YMMV / Incredibles 2

• Accidental Aesop:
  • Don't let faith in rescuers supersede self-preservation initiatives.
  • Also, if you want to make the world a better place, make sure you strive to be a good person and have actual principles, not just a desire to remove something you hate. Elastigirl understood that, while the true Screenslaver didn't. Also, Winston proved his commitment to making the world a better place was sincere, because he jumped back onto a ship that was about to crash so he could save the supers' and ambassadors' lives.
  • For parents of young children, if you're stressed out and sleep-deprived from caring for a newborn, it's okay to reach out for help and get some rest. You can handle parenting better when you're not mentally and physically exhausted.
• Accidental Innuendo: After Violet squirts water out of her nose, Bob claims that "Normally, she doesn't ever drip like this".
• Adorkable:
  • Violet is back and is even more adorkable than ever, with a major hint of The Woobie thrown in following her crush's memory wipe. Her reintroduction to Tony and her meeting an un-hypnotized Voyd for the first time shows off her social anxiety upon meeting them.
  • Voyd trips over her words while talking to Elastigirl and does so again when talking to Violet which doubles the adorkable side of both females.
  • Winston Deavor's love of superheroes makes him fall into this. He's even memorized Mr. Incredible, Elastigirl, and Frozone's theme songs!
  • Helen acts like an excited schoolgirl once she gets back into being a superheroine. Her sheer euphoria when she tells Bob about how she stopped the train is especially endearing.
• Alternate Aesop Interpretation: The speech made by Screenslaver about people preferring to enjoy seeing things done instead of doing things themselves. Is it a Take That! against conformism or, given that it's the villain saying it, is it a Take That! against the cynical people who take this criticism too far? Or was it even intended to mean anything at all? Since the Screenslaver is just a persona created by Evelyn, it's possible she simply wrote the speech as something to give him a dramatic purpose and nothing more.
• Alternative Character Interpretation:
  • Jack-Jack; is he unaware of just how powerful he is given that he's a baby, or is he fully aware and intentionally messing with his father and siblings? Also, does he know what the hypnotic glasses are, or is he just mimicking what his siblings were doing when he removes them from Elastigirl?
  • Was Krushauer really unable to undo the wreckage he caused that blocked Mr. Incredible's path to the boat's engine room, was he unsure of how to do that, or was he just insulted at the idea of reversing his power?
• Animation Age Ghetto: When questioned about the mature elements in this movie, director Brad Bird flat out said that it's not a kids movie but rather it's an animated movie that's rated PG.
• Anti-Climax Boss: Some fans have lamented that the confrontation with the real Screenslaver, is a bit of a letdown, since they're an unarmed and normal human who just knocks Helen out with some fancy piloting skills and depressuring the cabin rather than having an actual fight. While it's more realistic and pragmatic than the usual super-battle would be, some fans felt it wasn't as exciting or visually interesting as the epic battle with the Omnidroid and the confrontation with Syndrome at the Parrs' house in the first movie, or even the battle with the Underminer that opens this one. This is especially the case when compared to the fake Screenslaver, who still gave Helen a surprisingly intense and brutal fight despite not having any powers or training.
• Badass Decay:
  • A number of fans felt that Mr. Incredible was hit hard by this in contrast to the first movie. While previously he was a flawed but formidable character who was willing to throw his obnoxious boss through four concrete walls or snap Mirage in half because he (incorrectly) thought it would give him leverage against Syndrome, in this film he doesn't get as many opportunities to use his powers — losing a hand-to-hand fight against the Underminer of all people (though he does gain a little bit of redemption with wins over the Screenslaved Krushauer and Brick, but needed Elastigirl's help with the latter to defeat her and he does plays a critical role with redirecting the Everjust, with Frozone's help) — and spending most of the movie as, well, basically an average suburban dad (though a far better version of the typical suburban dad).
