-The episode contains what is arguably John Petersen's most noteworthy score music from his stint on the series; he provides a strong, identifiable them for Delgado that appears in several variations throughout the episode. Peterson's work here is notably richer and more cinematic in feel than Jan Hammer's overtly synth-based score.
-Palmo's house appears to be the same one used for Guzman's house in Evan (1985) and Alexander Dykstra's house in Lend Me an Ear (1987), while the building where Delgado is put on trial is from Death and the Lady (1987) (where it appeared as Milton Glantz's house).
-The opening scene of the episode, where Crockett and Tubbs first arrive at Palmo's house, is one of the more glaring examples of how dramatically scaled back Tubbs' role in the show often became during season four - despite being present throughout, he says absolutely nothing at all during their arrival and introduction to Palmo, with Crockett doing all of the talking for them.
-This is one of the few episodes where Crockett and Tubbs are so deep undercover they can't even get out to OCB.
-The moody lighting and cinematic style of this episode, particularly the scenes in the doll room and the trial room, foreshadow the style of season five.