It’s a classic, if somewhat exaggerated trope in Star Trek: The ships first officer, second officer, tactical officer, chief engineer, chief medical officer, and a random ensign beam down to an unsecured planet while some dangerous problem is either ongoing or likely to occur. The Doylist reasons for this are as obvious as the Watsonian reasons it seems so silly: these are the main characters who are supposed to get the bulk of the screen time, so they are constantly thrown into situations which real world commanding officers and department heads are generally kept well clear of.
But what if this wasn’t the precedent established in TOS and continued in every subsequent series (including, to a slightly lesser but very real extent, Lower Decks)? What would a Star Trek show look like which still had senior officers who we are meant to care about and who still get significant development and screen time, but who aren’t thrown into unrealistically dangerous situations on a regular basis? Could such a show survive telling stories without visibly putting those regulars lives on the line so frequently? Would it be viable to keep the focus on things that happen either aboard ship or in nominally safe situations? Alternately, could a show successfully develop a cast of lower ranking “away team” characters who get the “dangerous” screen time while keeping significant focus on the major decision makers on the bridge? And how could the shows manage such a visible separation between “expendable” and “not expendable” crew while maintaining that humanist, optimistic, everybody-has-an-equal-right-to-life ethos?
It wouldn’t be an easy thing to pull off, certainly. But how could it have been done?
Reviewing your questions to consider, it’s very hard for me to conceptualize a show that fits the description in your title. Most of Star Trek is heading down to the planet of the week. Given the choice between focusing on the away team and focusing on the crew operating the starship, I think I’d sooner follow the away team and consign the ship crew to being nameless extras.
What’s interesting, though, is that I can think of at least two occasions where the people making Star Trek had similar doubts to the ones you’ve articulated here. First, when Roddenberry decided that sending the captain down was too dangerous, which led to the development of Riker as a character. Second, when the Enterprise writing staff decided that what Star Trek really needed were marines and came up with the MACOs.
So, while I can’t really envision a Star Trek where the main cast is confined to the ship, I can envision a Star Trek where a starship’s senior staff is distinct from a starship’s MACO command staff and the main cast is split between the two.
In other words, we’re talking about a version of TNG where Riker, Yar, and Worf are not Starfleet officers, but MACO officers. In this version of TNG, away missions are composite affairs: Geordi is still heading down if there’s an engineering problem to solve, Crusher is still heading down to respond to a medical emergency, and Data is still heading down in case they need to win $12.5m playing craps. But Lt. Col. Riker is still in command of the the away mission and Capt. Worf is bringing up the rear.
The thing is, this changes the texture of your average away team-centric episode so little that all we’ve really done is… add marines to Star Trek. This will inevitably pull Star Trek in a militaristic direction and I don’t think we’ve gained anything in exchange.
Closing thought. While writing this response I encountered something that surprised me: Major Hayes is only in five episodes of Enterprise. I suppose it’s a credit to Culp’s performance that I would have guessed he was in at least ten episodes had you put me on the spot and asked, but on the other hand, it’s pretty telling that even though Enterprise kept the MACOs through season 4, they just became redshirts and the Enterprise writers never even bothered to tell us who their new commander was.
It’s hard to imagine Lt. Col. Riker faring any better given the same constraints. You can give the Enterprise a MarDet, but if you’re going to give them something to do on a regular basis that isn’t equally or better suited for the senior staff, then you’re writing a far more action oriented show than we’re accustomed do.
I think the MACO example is a really great starting point though: have a few “away teams” that can beam down or beam over and take care of things. The exception being when circumstance requires a specific officer. In Enterprise during the Xindi conflict, MACOs handled certain off-ship actions. I think a similar situation in another franchise is Stargate SG-1/Atlantis, where the bridge crews never leave the ship and instead utilize teams (such as SG-1 or AR-1).
Starfleet claims they are not a military organization, but beams down with phasers (or phase rifles). Why not get a special team who is experienced militarily and instill first-contact procedures, diplomacy, and, if the need requires it, a science personnel who is trained to defend themselves.
