Plot
The film's events take place almost exclusively on August 18, 1981, at Camp Firewood, a summer camp located near Waterville, Maine. It is the last day of summer camp, which means counselors have one last chance to have a romantic encounter with another person at Camp Firewood. The summer ultimately culminates with a talent show.
Beth (Janeane Garofalo), the camp director, struggles to keep her counselors in order — and her campers alive — while falling in love with Henry (David Hyde Pierce), an astrophysics associate professor at the local college. Henry has to devise a plan to save the camp from a piece of NASA's Skylab, which is falling to Earth.
Coop (Michael Showalter) has a crush on Katie (Marguerite Moreau), his fellow counselor, but has to pry her away from her rebellious, obnoxious, and obviously unfaithful boyfriend, Andy (Paul Rudd). Only Gene (Christopher Meloni), the shell-shocked Vietnam war veteran and camp chef, can help Coop win Katie — with some help from a talking can of vegetables (voiced by H. Jon Benjamin). All the while, Gary (A.D. Miles), Gene's unfortunately chosen apprentice, and J.J. (Zak Orth) attempt to figure out why McKinley (Michael Ian Black) hasn't been with a woman; and Susie (Amy Poehler) and Ben (Bradley Cooper) attempt to produce and choreograph the greatest talent show Camp Firewood has ever seen.
Read more about this topic: Wet Hot American Summer
Famous quotes containing the word plot:
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“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)