Futurama is an American animated sitcom created by Matt Groening for the Fox Broadcasting Company. The series follows the adventures of slacker Philip J. Fry, cryonically preserved for 1000 years and is revived in the 31st century. Fry finds work at an interplanetary delivery company; the series was envisioned by Groening in the mid-1990s while working on The Simpsons. In the United States, the series aired on Fox from March 28, 1999, to August 10, 2003, aired in reruns on Cartoon Network's Adult Swim from 2003 to 2007, it was revived in 2007 as four direct-to-video films, the last of, released in early 2009. Comedy Central entered into an agreement with 20th Century Fox Television to syndicate the existing episodes and air the films as 16 new, half-hour episodes, constituting a fifth season. In June 2009, Comedy Central picked up the show for 26 new half-hour episodes, which began airing in 2010 and 2011; the show was renewed for a final, seventh season, with the first half airing in 2012 and the second in 2013.
The series finale aired in September 2013. An audio-only episode featuring the original cast members was released in 2017 as an episode of The Nerdist Podcast. Futurama was nominated for 17 Annie Awards, winning seven, 12 Emmy Awards, winning six, it was nominated four times for a Writers Guild of America Award, winning for the episodes "Godfellas" and "The Prisoner of Benda". It was nominated for a Nebula Award and received Environmental Media Awards for the episodes "The Problem with Popplers" and "The Futurama Holiday Spectacular". Merchandise includes a tie-in comic book series, video games, calendars and figurines. In 2013, TV Guide ranked Futurama one of the top 60 Greatest TV Cartoons of All Time; the television network Fox expressed a strong desire in the mid-1990s for Matt Groening to create a new series, he began conceiving Futurama during this period. In 1996, he enlisted David X. Cohen a writer and producer for The Simpsons, to assist in developing the show; the two spent time researching science fiction books, television shows, films.
When they pitched the series to Fox in April 1998, Groening and Cohen had composed many characters and story lines. Groening described trying to get the show on the air as "by far the worst experience of my grown-up life". Fox ordered thirteen episodes. After, Fox feared the themes of the show were not suitable for the network and Groening and Fox executives argued over whether the network would have any creative input into the show. With The Simpsons, the network has no input. Fox was disturbed by the concept of suicide booths, Doctor Zoidberg, Bender's anti-social behavior. Groening explains, "When they tried to give me notes on Futurama, I just said:'No, we're going to do this just the way we did Simpsons.' And they said,'Well, we don't do business that way anymore.' And I said,'Oh, that's the only way I do business.'" The episode "I, Roommate" was produced to address Fox's concerns, with the script written to their specifications. Fox disliked the episode, but after negotiations, Groening received the same independence with Futurama.
The name Futurama comes from a pavilion at the 1939 New York World's Fair. Designed by Norman Bel Geddes, the Futurama pavilion depicted how he imagined the world would look in 1959. Many other titles were considered for the series, including "Aloha, Mars!" and "Doomsville", which Groening notes were "resoundly rejected, by everyone concerned with it". It takes six to nine months to produce an episode of Futurama; the long production time results in several episodes being worked on simultaneously. Groening and Cohen served as executive producers and showrunners during the show's entire run, functioned as creative consultants. Ken Keeler became an executive producer for subsequent seasons; the planning for each episode began with a table meeting of writers, who discussed the plot ideas as a group. The writers are given index cards with plot points that they are required to use as the center of activity in each episode. A single staff writer wrote an outline and produced a script. Once the first draft of a script was finished, the writers and executive producers called in the actors for a table read.
After this script reading, the writers collaborated to rewrite the script as a group before sending it to the animation team. At this point the voice recording was started and the script was out of the writers' hands; the writing staff held three Ph. D.s, seven master's degrees, cumulatively had more than 50 years at Harvard University. Series writer Patric M. Verrone stated, "we were the most overeducated cartoon writers in history". Futurama had eight main cast members. Billy West performed the voices of Philip J. Fry, Professor Farnsworth, Doctor Zoidberg, Zapp Brannigan and many other incidental characters. West auditioned for "just about every part", landing the roles of the Doctor Zoidberg. Although West read for Fry, his friend Charlie Schlatter was given the role of Fry. Due to a casting change, West was given the role. West claims that the voice of Fry is deliberately modeled on his own, so as to make it difficult for another person to replicate the voice. Doctor Zoidberg's voice was based on George Jessel.