  • Dash was ultimately hit very hard with this in the sequel if not far worse than what his dad got. In the first film alone he had by far the highest body count ^note though a good chunk of those deaths were merely incidental on Dash's part and was shown to be fast enough to run on water and push Violet's Force Field around like a hamster ball. But in the 2nd movie, Dash was heavily Out of Focus and he doesn't get a chance at all to show off his increased speed during the 3-month Time Skip (unlike Violet who was shown to have Taken A Level In Badass with her powers during that same time), his Character Development that he got in the first film was all but nearly vanished (only hint was during the Underminer fight), he was made even more useless once the 2nd film's climax hits (as being onboard the Everjust severely hampered his space to run around in which hurts him further) and he was made to watch Jack-Jack which he horridly fails at and he even gets kidnapped by the Screenslaved Screech, in which he has to be saved by Violet wielding Jack-Jack, with Dash ultimately being the one to give Screech the knockout punch. It doesn't help that Dash was the only character of the entire family who didn't have a character arc of his own.^note Even moreso when it's revealed that the Deleted Scene Restaurant Robbery, which was the only action scene Dash would have gotten was cut due to Violet stripping herself naked.
• Broken Base: Should the film have gone with Brad Bird's other idea and aged up the Parr Family like it was planned to do? Some are all for the idea and argue that it would've lead into far more interesting stories and a far better sequel than the final film's Immediate Sequel approach—which was criticized for not progressing the characters and plot enough^note This is despite the fact that the sequel does progress Violet and Dash considerably by giving them additional Character Development (though in Violet's case, she suffered from having a terrible character arc which stunted her growth a little) and allowing them to be superheroes independently without Helen and Bob by saving them and the other Supers in the climax (though only Violet and Jack-Jack contributed to the plot while Dash was made completely useless), on top of further developing Jack Jack and his powers, which were only barely touched upon in the first film's ending—and would've made perfect sense given the fourteen year Sequel Gap between the first film and the sequel. However, others are against the idea of aging up the Parr Family and argues that the franchise would have completely lost all of its timeless charm and feel with an older Parr Family (which would have been far harder to accept for younger kids which is the target demographic of the franchise and would have likely hurt the sequel's chances further) and that more stories can come from the Parr family as they are currently known as, helping out their side of the argument is that the sequel techinally started off right after a 3-month Time Skip that ended the first film, thus the sequel starts with a Time Skip already established ^note (also helping their case out further is that most animated sequels that do involve long Distant Sequel gaps in the narrative tend to be quite polarizing upon release depending on how the aging process is handled which actually hurts the fan ideas more in a case of Be Careful What You Wish For, also another point that helps their cause is that most fan ideas that do get used also tends to be very polarizing in their own right, due to straying too far from the establishment), and that it would have again copied another element from the first film that didn't need to be copied^note the first film begins with an Action Prologue set during the Glory Days and jumps ahead via a 15 year Time Skip which introduced the Parr family in full. And there are those that wouldn't mind a Take a Third Option by having the Family aged up a little bit (similar to the small 1-year Time Skip as seen in Finding Dory or the 4-year Time Skip that's implied to take place between the events of Monsters University and Monsters, Inc.) or have them fully aged up as an epilogue scene to end the series to satisfy both sides (much like how Harry Potter and the Deathly Hallows did to end their series). ^note Though as seen under the What Could Have Been section, aging up the Parr family would have been done as a last resort option as Bird's original plan for the sequel was to always focus directly on Helen right where the first film ended as far back after the first film's production had wrapped up as revealed in interviews leading up to the sequel's release. Had the story with Elastigirl not worked out at all, Bird would have gone with aging up the Parr Family in real time. In the years since the second film's release, there are those that are slowly starting to realize that Bird's plans for the sequel, while flawed in execution, that aging up the Parr Family to adults would have been a bad idea from the start, with them siding with those that want to keep the family the same age.
