The Incredibles 2, Directed By Brad Bird

Superhero films allow audiences to easily recognize bodies and enhance the melodramatic structure with stark categories of hero and villain. “To know the body by way of a narrative that leads to its specific identity, to give the body specific markings that make it recognizable, and indeed make it a key narrative sign, are large preoccupations of modern narrative.” (Brooks 26) The markings given to bodies in The Incredibles 2 (2018) include superpowers, super suits, and even physical build with the wonders of animation. But the function of bodies in the melodrama of superhero films goes far beyond superpowers, super suits, and putting the bodies of non-superpowered individuals in much more peril due to superpowered counterparts that do not always account for them. The Incredibles 2, directed by Brad Bird, is a great

She can turn invisible and make forcefields, able to protect herself and hide from the shame and embarrassment many teenagers wish not to face. She’s growing up and can start protecting herself, but still holds the innocence of a kid in the melodramatic structure, needing to be protected from the forces of the world. Being a teenager also enhances the melodrama of her Tony problem. While breakups can happen at any age, it is enhanced here with the teenage experiences of puberty and figuring yourself out. In those years of life, it often feels like either, “They love me,” or, “They hate me,” with no in-between. It leaves Violet utterly destroyed and we feel bad for her because everyone has been a teenager and probably felt similar feelings. And we get upset at Tony for being such an awful, unforgivable guy, much like a melodramatic villain. Only then did she realize that her father told Dickerson to erase Tony’s memories, thus shifting Violet’s, and the audience’s, anger and perception of who is in the wrong. This leads to something Brooks mentions in his book Body