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Voyage of the Damned

Voyage of the Damned (1976)

The tragic 1939 voyage of SS St. Louis carrying hundreds of German Jewish refugees from Nazi Germany that seemingly no nation is willing to save from certain doom. The tragic 1939 voyage of SS St. Louis carrying hundreds of German Jewish refugees from Nazi Germany that seemingly no nation is willing to save from certain doom. The tragic 1939 voyage of SS St. Louis carrying hundreds of German Jewish refugees from Nazi Germany that seemingly no nation is willing to save from certain doom.

  • Stuart Rosenberg
  • Steve Shagan
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  • Gordon Thomas
  • Faye Dunaway
  • Oskar Werner
  • 42 User reviews
  • 17 Critic reviews
  • 31 Metascore
  • 1 win & 10 nominations total


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Oskar Werner

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Lee Grant

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  • (as David De Keyser)
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  • Trivia Katharine Ross won only a Golden Globe for her two-scene role. She was not nominated for an Oscar.
  • Goofs A 1970s red London bus drives past the German Army HQ in late 1930s Hamburg.

Captain Schroeder : I neither approved nor knew of it and assure you it shall not happen again. I frankly admit there appears to have been a lapse of good taste.

  • Crazy credits "This film is based upon a true incident. Some of the names, occupations and experiences of those involved have been altered to protect the privacy of the survivors and their families."
  • Alternate versions A version running a length of 182 minutes, released in 1980 on a double-cassette Magnetic Video, was released in 1980. The current video version, from Artisan/Live runs 158 minutes (even though the video cover says 137 minutes).
  • Connections Featured in Premio Donostia a Max Von Sydow (2006)
  • Soundtracks Horst Wessel Song (uncredited) Written by Horst Wessel

User reviews 42

  • Jun 16, 2002
  • How long is Voyage of the Damned? Powered by Alexa
  • December 22, 1976 (United States)
  • United Kingdom
  • United States
  • Reise der Verdammten
  • St. Pancras Renaissance Hotel London, Euston Road, London, Greater London, England, UK
  • Associated General Films
  • Robert Fryer Production
  • ITC Entertainment
  • See more company credits at IMDbPro
  • $7,000,000 (estimated)

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  • Runtime 2 hours 35 minutes

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A luxury liner carries Jewish refugees from Hitler's Germany in a desperate fight for survival.

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‘Paradise of the Damned’ Review: Dreams of El Dorado

A round 1530, conquistadors in South America began to hear rumors of El Dorado. Spanish for “the golden one,” the term originally referred to an indigenous ruler who covered his body in gold dust, but later it came to stand for his gold-studded kingdom, thought to lie in the eastern Andes. European treasure hunters combed the highlands near Bogotá, to no avail. Then a Spanish soldier named Juan Martín de Albujar claimed on his deathbed to have visited the golden city in the basin of the Orinoco River, in current-day Venezuela. Among those galvanized by Albujar’s story was the English courtier, author and explorer Sir Walter Raleigh. As Keith Thomson relates in “Paradise of the Damned,” Raleigh would gamble his fortune and his life in an obsessive, decadeslong quest for gold.

Raleigh (or Ralegh, as he spelled his name) was born about 1552, in Devon, in southwest England. The youngest of five sons in a once-prominent family, he attended Oxford University for a time, then joined the English army. In 1580 he parlayed his military experience and family connections into a place at the court of Queen Elizabeth.

Dashing, well-spoken, ambitious, Raleigh became the sovereign’s favorite and was awarded properties, a knighthood and lucrative posts. In 1584 he received permission to establish the first English colony in the Americas, which he named Virginia in honor of “the Virgin Queen.” Though he burned “to seek new worlds for gold, for praise, for glory,” as he later wrote, Elizabeth insisted that he remain at court. In 1585 and 1587, he dispatched settlers to Roanoke Island (in present-day North Carolina), but one company returned to England and the other, the so-called Lost Colony, vanished.

