“The Begotten” is an episode high on emotions, actions and drama, but relatively light on implications for the series as a whole, from a plot standpoint. If this sounds a tad contradictory it’s because, well, the episode itself is a contradiction of what the series had established since the end of season four. And for all its bluster, the episode may have positively overstepped its bounds. There are some really good character dynamics at work here, and there’s no question this is a memorable episode, but if anything, it’s not quite a classic.

The premise of the episode involves Odo finding a “baby” changeling. The implications of such a development are clear. Odo has his own issues regarding his own childhood, and he sees this as an opportunity to “make right” the “wrongs” he experienced at the hands of Dr. Mora. This is also a chance for Odo to connect to his people once again — albeit vicariously. It’s an emotional arc which benefits from the inclusion of Dr. Mora in the story to delve into a kind of father-son-grandson dynamic.

The concept is exceptional. Odo just wants to talk to the young changeling, and use his gentle approach as a means to teach the changeling how to, well, change — to shapeshift. Dr. Mora offers a more direct approach, one that utilizes uncomfortable zaps with electricity to prod and coerce growth. And so the episode becomes something of a commentary on raising a child. The real answer, of course, is a kind of balance between the approaches and, as Odo and Dr. Mora get closer to finding this balance, they get closer to an understanding and reconciliation.

These are the best elements of the episode. And it culminates with a wonderful scene in which the shapeshifter imitates Odo — showing the very real connection Odo has made to it. Odo’s emotion at the breakthrough, as well as his subsequent monologue to Quark (after buying Quark a drink!) show pure, unadulterated joy. The smile that beams across Odo’s face is infectious. But it is the high point of the episode.

The first signs of missteps come from the scenes between Odo and Dr. Mora. Has solid as they are in terms of design, the execution is a bit lacking. For starters, Dr. Mora comes across as an arrogant prick (his comment on how easy it was for the founders to take away Odo’s abilities was particularly harsh) — not at all the sympathetic person the episode tries to portray him as. And the arguments between Odo and Dr. Mora are ramped up to such a level that it’s almost impossible to take them seriously. True, families bicker and often yell. But something about the performances here is amiss. It just doesn’t ring true.

Also, the episode takes the very abrupt (and thoroughly melodramatic) turn to have the young changeling die. The potential was established early on (Bashir had to “cure” the young changeling at the beginning of the episode), so there was some foreshadowing. But going from Odo’s incredible high to the sudden news that the changeling is dying smacks of contrived drama. The scene is certainly emotional, Odo’s performance here is perfect. But worse yet, as the changeling dies it gives Odo a “gift” — Odo is, suddenly, a changeling again. In a burst of happiness, he leaps into the air and flies over the promenade before landing and facing the reality that his “child” has died.

The emotional rollercoaster is just a bit too extreme here. Especially when you factor in the absolutely putrid subplot involving Kira giving birth (finally) to the O’Brien’s child. You’ve got this nonsensical and downright stupidly annoying ritual in which Miles has to clang a gong. Then when Shakaar arrives, he acts like a petty child regarding how close Miles is to Kira. Wouldn’t these issues have been resolved at some earlier point in time? And even if they hadn’t been resolved, there’s no reason for them to be so utterly juvenile about it now.

And yet, for all of its inconsistencies, the episode still manage to find enough equilibrium for one final, solid scene. After Kira hands over O’Brien’s child, and after Odo reconciles and says goodbye to Dr. Mora, the two meet and share a brief, but meaningful conversation. Kira laments not being able to hold the baby she’s just given birth two. Odo expresses his understanding for her feelings. And the pair head off for a contemplative walk together — a genuinely strong scene.

“The Begotten” will likely be remembered for Odo’s “return to form” so-to-speak. But it begs the question: What the hell was the point? Why change Odo into a solid and not spend more time exploring the change? And with so little exploration, why change Odo back now? These questions, along with the generally uneven approach of the episode, keep it from being truly exceptional.

Filed under: Deep Space Nine