The character of Zapp Brannigan was created and intended to be performed by Phil Hartman. Hartman insisted on auditioning for the role, "just nailed it" according to Groening. Due to Hartman's death, West was given the role. West states that his version of Zapp Brannigan was an imitation of Hartm
Rotoscoping is an animation technique that animators use to trace over motion picture footage, frame by frame, to produce realistic action. Animators projected photographed live-action movie images onto a glass panel and traced over the image; this projection equipment is referred to as a rotoscope, developed by Polish-American animator Max Fleischer. This device was replaced by computers, but the process is still called rotoscoping. In the visual effects industry, rotoscoping is the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background. Rotoscoping has been used as a tool for visual effects in live-action movies. By tracing an object, the moviemaker creates a silhouette that can be used to extract that object from a scene for use on a different background. While blue- and green-screen techniques have made the process of layering subjects in scenes easier, rotoscoping still plays a large role in the production of visual effects imagery.
Rotoscoping in the digital domain is aided by motion-tracking and onion-skinning software. Rotoscoping is used in the preparation of garbage mattes for other matte-pulling processes. Rotoscoping has been used to create a special visual effect, guided by the matte or rotoscoped line. A classic use of traditional rotoscoping was in the original three Star Wars movies, where the production used it to create the glowing lightsaber effect with a matte based on sticks held by the actors. To achieve this, effects technicians traced a line over each frame with the prop enlarged each line and added the glow. Eadweard Muybridge had some of his famous chronophotographic sequences painted on glass discs for the zoopraxiscope projector that he used in his popular lectures between 1880 and 1895; the first discs were painted on the glass in dark contours. Discs made between 1892 and 1894 had outlines drawn by Erwin Faber photographically printed on the disc and coloured by hand, but these discs were never used in the lectures.
By 1902, Nuremberg toy companies Gebrüder Bing and Ernst Plank were offering chromolithographed film loops for their toy kinematographs. The films were traced from live-action film footage; the rotoscope technique was invented by animator Max Fleischer in 1915, used in his groundbreaking Out of the Inkwell animated series. It was known as the "Fleischer Process" on the early screen credits, was exclusive to Fleischer for several years; the live-movie reference for the character known as Koko the Clown, was performed by his brother dressed in a clown costume. Conceived as a short-cut to animating, the rotoscope process proved time consuming due the precise and laborious nature required in tracing. Rotoscoping is achieved by rear projection and front surface projection. In either case, the results can have slight deviations from the true line due to the separation of the projected image and the surface used for tracing. Misinterpretations of the forms cause the line to wiggle, the roto tracings must be reworked over an animation disc, using the tracings as a guide where consistency and solidity are important.
Fleischer ceased to depend on the rotoscope for fluid action by 1924, when Dick Huemer became the animation director and brought his animation experience from his years on the Mutt and Jeff series. Fleischer returned to rotoscoping in the 1930s for referencing intricate dance movements in his Popeye and Betty Boop cartoons; the most notable of these are the dance routines originating from jazz performer Cab Calloway in Minnie the Moocher, Snow White, The Old Man of the Mountain. In these examples, the roto tracing were used as a guide for timing and positioning, while the cartoon characters of different proportions were drawn to conform to those positions. Fleischer's last applications of rotoscope were for the realistic human animation required for the lead character—among others—in Gulliver's Travels, the human characters in his last feature, Mr. Bug Goes to Town, his most effective use of rotoscoping was in the action-oriented film noir Superman series of the early 1940s, where realistic movement was achieved on a level unmatched by conventional cartoon animation.
Contemporary uses of the rotoscope and its inherent challenges have included surreal effects in music videos such as Klaatu's "Routine Day", A-ha's "Take On Me", Kansas' "All I Wanted", the live performance scenes in Dire Straits' "Money for Nothing", the animated TV series Delta State. Fleischer's patent expired by 1934, other producers could use rotoscoping freely. Walt Disney and his animators used the technique in Snow White and the Seven Dwarfs during 1937. Leon Schlesinger Productions, which produced the Looney Tunes and Merrie Melodies cartoons for Warner Bros. used rotoscoping. The 1939 MGM cartoon "Petunia Natural Park" from The Captain and the Kids featured a rotoscope version of Jackie. Rotoscoping was used extensively in China's first animated feature film, Princess Iron Fan, released under difficult conditions during the Second Sino-Japanese War and World War II; the technique was used extensively in the Soviet Union from the late 1930s to the 1950s, where it was known as "Éclair" and its historical use was enforced as a realization of Socialist Realism.