A few years later, Raleigh fell in love with and secretly married a lady-in-waiting—Elizabeth “Bess” Throckmorton—without the requisite royal permission. When the queen discovered the deceit, she imprisoned the couple in the Tower of London. Recounting this and other episodes, Mr. Thomson ably sketches Raleigh’s back story and untangles the aristocratic intrigues and international rivalries of the period. But “Paradise of the Damned” is above all a breezy adventure tale starring an audacious hero.

Released from prison and desperate to restore his sagging finances and win back the royal favor, Raleigh staked everything on an expedition to a region known as Guiana, in northeastern South America, in search of El Dorado. In February 1595, Raleigh left England with eight ships and 300 men, though four vessels disappeared en route when their crews decided to try their luck at privateering. The others landed at Trinidad, off the coast of Venezuela, and easily captured the island’s Spanish fort. Then Raleigh and about 100 men steered a flotilla of small boats into the mazelike delta of the Orinoco River, over muddy water teeming with electric eels, piranhas and crocodiles and through rainforest inhabited by anacondas, jaguars, vampire bats and clouds of mosquitoes.

After 16 agonizing days, the party gained the river proper and a week later reached the mouth of the Caroní, a major tributary that was thought to be the route to El Dorado. But the river was so swollen with seasonal rains that, Raleigh recorded, “it was not possible by the strength of any men, or with any boat whatsoever, to row.” He prepared to return home, “a beggar, and withered.” Just ahead of his departure, though, an obliging chieftain escorted him to a hidden gold mine, where Raleigh dug a few samples of high-quality ore that he hoped would placate Elizabeth and attract future investors.

Before he could persuade her majesty to authorize another voyage, Elizabeth died, on March 24, 1603. Her successor, James I, wasn’t impressed by Sir Walter’s charms or his hawkish stance toward Spain, and when rivals accused Raleigh of conspiring to overthrow the crown, the courtier was charged with treason and sentenced to death. Though James stayed his execution at the last moment, Raleigh would remain in the Tower for the next 13 years.

By the time Raleigh was released, in March 1616, the exploration of Guiana by the English explorer Thomas Roe had shown that El Dorado was likely a myth. But seizing on Roe’s confirmation of gold deposits, Raleigh petitioned James for permission to make a new voyage. Deeply in debt, the king acquiesced, with the impossible proviso that Raleigh do nothing to provoke the Spanish.

In June 1617, the sexagenarian Raleigh departed Plymouth with 13 ships and 1,000 men. On the Orinoco, one of his officers led an attack on the Spanish garrison, and Raleigh’s son, known as Wat, was killed. “My brains are broken,” Walter wrote Bess. “God knows I never knew what sorrow meant until now.” Facing the Spanish, hunger and the death of more than a third of his force, Raleigh again went home empty-handed. In England, he was arrested for violating the king’s orders; the stay of his execution was vacated; and the great Elizabethan adventurer was beheaded on Oct. 29, 1618.

“Incidentally,” Mr. Thomson adds in an ironic coda to his engaging chronicle, Raleigh “was also right about the gold.” The search in Guiana went on, and in the 1850s a German prospector discovered a 15-pound nugget near the present-day city of El Callao, Venezuela, close to the area that Raleigh had scoured 250 years earlier. The world’s leading gold source for a time, the mine produced a staggering total of 200,000 pounds, offering a belated vindication of Sir Walter Raleigh and the thousands of men who died searching for El Dorado.

Mr. Helferich’s books include “Stone of Kings: In Search of the Lost Jade of the Maya.”

‘Paradise of the Damned’ Review: Dreams of El Dorado

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‘The Damned’ Review: In His Latest Look at America’s Margins, Roberto Minervini Travels Back to the Civil War

The Italian-born director has lived in the United States for more than two decades, bringing the insights of an outsider to overlooked communities in his first period piece.

By Peter Debruge

Peter Debruge

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The Damned

Set during the Civil War, a long way from the front lines, Roberto Minervini ’s “ The Damned ” continues the Italian helmer’s career-long examination of the rifts and affinities between overlooked segments of American society. Apart from one long, destabilizing battle with an unseen adversary, the portrayal is a relatively peaceful one, following a group of Union soldiers assigned to scout the Northwestern frontier in 1862. While the country is divided, this assignment brings together men of different backgrounds, fostering camaraderie and mutual respect (surprisingly, the topic of slavery never comes up, though God factors into multiple conversations).