• Catharsis Factor: We watch Screenslaver's various plans come off relatively smoothly and how they always manage to be one step ahead. We feel frustration seeing that the heroes apparently can not resist when the villain manages to slap hypno-goggles on them and turn them into slaves. So it becomes nicely cathartic when Evelyn Deavor, alias Screenslaver, gives that Big "NO!" as the first of her hypno-goggles are destroyed and her plans begin to spiral out of her control.
• Contested Sequel: Some have criticized the film for having a plot similar to the first movie but with Helen's and Bob's jobs reversed, and saw the villain as an inferior replacement to the well-received Syndrome (though Evelyn has a decent fanbase of her own built up, but nowhere near as much as Syndrome's). The Immediate Sequel status of this film didn't help either which contributed to it falling under So Okay, It's Average as seen below. On the other hand, a significant number of fans see the film as even better (though the list has grown smaller overtime due to how polarizing sequels have become in recent years), as the movie significantly develops Helen's job life (in contrast to Bob's job life in the first movie, which was mostly covered in a montage) and Bob's home life was given significant focus as well.
• Crosses the Line Twice: During Elastigirl's fight with the Big Bad, the plane's high altitude lowers the oxygen for her, making it hard for her to breathe or focus. As a result, Elastigirl starts to go loopy, acting as if she were drunk despite being minutes from death.
• Die for Our Ship: A number of people play up Bob's shortcomings (he is established as an over-competitive and otherwise flawed but honestly devoted husband) in order to justify Helen casting him aside in favor of Voyd or Evelyn.
• Draco in Leather Pants: Evelyn has legions of fans willing to justify or outright ignore her villainous actions in order to envision Helen leaving Bob to be with her.
• Ensemble Dark Horse:
  • Out of all the new, second-string Supers, Voyd has attracted a lot more attention than the rest. She stands out as an Adorkable but still well-meaning superhero with her socially awkward behavior made her a fan favorite to the point fans are clamoring for her to have a major role in a third film.
  • The fake Screenslaver has a single scene but thanks to being a ghoulishly menacing foe who puts up a very impressive fight against Helen, he has earned a lot of fan love.
• Fan-Preferred Cut Content:
  • After 14 years, many fans were longing to finally see Lucius' wife Honey in person, only for her to still be an offscreen character in the final film. Especially disappointing since she was actually shown in a concept sketch as well as in a mocked-up deleted scene where Brad Bird revealed that her proposed Unseen No More scene had to be cut for pacing reasons (it killed the momentum of the scenes following, and immediately after, her scene), and it was decided to keep her as The Ghost, an element of the character that's part of the joke carried on from the first film.
  • Many fans greatly prefer Brad Bird's other idea for the sequel (albeit a highly controversial one), which would've been a Distant Sequel focused on an older Violet, Dash, and Jack-Jack (which was scrapped by both Disney/Pixar and Brad Bird due to not wanting to ruin the family dynamic of the first film ^note (it also helps that Bird himself is highly against aging up animated characters in general, thanks to being involved with production on The Simpsons which also has the same scenario of not allowing the signature family to age, except for What If? scenarios) and not wanting to make new models of the older characters from scratch ^note seeing as the Parr Family's models from the first film were already being updated and recreated with the new Renderman technology and would have been seen as a huge waste just for a prologue scene), over the final film, which was an Immediate Sequel focused on Helen. Helping out their favor that the Time Skip idea was already a highly popular source of Fanfic Fuel amongst fans and was even being hyped up by the media during the sequel's development which contributed to the sequel's highly controversial Broken Base seen above.
• Fanfic Fuel:
  • Edna's unseen night discovering all of Jack-Jack's powers and making a suit that addresses them all, although Auntie Edna provides the canonical details of that night.
  • Edna also mentions that it's common for babies of supers to have more than one power. This of course can lead to all sorts of fanfics about other superheroes learning their powers, or superheroes who are the children of other superheroes (like it's implied some of the Deavors supers might be).
