Even if Riker was the action hero of the series in its early years, Patrick Stewart was still very much the lead. He was given all the important acting scenes: he was charged with conveying emotions, values and meaning that Frakes was not. Even as Q doted on Riker, the solution of Hide & Q was still found in Picard.
Yes, of course. The point is that they were supposed to be
co-leads, their roles complementing one another. The assumption was that the younger lead would handle the physical action and romance, while the older lead would handle the more thoughtful stuff and the speechmaking and the problem-solving. Kind of like early
Doctor Who, where the elderly Doctor was the title character and the catalyst for the stories but his young, virile male companion was the real hero, the one who spearheaded the action.
And I think you're understating how prominent Riker was in those early seasons. He was still quite central in his own way. He certainly carried the bulk of the romantic load; aside from Jenice Mannheim, Picard didn't really have a romantic interest until Vash showed up in season 3, but Riker was getting plenty of action in the meantime.
What I meant was, if it's a space battle-stations situation, the captain will be on the bridge and in charge. If the away team guy is one of the main acting roles, the tendency might be for him to be on the bridge at crucial times, too, which might seem contrived.
I think the problem is that you're expecting it to be structured the way you're used to seeing
Star Trek. But ST is structured that way because it always has focused primarily on the bridge crews. If a series were designed to focus on more junior officers, then of course the writers would structure the scripts specifically to focus on those characters. I'm always puzzled when people say "The writers couldn't do X because of the situation in the story." The writers
create that situation in the first place, and they can create a different one just as easily. Stories are built to serve their characters. If you have a story situation that doesn't provide a focus for your main characters, then you
change it to one that does.
As I've said, a perfect example of the kind of structure I'm talking about has already been done with great success in
Stargate SG-1. The stars of the show were the team that went into action, and their commanding officer was a supporting character. There were episodes set at the SGC where General Hammond played a more central role, but the story was still told from the perspective of SG-1, the lead characters. After all, they're the ones who are getting paid to be the stars, so of course the writers will structure the scripts to focus on those characters. It makes no sense to claim this structure can't work when it
did work on a TV series that ran for ten years, and a spinoff thereof that ran for five years.
Stargate is the most successful American SFTV franchise other than
Star Trek, and it succeeded doing the exact same thing that you're trying to tell me is impossible.
Not to mention that even Trek itself has an example of a series that didn't focus solely on the command crew: DS9. It featured plenty of characters who weren't stationed in ops -- Odo, Quark, Bashir, Rom, Garak, etc. And it told stories that focused on those characters elsewhere, more so than an episode of TOS or TNG or VGR would have. Because stories are shaped to fit their characters. If the characters have different jobs, then the stories will have different emphases.
You know, all these years I've been wondering what a police commissioner actually is, so I just looked it up. Turns out it's basically the same thing as a sheriff.
Except for not being an elected official and, in most jurisdictions, not having cognizance over civil processes.
Ahh, okay. Thanks. So a commissioner is more an appointed position?