Bashir and O'Brien are captured by a group of Jem'Hadar whose leader, Goran'Agar, wants their help. Somehow, he has been freed from his dependency on the drug ketracel-white, and he wants Bashir to figure out how to do the same for his men. This puts two friends at odds, Bashir seeing an enslaved people who need medical help, O'Brien seeing a dangerous menace that might be unstoppable if their "leash" is removed. Meanwhile, Worf has difficulty adjusting to life on the station -- and specifically, in not being the chief of security. He watches with growing frustration as Odo tolerates the clearly criminal activities of "the Ferengi bartender," Quark.
This script with a pivotal role for Chief O'Brien had already been developed when Colm Meaney (exercising a contract that allowed him time away for movie roles) informed the producers he would not be available at the time they'd planned to film it. Late in prep, this episode was pulled forward (and "The Visitor"was pushed back). Actor Rene Auberjonois, assuming the director's chair for the third time, was openly negative about the experience at the time, calling the episode "difficult" and feeling he "wasn't ready to go." Years later, though, he'd call it the standout among the eight he directed for the series.
I think you wouldn't know of any troubles from watching the results. Indeed, Rene Auberjonois really seems to come into his own here as a director. He'd already shown himself to be good with performers in "Prophet Motive" and "Family Business"; here he demonstrates real skill with the camera as well. The opening shot is a long, single take that tracks Quark around the bar until landing on Worf at a secluded table, telegraphing the dynamic that will play between them throughout the episode. Shots of Bashir and O'Brien as prisoners have a wonderful depth of field that shows their guards, and a great profile shot of the two of them literally portrays their opposing viewpoints. Clever use of fog and camera lenses suggests a humid environment unusual for Star Trek. Visually, the only moment that doesn't work is the runabout's oddly gentle crash landing; otherwise, it's all very effective.
It helps that Auberjonois working from an intriguing script. It came from fusing two ideas together: one of Jem'Hadar trying to free themselves from their addictive drug (from outside writer Nicholas Corea), and one of O'Brien and Bashir taking opposing sides in an alien civil war (from second season intern Lisa Klink). Klink was given the assignment to combine the two, with The Bridge on the River Kwai as a narrative touchstone. (When is it okay to help the enemy? When do you draw the line?) Her rewrite was so well-received that the Deep Space Nine writers showed it to the staff at Star Trek: Voyager, which led to Klink joining that show full time.
It works well because each of the two characters has a strong and sympathetic point of view. Bashir is a doctor compelled to help where he can. O'Brien has a history as a soldier who recognizes the Jem'Hadar as the ultimate soldiers, people would show Bashir none of the mercy he's showing them. The Jem'Hadar characters are intriguing too. Goran'Agar effective conveys the idea of a "religion" in which gods are known to exist; you still never meet them, but you know they aren't waiting for you after death. Arak'Taral doesn't want to be cured if it means becoming weak. Still another Jem'Hadar is eager to die for his fellow soldiers, an attitude drilled into him by the Vorta. It's a quite compelling moral tapestry, and it ends on an interesting note -- with Julian and Miles' friendship actually damaged by the experience. (But not permanently, of course. This is Star Trek, and these are lofty, Starfleet humans.)
The Worf subplot is fairly predictable, but it is a nice way to use the series' newest character. No, he's not going to come in and take over security just because that's what he did on the Next Generation. He's going to have to get used to the way things work on this show/station. He does come off a little dumb not seeing the forest for the trees here, but this headstrong conduct is consistent with the Worf we've known, and it further stresses this show as a place with shades of gray. Using a Next Generation character to highlight Deep Space Nine's mission statement is smart writing.
What isn't great writing, though, is a truly uncomfortable "gay panic" moment at the start of the episode. O'Brien is talking to a sympathetic Bashir about a marital dispute, and the Doctor twists his words to observe that it seems he wishes Keiko were a man. O'Brien's recoil in horror may have been worth a laugh in 1995, but it lands with a dull thud in 2019.
Other observations:
- Actor Robert Foxworth auditioned for the role of Goran'Agar, but the producers liked him so much they wanted to save him for something meatier. (That would end up being a two-part episode later in the season.) Scott MacDonald had acted through makeup on both Deep Space Nine and The Next Generation, and was seen as a reliable choice here.
- Previously known only as an "enzyme" (in "The Abandoned," an episode whose events are actually mentioned here), the Jem'Hadar drug ketracel-white gets its name for the first time.
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