  • The movie confirms that there are superheroes based out of other countries (though there were some minor hints of this in the first film), this has high implications that there are young Supers out there that are just like Violet, Dash and Jack-Jack running around all over the world, no doubt this will lead to a Super-Foreign Exchange Program being developed.
  • Supers are now legal again and a new generation of supers are ready to do good.
• Fanon:
  • Dash makes a joke about it, but some fans believe Violet really is going through menstruation during the part of the movie where she's upset, based on how intense her reaction is, even though she has a very specific reason for being angry at her father.
  • An extremely popular theory with LGBT fans is that Voyd is transgender and/or a lesbian, based off her somewhat masculine build and her style- as well as her seeming crush on Elastigirl and later on after the defeat of Evelyn striking a bond with Violet (whom shares similar anxiety issues with Voyd).
• Fandom Rivalry:
  • The fandom for this movie has developed one with that of Teen Titans Go!, since Teen Titans Go! To the Movies which was theatrically released a month after this movie.
  • A relatively minor rivalry sprang up between the portrayal of the Underminer within this film, where he is a mere bank robber, and the tie-in videogame The Incredibles: Rise of the Underminer, where he is actively waging a full-scale invasion of the surface. Many feel the latter was a far superior representation of his declaration of war on peace and happiness with those who consider the game to be the true sequel over this one.
• Fix Fic: Averting Tony's memory erasure of Violet by Dicker or regaining his memories of her through specific means is mostly common.
• Foe Yay Shipping: Helen and Evelyn's chemistry inspired many a devoted shipper.
• It's the Same, Now It Sucks!:
  • Some have criticized the film's plot as being too similar to the first movie, but with Helen's and Bob's roles being reversed and another villain who has strong opinions about the concept of superheroes (Syndrome wanting to make the term 'super' obsolete by making normal mundane humans 'super' via his tech, Screenslaver wanting them banned completely), it also doesn't help that the overall family arc was far too similar to the first film's with only minor differences.^note Only Bob's and Violet's arcs were natrual arcs built off of the first film's events with Bob becoming a better father (which was a hint in the first film) and Violet learning to be more responsible with her identity by learning to take care of Jack-Jack (which is built on her learning what her mom told her when they arrived on the island).
  • Naturally, there were complaints about the twist involving the villain's true identity, by revealing they were a False Friend, a trope that Disney has been criticized for overusing in recent years (which is concurrently ongoing). It also doesn't help that this means the family fell for essentially the same scheme twice in a matter of months.
• Jerkass Woobie: Due to genuinely tragic motivations involving the pain caused by her parents' deaths, and humanizing qualities such as sincerely loving her brother, the Screenslaver comes across more sympathetically despite their actions.
• Les Yay:
  • Evelyn is quite fond of Elastigirl and they have quite a bit of chemistry with each other. Even after Evelyn reveals herself as Screenslaver, she acts like a Psycho Lesbian Yandere towards Helen.
  • Not to mention Voyd fangirling over Elastigirl. Elastigirl, for her part, seems amazed to have fans among the young hero community but distracted by the Screenslaver.
• LGBT Fanbase: LGBT fans immediately fell in love with Voyd, thanks to her cool design and her fawning over Elastigirl. Admittedly none of the romantic preferences of the Supers aside from the Parrs or Frozone are addressed, but the Supers wanting to go public and stop hiding works as an effective metaphor for gay rights nonetheless.
• Magnificent Bastard:
  • Evelyn Deavor, is the brilliant technical genius behind DevTech. Believing that humanity has become too reliant on superheroes following her parents' deaths, Evelyn pretends to support Winston's plan to make Supers legal again, while secretly scheming to make sure they remain illegal. She sets up a decoy Screenslaver to commit several crimes, while also helping Helen foil his plans. When Elastigirl deduces that that the Screenslaver she captured was a decoy, Evelyn hypnotizes her along with Mr. Incredible, Frozone and the DevTech Supers. Her objective is to stage a scene on the Everjust to make it seem that the Supers are tired of being told what to do by the "normal people" and then crash the Everjust into the city, thus turning public opinion against them and making them illegal forever. Even when her plans are thwarted, Evelyn holds her own against Elastigirl and nearly kills her through quick thinking and efficient use of her environment.