Most of the movies produced with it were adaptations of folk tales or poems—for example, The Night Before Christmas or The Tale of the Fisherman and the Fish. Only during the early 1960s, after the "Khrushchev Thaw", did animators start to explore different aesthetics; the makers of the Beatles' Yellow Submarine used rotoscoping in
World of Tomorrow (film)
World of Tomorrow is a 2015 American animated science fiction short film written, produced and edited by Don Hertzfeldt. It features the voice of Julia Pott, opposite Hertzfeldt's four-year-old niece Winona Mae, recorded while drawing and playing, her spontaneous, natural vocal reactions and questions were edited into the story to create her character. The film was nominated for Best Animated Short Film at the 2015 Academy Awards. A communication unit in a white room begins to ring, a little girl runs toward the machine, where she excitedly presses a random series of buttons on the console until a live video transmission appears on the screen; the person in the transmission addresses the young girl as Emily. Speaking in a robotic monotone throughout their entire conversation, the woman introduces herself as an adult third-generation clone of Emily contacting her from 227 years in the future; the clone Emily explains to the original Emily regarding the complex cloning process that humans have devised in an attempt to achieve immortality, as well as describing other crude forms of life extension that less affluent members of humanity can afford.
The clone Emily goes on to explain how she was able to contact the original Emily through an experimental and dangerous form of physical time travel. The clone Emily proceeds to transport the original Emily into the clone's present time in the future via time travel; the original Emily disappears from the white room and reappears inside an interactive space that the clone Emily describes as "the Outernet": a neural network, a technologically advanced version of the Internet. At this point, the clone Emily begins to address her original as Emily Prime; the clone Emily and Emily Prime engage in drawing simple figures in the air, before the clone Emily invites Emily Prime to view a selection of her memories. The first memory is one from the clone Emily's childhood, involving a controversial exhibit in a museum where a male clone without a brain, nicknamed affectionately by the public as David, was kept in stasis; the second memory is of the clone Emily's first job, supervising solar-powered and sentient worker robots on the surface of the Earth's moon.
She had programmed the robots to fear death and darkness, they, as a result, are compelled to be in constant motion, always walking where the light of the sun hits the lunar surface. Too expensive to remove, the robots remain on the moon in endless movement sending depressed poetry. Due to a recession in the lunar economy, Emily Clone was sent home after six lunar cycles and separated from an inanimate rock that she had grown to love; the third memory shows the clone Emily's succeeding job as a supervisor for construction robots stationed on a deep space outpost. She admits to having fallen in love with a fuel pump in her new job location. In the same memory, the clone shows Emily Prime an alien she calls Simon, a black shapeshifting creature who speaks incoherently; the clone Emily and Simon had fallen in love over the course of seven years, but she missed Earth and longed for something deeper and more substantial with her life. She made a conscious decision to be reassigned back on Earth in order to interact more with humans, notes that going back home resulted in the best years of her life, though the inconsolable Simon was left behind.
Upon her return to Earth, the clone Emily opened an art gallery. It was in her art gallery that she met her husband: a descendant clone of David, the male clone, displayed in a museum when she was a child, but as Emily Clone notes, her husband showed many signs of deterioration due to being a clone stemming from a much older generation. Their marriage was brief. Emily Clone proceeded to harvest her deceased husband's memories, reflects upon the memories of their relationship with feelings of melancholia. In the final memory, the clone Emily reveals that in sixty days, Earth will be destroyed by a meteoroid. Due to the hysteria surrounding the impending apocalypse, humans have resorted to leaving the planet through different and extreme means, depending on what they can afford; because of the unpredictable nature of physical time travel, millions of humans have transported themselves to the edges of the Earth's atmosphere and creating the effect of "shooting stars" when the corpses burn whilst falling through the atmosphere at night.