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With their full beards and blunt features, the men in Minervini’s cast look less like professional actors than the authentic Civil War soldiers seen in daguerreotypes of the time (especially Tim Carlson, of the family featured in “Stop the Pounding Heart,” as the Sergeant). Characters have a way of drifting in and out of Minervini’s films, and “The Damned” is no different, despite its more structured premise. A select group of troops travel to Montana, bonding among themselves for a time, before a run-in with Confederate snipers drastically reduces their ranks.

Minervini’s style has always blurred the lines between documentary and fiction, and here — in Civil War reenactment mode, as participants play themselves in period garb — he covers the ambush the way a war photographer might. DP Carlos Alfonso Corral, who shot Minervini’s striking black-and-white doc “What You Gonna Do When the World’s on Fire?,” chases after the soldiers as they duck for cover and attempt to return fire. Hidden by distant bushes, the enemy remains unseen, which makes the conflict that much more disconcerting.

Does “The Damned” really qualify as a war film? At times, the low-key approach may remind viewers more of Kelly Reichardt’s Oregon Trail saga, “Meek’s Cutoff,” in that both films (set less than two decades and two states apart) provide an alternative to the conventional Hollywood Western. For instance, “The Damned” doesn’t even bother to identify the names of its characters, rejecting the 20th-century focus on the individual — where heroic characters might be played by John Wayne or Henry Fonda — in favor of a collective sea of faces.

That’s something so many war movies get wrong: When men enlist in the Army, they agree to put the cause ahead of themselves. It becomes their duty to accept orders, however counterintuitive, whereas in Hollywood movies (of the past 50 years, at least), authority is nearly always wrong, and success is only possible when someone steps out of line and does what’s right. In reality, such behavior would almost surely get the fanatic (and many of his comrades) killed.

In a challenge to America’s own mythology, Minervini dispenses with such tropes, while allowing his characters — including a fresh-faced teen known only as ”Young Soldier” (Judah Carlson) — space to reflect on their reasons for signing up. They question the existence of God, debate the ideas of good and evil, and try to make sense of their mounting disillusion. “The Damned” has a tendency to meander, but in so doing, it strives toward something authentic.

Reviewed at Wilshire Screening Room, May 6, 2024. In Cannes Film Festival (Un Certain Regard). Running time: 88 MIN.

  • Production: (Italy-U.S.-Belgium) An Okta Film, Pulpa Film production with Rai Cinema, in coproduction with Michigan Films, VOO OBE Be tv, Shelter Prod, in association with Stregonia, Moonduckling Films, with the support of MiC – Direzione Generale Cinema e audiovisivo, Centre du cinéma et de l’audiovisuel de la Fédération Wallonie-Bruxelles, Fondo Audiovisivo Friuli Venezia-Giulia, Taxshelter.Be and ING, Tax shelter du Gouvernement féderal de Belgique, Film Commission Torino Piemonte, Federal tax credit program of Canada (Cavco), Provincial tax credit program of Québec, in collaboration with Kaibou Production. (International sales: Les Films du Losange, Paris.) Producers: Paolo Benzi, Denise Ping Lee, Roberto Minervini, Paolo Del Brocco. Executive producers: Teresa Mannino, Jean-Alexandre Luciani, Annette Fausboll. Co-producers: Alice Lemaire, Sébastien Andres.
  • Crew: Director, writer: Roberto Minervini. Camera: Carlos Alfonso Corral. Editor: Marie-Hélène Dozo. Music: Carlos Alfonso Corral.
  • With: Jeremiah Knupp, René W. Solomon, Cuyler Ballenger, Noah Carlson, Judah Carlson, Tim Carlson, Bill Gehring.

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100 episodes

Chaque matin, Ombline Roche vous raconte l'histoire qui se cache derrière un artiste. Un rendez-vous incontournable pour mieux apprécier l'oeuvre de son auteur.

