This chapter begins by juxtaposing the explosive ending of the Hollywood crime film White Heat with the quiet endings associated with melting permafrost in the Arctic, in order to contrast scenes of spectacular violence with those of slow violence. After providing an overview of how (cultural) criminology has typically thought about scenes, the chapter explains how to think through scenes. This scene thinking is developed in relation to an analysis of permafrost as a ‘criminal’ underworld, highlighting why the matter of scenes also matters when examining environmental harm.