referring to Charlie Becket, a local shoeshine and playwright. The joke sets up the viewer to initially believe that Crockett might be reading Samuel Beckett's Waiting for Godot (a play about existential anxiety). This is also an example of the way in which Crockett plays his "good ol' boy" persona to disguise his actual intelligence (since the exchange only makes sense if Crockett is actually aware that Waiting for Godot involves endless waiting).