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«Late Night Talking», la partition de Harry Styles

Découvrez l'incroyable parcours d'Harry Styles, de son émergence en tant que membre du boys band phénomène One Direction à sa transformation en artiste pop rock solo acclamé. 🎤 Cet épisode de « La Partition » retrace le cheminement musical et personnel d'Harry Styles, qui a su s'affranchir de son image de jeune premier pour s'imposer en tant que véritable créateur. Après avoir conquis le cœur des adolescentes dans One Direction, le chanteur britannique a su surprendre son public en dévoilant un univers musical plus mature et raffiné avec ses deux premiers albums solos. Loin des productions pop commerciales, Harry Styles a su trouver sa voie en explorant des sonorités rock et électro, tout en affirmant son style vestimentaire audacieux. Véritable caméléon de la scène musicale, le jeune artiste de 28 ans a réussi l'exploit d'être le premier chanteur anglais à atteindre la première place du Billboard aux États-Unis avec ses deux premiers projets. Mais c'est avec son troisième album « Harry's House », sorti en 2022, qu'il a définitivement conquis le cœur du public et de la critique grâce à une écriture et des arrangements encore plus aboutis. Rejoignez-nous pour découvrir les étapes clés qui ont mené Harry Styles à devenir l'une des principales figures de la pop contemporaine. De ses débuts dans un télé-crochet à son sacre en tant qu'icône mode, en passant par sa mue musicale réussie, vous comprendrez ce qui fait de lui l'un des artistes les plus fascinants de sa génération. 💫

  • MAY 16, 2024

Donna Summer nous entraine pour un dernier tour de piste avec «Last Dance»

Rejoignez-nous dans cet épisode passionnant de « La Partition » pour découvrir l'histoire de Donna Summer, l'icône incontestée du disco des années 70. 🕺💃 Alors que le phénomène de la fièvre du samedi soir bat son plein, Donna Summer fait ses premiers pas au cinéma en 1978 avec le film « Dieu merci, c'est vendredi ». Bien que le film n'ait pas connu le même succès retentissant que « La Fièvre du samedi soir », il offre à la reine du disco l'opportunité de briller sur grand écran. Nous plongerons dans les coulisses de cette production, où Donna Summer partage l'affiche avec le jeune Jeff Goldblum. Nous découvrirons comment son association avec le producteur Giorgio Moroder a donné naissance à certains des morceaux les plus novateurs de l'époque, tels que « Love to Love You Baby ». Mais au-delà de sa carrière cinématographique, nous retracerons le parcours exceptionnel de Donna Summer, de ses débuts modestes à son statut de véritable diva du disco. Nous évoquerons son influence incontestable sur la musique et la culture populaire, ainsi que son héritage musical qui continue de résonner encore aujourd'hui. Alors préparez-vous à être emportés dans l'univers scintillant et enflammé du disco, avec en guest star la reine Donna Summer elle-même. Cet épisode vous offrira un regard fascinant sur l'une des plus grandes icônes de la musique de cette époque. 🎶

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Our favorite ‘Abbott Elementary’ cast pairings

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Welcome to Screen Gab, the newsletter for everyone who loves “Abbott Elementary” for much more than just the love triangles.

As Screen Gab editor Matt Brennan and senior TV writer Yvonne Villarreal discuss in this week’s Break Down, the third season of ABC’s Emmy-winning comedy has given us an ensemble’s worth of brilliant comic pairings along with its will-they/won’t they romances.

Also in this edition, the writer of Netflix’s Jennifer Lopez vehicle “Atlas” picks his favorite JLo performance, plus streaming recommendations for your weekend.

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ICYMI: Summer Preview

Must-read stories you might have missed

Jeremy Renner.

‘I relive it every night’: Jeremy Renner reflects on the day he almost died, and why he’s alive : Jeremy Renner’s return to “Mayor of Kingstown” after his near-deadly accident was not a forgone conclusion, but he says thanks to a collective of people, he’s back for Season 3.

The 14 TV shows we’re most excited for this summer : Say hello to revivals of “Orphan Black” and “Yo Gabba Gabba!,” mystery miniseries, music-centered docuseries and more.

The 15 movies you need to see this summer : Our staffers select a highly opinionated list of their most anticipated titles: Hollywood fun machines, indie big swings and the truly unmissable.