  • The Underminer is a hammy, mole-like supervillain who appears at the end of the first film to declare war on peace and happiness, but while his ultimate plan here is merely to rob a bank, it is no less impressive. He achieves his goal by drilling tunnels in the bank's foundation, detonating explosives so that the building falls underground, and vacuuming all of the money away. When Mr. Incredible intervenes, The Underminer engages in a brief fist fight with him before escaping with his loot in a smaller drill tank, leaving Mr. Incredible to stop his larger, now out-of-control, tank.
• Memetic Mutation: Has its own page.
• Moe: The Parr children, at least when they're not crime-fighting. Violet is Adorkable, Dash has an innocent, child-like demeanour and Jack-Jack is one of the cutest babies around. It helps that they all look adorable.
• Moral Event Horizon: The Screenslaver a.k.a. Evelyn truly crosses it when she's revealed to be able to mind control supers and force them to commit acts of villainy, the very thing they stand against. It is especially notable when she forces Mr. Incredible and Elastigirl to attack their own children.
• Nausea Fuel: Reflux's power to projectile vomit lava repulsed even the character art director himself. As a result, later drafts substantially changed the character's design, giving him more cartoonish features and an exaggerated frog-like vocal sac, in an attempt to make his concept less disgusting.
• One-Scene Wonder: The raccoon that Jack-Jack fights, with its very expressive facial animation and the creative array of powers on Jack Jack's part causing many comparisons to classic Looney Tunes and Hanna-Barbera slapstick.
• Paranoia Fuel: Screenslaver's main shtick involves mass hypnosis induced by patterns projected on any screen that you may happen to be looking at for any given moment.
• Rainbow Lens: The plot revolves around legalizing superheroes and the movie makes it clear that the focus is on social equality for those with superpowers while Voyd explicitly equates being allowed to be a superhero with being able to be herself and is overjoyed to join a group where everyone is like her. It helps that she has an androgynous appearance and Fanon has embraced her as queer.
• Self-Fanservice: Voyd/Karen is already a slim and fairly attractive young woman with a very tight-fitting outfit, but that's evidently not enough for the legions of fanartists who either exaggerate her broad-shouldered build to previously unforeseen levels or take it in the opposite direction by turning her into an impossibly gorgeous supermodel, so she looks more equal when shipped with Elastigirl.
• Signature Scene: Jack-Jack's fight with the raccoon is the scene talked about most by reviewers.
