WET HOT AMERICAN SUMMER works best when it’s leaning into its silliness which unfortunately it doesn’t do frequently enough: the going-to-town montage is great; the subplot with Ken Marino’s character trying to get back to camp is gold. But it often feels like the writers, Michael Showalter and David Wain, don’t quite have the confidence to lean into the absurdist comedy that clearly works best for them (which makes sense because it was earlier in their careers and they probably didn’t). I rolled straight into the prequel series on Netflix which, first impressions, works a lot better.