This episode marks the first use (and mention) of the holo-communicator. The idea to use this device was Ronald D. Moore’s. According to Moore, “That’s something I had been pushing for because I just think it’s so absurd that in the twenty-fourth century they have holodeck technology that allows them to recreate Ancient Rome, but everybody talks to each other on television monitors. It’s just so lame. The viewscreens have been around for over thirty years. Can’t we move to something a little more interesting? But it’s like pulling teeth.” Ira Steven Behr was completely behind Moore’s idea; “Viewscreen scenes are always difficult to pull off. The longer they are, the more boring they are, and having a character talk to someone on a viewscreen is very distancing. And it did work in this episode. We never could have had Eddington on the viewscreen for all of his scenes. It would have been dramatic death.” Despite this however, the holo-communicator was not seen as successful in this episode, something alluded to by Gary Hutzel, “It was a terrible idea from the get-go. The idea was to create this amazing 3-D image, but TV’s a 2-D medium, so it’s hard to show that it’s 3-D. So you have to move the camera around so that audience can see that it’s 3-D, but then it could look to them like the guy beamed in. So you have to find a way to deal with that. It created all these problems that the writers hadn’t thought about, and it missed the whole point of why Gene Roddenberry wanted a viewscreen: so you could avoid unnecessary expense.” The holo-communicator would be seen only once more, in Sisko’s office on Deep Space 9 in the episode “Doctor Bashir, I Presume”.
The rationale makes sense to me… and I don’t think it looks as bad as some thought.