Plot
At the beginning of the episode, the Simpsons are seen in their car being chased by Olympic administrators in a helicopter. It turns out that Homer has stolen the Olympic torch because the television broadcast of the Olympics preempt his favorite shows once again. When Marge finally gives the torch to the administrators, the sight of its flame causes them to crash. On their way home, the family go to a private school-held carnival, where Bart meets Greta, Rainier Wolfcastle's daughter (voiced by Reese Witherspoon). Greta develops a crush on the oblivious Bart, and the whole family begins enjoying the royal treatment her father, Rainier, provides them. However, Lisa discovers Bart not taking Greta seriously, after skipping her school dance to watch Principal Skinner bomb at an open mic comedy night. Upon Lisa's advice, Bart breaks up with Greta, who does not take it well.
After losing her, Bart discovers that he actually wanted to be with Greta and goes to her house to ask her to come back to him. To his surprise, Greta has already started a new relationship with Milhouse. Greta goes to Canada with Milhouse during her father's movie shooting, and Bart follows her to Toronto with his family. At the movie set, Bart confronts Milhouse and they get into a fight, crashing into sets and ruining props. They end up in front of Greta, demanding her to choose between them, and Greta turns both boys down due to loss of interest in the two. The episode ends with the boys reconciling and joining Canada's basketball team.
Read more about this topic: The Bart Wants What It Wants
Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
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“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)