We strap in with director George Miller, the ‘Mad Max’ mastermind, back with ‘Furiosa’ : Australia’s leading exporter of postapocalyptic mayhem reflects on 45 years of action, the lure of digital and the summer’s most anticipated blockbuster.

Recommendations from the film and TV experts at The Times

A man leans on the edge of a building in front of a shop window.

“Ripley” (Netflix)

Whether you’re a member of the film industry bidding adieu to Cannes, or simply dreaming of your summer vacation, no tale conjures the seductions — or dangers — of leisure quite like “The Talented Mr. Ripley.” Patricia Highsmith’s tale of a con artist who insinuates himself into the lives of a playboy and his girlfriend on the Italian coast, has, perhaps unsurprisingly, attracted the interest of some of the most beautiful people ever filmed, including Jude Law, in Anthony Minghella’s 1999 film adaptation [Max], and Alain Delon, in 1960’s “Purple Noon” [Criterion Channel, Kanopy]. What Steven Zaillian’s black-and-white TV adaptation loses in such midsummer sprightliness, it makes up in painful, almost Gothic beauty. Starring Andrew Scott as Tom, Jonny Flynn as the dissolute Dickie Greenleaf and Dakota Fanning as his deeply suspicious girlfriend, Marge, “Ripley” turns its lens on the less dignified aspects of infidelity, fraud, murder, like the lower levels of a Venice palazzo slowly lost to the sea. Its greatest feat, however, is to avoid the fate of so many streaming series, which tend to stretch two episodes to three and three to six simply to feed the beast known as Continue Watching. Zaillian luxuriates in the time but never, ever wastes it, as exemplified when Tom and Dickie go boating. Tense, terrifying, bleakly funny, uncannily beautiful and, most important, wholly unexpected, it’s one of the best TV episodes of the year. Bon voyage! — Matt Brennan

READ MORE: Andrew Scott and Dakota Fanning say their ‘Ripley’ characters aren’t rivals, ‘they’re frenemies’

A man in a blue suit and a woman in a purple dress.

“Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch” (PBS)

Whether you know Leslie Odom Jr. from “Hamilton,” “Glass Onion” or “One Night in Miami,” you’ve likely never seen him as a fast-talking, passionate Southern preacher with a very unique idea for how to gain ownership of a local church. The actor produced and starred in the Broadway revival, which has been filmed for PBS and just nabbed six Tony nominations. Even though Ossie Davis wrote the play in 1961 (while understudying Sidney Poitier in the original production of “A Raisin in the Sun,” by the way!), the show’s satirical punchlines feel so fresh that it almost feels written for today’s audiences. It’s only available to stream on PBS’ website or app through July 19. — Ashley Lee

READ MORE: ‘Plays still matter to the health of Broadway’: Leslie Odom Jr. on ‘Purlie Victorious’

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

A sweaty, bedraggled woman in a spaceship.

With Hollywood labor unions eager to secure protections against artificial intelligence , and Silicon Valley wunderkind Sam Altman suddenly in hot water with Scarlett Johansson over it, Netflix’s new sci-fi actioner “Atlas” may seem counter-intuitive: Jennifer Lopez teaming up with AI to save the world? For writer (with Leo Sardarian) Aron Eli Coleite, who worked with a consultant from UC Berkeley, tackling AI requires understanding that it comes with both opportunities and risks — depending on where, and how, it’s used. Coleite stopped by Screen Gab before the film’s premiere on Friday to discuss his annual “West Wing” re-watch, his JLo performance he can’t get out of his head and more. — Matt Brennan

What have you watched recently that you are recommending to everyone you know?

My current obsession is “X-Men ’97” [Disney+]. Not just because of my massive and decades-long love of the X-Men, but because it is the best drama on right now. The most groundbreaking storytelling is all being done in animation. Check out: “Scavenger’s Reign” [Max]. “Carol & the End of the World” [Netflix]. “Blue Eye Samurai” [Netflix]. (I’m slightly impartial on that one because I helped [creators] Michael Green and Amber Noizumi out a little.)