With as many red/yellow shirts who have died, it makes sense to not endanger your senior officers who would have died without plot armor. For their credit, the MACOs were a step up from their plain security personnel.
I’d argue that, in some ways, Deep Space Nine is the answer to your question. For the most part, DS9 did not utilize the “away team” concept much at all. Now, if you are asking more broadly about the effect of putting our characters “in danger”, than I suppose you could argue that all of DS9 was an “away mission”, but I think the dynamic was significantly different.
With respect to TNG, I suspect showing a wider diversity of crew on away missions would have heightened the feeling of the Enterprise-D as a “university town”, with a range of experts in different fields, but where the senior staff are seen – not as less expendable – but rather as generalists, or perhaps even more like “philosophers” (in an old-fashioned sense of the term), who must take in information from a much wider range of sources and figure out what to do with it.
Dramatically, however, I think this would have made TNG even more “talky” than it already was. Without the senior staff going planetside and seeing the strange new world for themselves, I think we would have that much less emotional involvement with the “extra of the week” doing the exploring instead. Could it have worked with, as you suggest, a subcast of “away team” characters? Perhaps, but I think you would have needed to remove some of the existing cast, or reimagine them significantly – I don’t think TNG could accommodate too many more regulars. (A rebooted TNG where Geordi, Worf, and Tasha are the “landing party” crew could be interesting, but would be very different from what we originally had.)
That all being said… I’ve long felt that Star Trek was at its best when it told stories that could be told as stageplays (or could be easily reimagined as stageplays). A TNG without away teams would work very well as a stageplay, and could serve as a way to focus the writing: the story has to be compelling through the dialogue and acting alone, and can’t lean on the tropes of the “dangerous away mission” or the “mystifying abandoned alien planet”.
I actually think this is something that Resurgence handled pretty well. We never see the Captain go on a dangerous away mission (the one time he leaves the ship, it’s for a diplomatic meeting), but we do see the XO (a former tactical officer) go on some more dangerous ones, which makes sense. But the second main character is a crewman who gets sent on lot’s of away missions. It would just take a series following a similar format, maybe having more of a TOS focus on the Captain and a couple of senior officers and then having a lower decks angle too where we have a few main characters crewmen or ensigns.
Obviously the story lines would need to fit to make sure that both have plenty of screen time - but it is an interesting and perhaps more realistic concept.
I think it absolutely could have been done. The officers could be on comms during away missions and you could absolutely flesh out multiple characters in the lesser ranks that would be communicating the situation back to command.
Then you could absolutely have dramatic moments where senior staff or the captain are either required to join them or abducted.
I think this can quite easily be pulled off. Lower Decks is an example of this to a degree, but for an even better Beta Canon example look at the Star Trek Resurgence narrative game. The story takes place from two perspectives Petty Officer and the ship’s First Officer. Each of these characters has relationships which will impact the story and for the most part they work separately from one another, but still work together and it makes a lot more sense when the Captain sends the Petty Officers to go on the hull and do dangerous work than sending the chief of any department.
Consider that Deep Space 9’s primary cast of characters includes an enlisted person and several non-Starfleet personnel or straight up civilians. Porting that to a TV show would not be that difficult and I think there has even been some success with that in Lower Decks which features lower deckers along senior staff just fine, even interweaving their stories; and Discovery which, particularly in the first season, creates characters by proximity to the story not by bridge positions. Tilly is important because she is Burnham’s roommate, not because she’s the chief of anything. Despite this Tilly’s character is a fan favorite. Unfortunately, I think Discovery fell into the impulse of giving audiences more of what they want and that meant creating stories where a random cadet was a valued member of the team - and team was still mostly senior staff.
That’s actually an excellent point with early Discovery, a connection which had not occured to me despite working on this morning’s post. Discovery absolutely does try to do this, and for the most part it works; it only really falls apart when the show shifts to extremely grandiose storylines and feels the need to put Burnham in the middle of all of them. The early goings, essentially a war story told from the perspective of some science specialists who really ought to be the ones in the middle of those situations, makes considerable sense.
Of course it never made sense from day 1 that Kirk was going on every away mission. But that’s the reality of television.