• So Okay, It's Average: Crosses with Tough Act to Follow: While not a majority of people consider it bad ^note (though there are those of a small growing minority who consider it to be one of Pixar's worst sequels ever and lump it in the middle of Pixar's terrible sequels of The New '10s), many people didn't find this sequel nearly as good as the first one ^note (though they do agree that it's far better than most of Pixar's then-recent sequel outputs at the time such as the two Cars sequels (especially Cars 2, which hilariously enough contributed to all of Pixar's recent sequels), Monsters University and Finding Dory, despite the fact that Dory suffers from the same exact problems as Incredibles 2 including having the same receptions amongst fans, though overtime Dory is seen as the better sequel). While many elements from the first film are still as good if not done better in the 2nd film, like the Family Dynamic, humor, action, music or animation (especially the action and animation which are the sequel's highlights), the overall plot can be quite lacking despite having good writing and ideas ^note (while the plot itself builds up off of the first film's Supers being illegal subplot and does resolve it in a fitting way that could lead for more future adventures, most of the Parr family's overall family conflict is resolved about halfway through in a rather anticlimactic fashion, with only Bob and Violet getting any decent amount of Character Development (despite the fact that Violet's character arc was completely wrecked thanks to Tony's memory wipe as seen under They Wasted a Perfectly Good Plot below which hurts Violet's Character Development a little, if not completely undid her Tony development from the first film). Helen barely getting any development herself (despite being the main character), which is ironic as Helen had the same development problem in the first film along with her acting all high and mighty in front of her jealous husband after saving the train was seen as a major Out-of-Character Alert that nearly derailed Helen's fanbase (didn't help the #MeToo and Times Up movement were just starting to kick off around this time) along with fan favorite Dash being Out of Focus, this (along with the no Time Skip to aging the family up to adults) was another major reason for the sequel's poor reception (though as seen above via Broken Base, a Time Skip focusing on an adult Parr Family would have been even more polarizing amongst younger and longtime fans, which would have killed the franchise, safe to assume Disney-Pixar and Brad Bird made the right call) and the main villain seen as massively underwhelming and disappointing (with Evelyn's overall villain plot being seen as quite contradicting as Supers were already illegal to begin with), with another "plot-twist villain revealed in the 3rd act". Doesn't help the wait for the sequel took 14 years ^note (this was made worse with the release date of the film being swapped with Toy Story 4 as some has felt that Incredibles 2's plot would have performed far better if it had kept its original 2019 release date as planned, as the story would have had more time to be developed (though it would have had stiff competition due to it going up against the likes of Aladdin (2019), The Lion King (2019) for the Summer tentpole (though as seen with Incredibles 2's total gross competing with Jurassic World: Fallen Kingdom, it would have easily crushed the Aladdin remake in total gross and would have had a similar competition to the latter if not actually threaten its overall total gross had it kept its release date) and of course Frozen II for the Oscars-Academy Awards side, of which it likely would have split with (like what happened with Toy Story 4 due to the polarized notoriety between both films), as switching the films respective dates with each other lead to this sequel getting Christmas Rushed), so expectations were quite high, that's not to say of those who still find the sequel as an Even Better Sequel as seen above, though it's becoming far more contentious as the years go on to the point it has become forgettable.
• They Changed It, Now It Sucks!: The fact that Screenslaver's schemes on a much lower level are not megalomaniacal or anywhere near as large scale as Syndrome's hurts the film, especially because the reveal that Evelyn created Screenslaver as a character in order to enact her plan somewhat robs the audience of investment too. The scheme is impressive to say the least, but after The Reveal, it doesn't inspire a lot of interest in things after that though, which also contributed to the sequel's poor reception years after release.
• They Wasted a Perfectly Good Character:
  • The Underminer, like Bomb-Voyage before him, turns out to be just a Starter Villain to our heroes, and his line about "declaring war on peace and happiness" was a prelude to him just robbing a bank. He also becomes a Karma Houdini when he gets away scot-free with the stolen money and the heroes never catch him again, though his drill shows up at the very end of the credits.
  • Out of the Parr family, Dash was seen by many fans who was highly Out of Focus in the sequel, compared to his high screentime in the first film. It also doesn't help, he's the only one without a significant storyline of his own, which ties into his father's story. His Character Development from the first film was all but ignored.
  • Tony Rydinger was seen by many Violet fans as a major missed opportunity as seen under They Wasted a Perfectly Good Plot below, which is the main reason the sequel fell under So Okay, It's Average as seen above. This also hurts Violet as a character as well, as her Character Development was stunted despite her increased role.
  • The DevTech supers. They all have fairly interesting powers, designs, and personalities, but with the exception of Voyd, their only contributions to the plot are while they're being controlled by the Screenslaver. They don't do anything to help out during the climax except for protecting the international ambassadors, so we never get to see them contribute to the plot as the heroes they wanted to be.