What’s your go-to “comfort watch,” the film or TV show you return to again and again? [Explain why.]

My wife, Tracy, and I do an annual rewatch of “The West Wing” [Max]. It’s been almost 25 years since the pilot aired and the show is still as timely as ever, a comforting dose of sanity in our insane world. I’ve also started re-watching movies with the sound off to both inspire me while I write and to learn how to be a better visual storyteller. “Mad Max: Fury Road” [Max], “Licorice Pizza” [MGM+], “Lady Snowblood” [Max], “Fantastic Planet” [Max, Criterion Channel] and “Annihilation” [Paramount+, Fubo] are on a constant rotation.

“Atlas” forces a skeptical data analyst, played by Jennifer Lopez, into a reluctant partnership with AI. What, to you, would be the scariest outcome of AI’s use in the next five years? What’s the most exciting?

To write “Atlas” I was fortunate to have the opportunity to consult with professor Michel Maharbiz from UC Berkeley. He was working on a technology called Neural Dust, which are AI sensors the size of a grain of sand that could be used to discover all kinds of medical treatments. My father passed away from ALS so the possibility of using AI to eliminate pain and suffering for families around the world deeply resonated with me.

What I fear most is that AI is adding rocket fuel to propagate lies in our conspiracy-fueled digital town squares. When so many people get their news from social media, the ability to mimic video and voices erodes trust and truth.

Name your favorite JLo performance in a project that’s not your own.

My favorite is “Out of Sight” [Prime Video]. I saw it three or four times in the theater. It’s a near-perfect movie. The way that Jennifer absolutely sticks the landing on a difficult blend of humor, romance, action and humanity is a master class in acting. She makes it look so damned effortless, which is the best magic trick in the world, because naturalism and believability are the hardest things to get right. Honorable mention goes to “The Cell” [VOD, multiple platforms] because her performance permanently messed up my brain in the best possible way.

Times staffers chew on the pop culture of the moment — love it, hate it or somewhere in between

Two schoolteachers smiling in a corridor.

“Abbott Elementary” (ABC, Hulu) has spent the last three seasons crafting a sweet and heartwarming will they/won’t they dynamic between co-workers Janine (Quinta Brunson) and Gregory (Tyler James Williams) amid the daily chaos and absurdities of working in education. But when I spoke with Williams recently — for my piece on Chris Perfetti , who plays socially awkward history teacher Jacob Hill — something he said struck me:

“Everyone asks me about Janine and Gregory and I’m like, that’s not nearly as interesting as Gregory and Jacob. That’s the will they/won’t they I am most invested in. Gregory likes and wants to be with Janine; Gregory does not want to like Jacob and yet Jacob breaks him down over the course of two seasons. And that, to me, from an actor’s perspective, gives me the most to play. My characters wants to not like you. You had a conflicting objective to the point where the season finale of Season 2, I remember breaking that script down and there’s that big moment between Janine and Gregory, when they talk about what their relationship should be. And I remember looking at that and flagging, I was like, “OK, I’m gonna have to really break this down.” But the bigger moment to me was the moment of the bro hug after the fact. Because Gregory needs a place to be vulnerable. And that’s what Jacob allows him to be. Whenever we have scenes together, whatever that is, it’s some of the most exciting things for me, because I have just as much to play here as I do with Janine.”

It had me thinking about how the workplace comedy has found ways to craft other enjoyable combinations of its ensemble cast that are just as compelling, without the angst and frustration of a beautifully torturous slow burn. Screen Gab editor Matt Brennan joined me recently to break down our favorite “Abbott Elementary” pairings. — Yvonne Villarreal

Matt Brennan: Yvonne, when you shared Williams’ insights about Gregory and Jacob’s relationship with me recently, it helped crystallize something I’ve been thinking about “Abbott’s” third season, which began with a time jump and found Janine working for the district instead of her beloved elementary school: ABC’s Emmy-winning comedy series seems to be enjoying stretching its legs. Even with an episode count curtailed by last year’s writers’ and actors’ strikes, creator/star Quinta Brunson and Co. managed to explore a wide array of unexpected or less established character pairings this time around.