Despite the horrible fate of humanity at this time, Emily Prime reacts joyfully to the "shooting stars", counting them while her clone describes the bleak fate of the human race. The clone Emily returns them both to the Outernet and reveals the true reason that she contacted Emily Prime: to retrieve an important memory from her original source before she is to die; the clone uses a handheld device to extract a memory of the original Emily and her mother walking together, which the clone Emily had forgotten. With the memory retrieved, the clone Emily graciously thanks her original and adds that the specific memory will comfort her in the days leading to the destruction of Earth; as the Outernet begins to disintegrate around them, the clone Emily tells Emily Prime the following: Do not lose time on daily trivialities. Do not dwell on petty detail. For all of these things melt away and drift apart within the obscure traffic of time. Live well and live broadly. You are alive and living now. Now is the envy of all of the dead.
She states that she is honored to have met Emily Prime and that she will not cont
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures, she has been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin in appearance the childish with the sophisticated—a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a small body of which the leading characteristic is the most self-confident little bust imaginable". Despite having been toned down in the mid-1930s as a result of the Hays Code to appear more demure, she became one of the best-known and popular cartoon characters in the world. Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is given credit as being the inspiration for Boop, some say she began as a caricature of singer Helen Kane, who performed in a style popular with many talented performers of the day, including black singer Baby Esther Jones.
Inspired by a popular performing style, but not by any one specific person, the character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"—derived from the 1930 Helen Kane film Dangerous Nan McGrew—usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a human female character. While much credit has been given to Grim Natwick for helping to transform Max Fleischer's creation, her transition into the cute cartoon girl was in part due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character, her floppy poodle ears became hoop earrings, her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, was performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild, most notably, Mae Questel.
Questel, who began voicing Betty Boop in Bimbo's Silly Scandals, continued with the role until 1938, returning 50 years in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an different character. Though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty made a cameo appearance in the feature film Who Framed Roger Rabbit, in which she appeared in her traditional black and white and was voiced by Mae Questel.
Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen"; the series was popular throughout the 1930s, lasting until 1939. Betty Boop's films found a new audience when Paramount sold them for syndication in 1955. U. M. & M. and National Telefilm Associates were required to remove the original Paramount logo from the opening and closing as well as any references to Paramount in the copyright line on the main titles. However, the mountain motif remains on some television prints with a U. M. & M. copyright line, while recent versions have circulated with the Paramount-Publix reference in cartoons from 1931. The original Betty Boop cartoons were made in black-and-white; as new color cartoons made for television began to appear in the 1960s with the spread of color TV sets, the original black-and-white cartoons were retired. Boop's film career saw a revival with the release of The Betty Boop Scandals of 1974, becoming a part of the post-1960s counterculture.
NTA attempted to capitalize on this with a new syndication package, but because there was no market for cartoons in black and white, they sent them to South Korea, where the cartoons were hand-traced frame-by-frame in color, resulting in the degradation of the animation quality and timing. Unable to sell these to television because of the sloppy colorization, they assembled a number of the color cartoons in a compilation feature titled Betty Boop for President, to connect with the 1976 election, but it did not receive a major theatrical release, it was the advent of home video that created an appreciation for films in their original versions, Betty was rediscovered again in Beta and VHS versions. The ever-expanding cable television industry saw the creation of American Movie Classics, which showcased a selection of the original black and white "Betty Boop" cartoons in the 1990s, which led to an eight-volume VHS and LV set, "Betty Boop, the Definitive Collection"; some of the non-public domain Boop cartoons copyrighted by Republic successor Melange Pictures h
Everything Will Be OK
Everything Will Be OK is a 2006 animated short film by Don Hertzfeldt. It is the first chapter of a three-part story about a man named Bill. Hertzfeldt released the second film in the series, titled I Am So Proud of You, in 2008; the final chapter, "It's Such a Beautiful Day," was released in 2011. The entire three-part story was edited together and released as a seamless feature film in 2012 titled It's Such a Beautiful Day. Everything Will Be OK won the 2007 Sundance Film Festival Jury Award in Short Filmmaking, a prize bestowed on an animated film. To date it has won 40 awards, including the Grand Jury Award for Best Film at the London International Animation Festival and the Lawrence Kasdan Award for Narrative Film from the Ann Arbor Film Festival. Despite the film's short running length, Variety film critic Robert Koehler named Everything Will Be OK one of the "Best Films of 2007"; the film was well received by critics, describing it as "essential viewing" and, "simply one of the finest shorts produced over the past few years, be it animated or not."