• They Wasted a Perfectly Good Plot:
  • The film immediately opens up with a flashback showing Tony Rydinger discovering that Violet is a superhero. This potentially interesting plot line of Violet having a relationship with someone who knows about her powers is immediately destroyed when Dicker erases Tony's memory of the event, as well as the memory of Tony ever meeting Violet in the first place in The Teaser, resetting Tony back to the same Satellite Love Interest he was in the first film (and by extension resetting Violet's Character Development back outside what she carried over from the first film's events). Especially annoying since in the brief moments where he does keeps his memories before losing them, he confesses he still likes Violet and feels guilty over how he reacted. This was one of the main reasons the sequel proved to be a major disappointment to fans (especially fans of Violet as it robbed her of having a significant storyline presence), as Tony keeping his memory would have drastically altered Violet's entire story arc (and likewise would have fixed the B-story portion) and thus improve her overall as a character while also giving Tony his own character arc and purpose in the sequel's story that would have made use of his increased screentime (such as by becoming Violet's Secret-Keeper (in a similar vein to Frozone and his wife Honey, who's implied to have no powers) and thus having to protect Violet's secret heroic identity at school and at his job, or possibly even becoming a hero or superhero himself, much like Winston does in the climax).^note It gets worse as revealed under the sequel's What Could Have Been page, Tony was going to have more screentime with Violet at the motel prior to his memory erasure, implying it would have been given a build-up with him trying to apologize to Violet personally by giving her a teddy bear and a box of chocolate.
  • When the family is arrested after taking on the Underminer, it is stated that there is infrastructure in place to deal with villains like him. It would have been interesting to see specifically how law enforcement has been getting by without superheroes — especially considering that it would have offered a logical explanation as to why the events of the first film weren't enough to persuade the government to change the laws.
  • Screenslaver being more than one person, i.e. Evelyn and the pizza guy she manipulated could have made for a more interesting plot with the idea of those who hated Supers and blamed them for tragedies in their lives banding together to make sure the Supers stay illegal (also would have been a good way to bring back Oliver Sansweet, aka the man responsible for Supers being banned in the first place as a major antagonist, along with the victims of the L Train Accident following Bomb Voyage's accidental destruction of the tracks, working with Sansweet and Evelyn). It would have also nicely tied in with Screenslaver’s Anonymous vibes, people wearing a similar outfit giving the illusion that Screenslaver is the many.
• Trans Audience Interpretation: Voyd is often imagined as a trans woman by fans due to her more masculine design.
• Viewer Gender Confusion: With her muscular body and deep voice, it's difficult to tell that Brick is a woman when you first meet her.
• Visual Effects of Awesome:
  • Given the 14 year gap, the advances in CGI technology are quite apparent with the characters looking less like plastic and more added details to the backgrounds and designs. In the first film, Violet had less screen time and characterization compared to the rest of the family because her long hair covering her face was just too hard to animate. This time around she is not only more prominent, but there's a completely gratuitous scene of her blow-drying her hair, which Brad Bird confirmed that the animators put in just to show off how far they've come.
  • Before the film was even released, when the first teaser (featuring Jack-Jack and Bob with Jack-Jack lasering Bob's hair), there was a huge deal made about how Pixar had such an eye for detail that they had even animated the fuzz on Bob's shirt◊.
• What Do You Mean, It's Not for Kids?: Despite having lighter tone than the first movie, Brad Bird has had to explain many times that Incredibles 2 is NOT a kids film just because it's an animated film. Apparently many parents have come to assume that the PG rating means "Practically G" and were shocked when the film actually had some adult content.^note PG actually means "Parental Guidance", which is a trend Pixar starting doing more often during The New '10s and continuing well into The New '20s.
• Woolseyism: In the Brazilian dub, Brick tells Elastigirl that she is from Acre (state of Brazil which is jokingly thought to not exist due its irrelevance and low population numbers) instead of Wisconsin. Reflux is also voiced by TV Personality Raul Gil (due some physical similarity) and is basically re-characterized as him as a superhero.

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