I’ll start with a small shoutout: Mr. Johnson (William Stanford Davis) and the kitchen staff, who provided TV’s best parody of “The Bear” to date.

Is there any dynamic duo that stood out to you this season?

Yvonne Villarreal: Do you even have to ask, Matt? You know my brand. When newly single Jacob (Chris Perfetti), in need of a new housing arrangement, became roommates with Melissa (Lisa Ann Walter) and they found themselves bonding over things like “The Real Housewives of New Jersey” and book nooks, my millennial heart was suddenly longing for bonus content of life with the odd couple in the form of TikTok videos.

Workplace formats can often feel stifling because we’re confined to the job setting — and we all have work friends that we commiserate with over Slack who don’t necessarily function in our personal life. But the way “Abbott” has found ways to deepen the ties of its characters has been both meaningful and fun to watch. As a hardcore admirer of the will they/won’t they trope and an angsty slow burn, I think keeping us interested in the whole ensemble is a necessary foundation for any romantic story lines: Although I am rooting for Janine and Gregory and whatever heart-eyes emoji moments their coupling will bring, I don’t want it to steal the focus. It’s why I’ve found Manny (Josh Segarra), Janine’s district co-worker, to be an enjoyable addition this season.

What about you, Matt? How do you think “Abbott” can avoid the pitfalls of the love triangle? And what other pairings have you enjoyed, or hope might deepen, as the show continues?

Matt Brennan: Jacob and Melissa’s life as roommates had me LOL-ing, Yvonne — that would totally be us if The Times made us bunk together! What you point to about “Abbott” being grounded in its ensemble is, I think, exactly how it will avoid getting locked into a pattern of Janine-Gregory love triangles, which is very low down the list of reasons I tune in every week. (Sorry, I’m just not sentimental about them. I wasn’t about Pam and Jim, either.) In fact, the series’ greatest strength may be that it has a cast where you can put any two characters in a scenario together and end up with comic fireworks.

Just sticking to Season 3 examples, I’m thinking of Barbara (Sheryl Lee Ralph) and Melissa leading the charge to “reset Ava” when she returns from “the legal property lines of Harvard” with a purpose; Gregory and Ava in a “competitive” panel discussion with their doppelgangers from another school; or the recent episode “Double Date,” which uses a bar night and a book club to launch six distinct subplots at once. For any sitcom, which depends on A, B and even C stories to work, this flexibility is central to longevity, and “Abbott” has shown that it has the ability to keep firing on all cylinders as long as the creative team remains engaged.

All that said, my favorite moments on “Abbott” are still those that bring the entire cast together at once, often in the shared experience of dashed hopes or thwarted purpose. I haven’t laughed harder at anything on TV this year than the staff collectively “vetting” the school’s new namesake (“Where were you on Jan. 6?!”) only to discover that he’s a flat-Earth truther. In fact, I’m going to re-watch it again right now.

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voyage of the damned full episode

Matt Brennan is a Los Angeles Times’ deputy editor for entertainment and arts. Born in the Boston area, educated at USC and an adoptive New Orleanian for nearly 10 years, he returned to Los Angeles in 2019 as the newsroom’s television editor. He previously served as TV editor at Paste Magazine, and his writing has also appeared in Indiewire, Slate, Deadspin and numerous other publications.

voyage of the damned full episode

Yvonne Villarreal is a senior television writer for the Calendar section and co-host of “The Envelope” podcast.

voyage of the damned full episode

Ashley Lee is a staff reporter at the Los Angeles Times, where she writes about theater, movies, television and the bustling intersection of the stage and the screen. An alum of the Eugene O’Neill Theater Center’s National Critics Institute and Poynter’s Power of Diverse Voices, she leads workshops on arts journalism at the Kennedy Center American College Theater Festival. She was previously a New York-based editor at the Hollywood Reporter and has written for the Washington Post, Backstage and American Theatre, among others. She is currently working remotely alongside her dog, Oliver.

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    Tense, terrifying, bleakly funny, uncannily beautiful and, most important, wholly unexpected, it's one of the best TV episodes of the year. Bon voyage! — Matt Brennan