The Boston Globe called the film a "masterpiece" with the Boston Phoenix declaring Hertzfeldt a "genius." The short film was a cover story on the Chicago Reader, receiving four stars from critic J. R. Jones. Outside of theaters, the movie was released as a limited edition DVD "single" in 2007 from Hertzfeldt's website; the DVD featured an extensive archival area of deleted scenes, Don's production notes and layouts, as well as a hidden Easter egg that plays an alternate, narration-free version of the film to highlight the sound design. The movie was subsequently released on the "Don Hertzfeldt Volume Two" DVD anthology in 2012; the main character and a few of the film's scenarios were developed from sketches and webcomics Hertzfeldt did in 1999–2000 for his website while working on other film projects. The film tells the story of Bill, whose daily routines and dreams are illustrated onscreen via multiple split-screen windows. Though his life seems mundane at first, he has trouble remembering things and the sights and sounds of the world are sometimes overwhelming.
His life is narrated in several humorous and dramatic anecdotes gradually growing darker and terrifying as he appears to be suffering from a fatal mental disorder. The split-screen windows and layered audio tracks battle for attention on screen and begin to smother Bill; the film illustrates the struggle many people have with mental illness, in the inherent difficulty in deciding which muddled thought or distracted perception is most important and should be paid attention to. Meanwhile, Bill is faced with the possible end of his life; the story is told with Don Hertzfeldt's signature style of animated stick-figure line drawings. However, in this film, there are multiple frames on the screen at once, each in an irregular white enclosure, all against a background of pure black; some animated still photographs are incorporated inside certain windows, as well as a handful of the colorful special effects and experimental film techniques that Hertzfeldt first utilized in his 2005 film, The Meaning of Life.
As with many of his films, no computers were used in creating the picture and all of the split-screen effects were captured in-camera on his 35mm animation camera through careful multiple-exposure photography. There is no dialogue spoken directly by the characters; the film and Bill's thoughts are narrated in great detail. The deadpan narrator refers to Bill only in the third person and describes what all the characters say. Everything Will Be OK on YouTube Everything Will Be OK on IMDb Official website
The Incredibles is a 2004 American computer-animated superhero film written and directed by Brad Bird, produced by Pixar Animation Studios, released by Walt Disney Pictures, starring the voices of Craig T. Nelson, Holly Hunter, Sarah Vowell, Spencer Fox, Jason Lee, Samuel L. Jackson, Elizabeth Peña. Set in an alternate version of the 1960s, the film follows the Parrs, a family of superheroes who hide their powers in accordance with a government mandate, attempt to live a quiet suburban life. Mr. Incredible's desire to help people draws the entire family into a confrontation with a vengeful fan-turned-foe and his killer robot. Bird, Pixar's first outside director, developed the film as an extension of the 1960s comic books and spy films from his boyhood and personal family life, he pitched the film to Pixar after the box office disappointment of his first feature, The Iron Giant, carried over much of its staff to develop The Incredibles. The animation team was tasked with animating an all-human cast, which required creating new technology to animate detailed human anatomy and realistic skin and hair.
Michael Giacchino composed the film's orchestral score. The film premiered on October 27, 2004, at the BFI London Film Festival and had its general release in the United States on November 5, 2004, it performed well at the box office, grossing $633 million worldwide during its original theatrical run. The Incredibles received widespread approval from critics and audiences, winning two Academy Awards and the Annie Award for Best Animated Feature, it was the first animated film to win the prestigious Hugo Award for Best Dramatic Presentation. A sequel, Incredibles 2, was released on June 15, 2018. Public opinion turns against Superheroes due to the collateral damage caused by their crime-fighting. After several lawsuits, the government initiates the Superhero Relocation Program, which forces Supers to permanently adhere to their secret identities, making them illegal. Fifteen years Bob and Helen Parr—formerly known as Mr. Incredible and Elastigirl—and their children Violet and baby Jack-Jack are a suburban family living in Metroville.
Although he loves his family, Bob resents the mundanity of his suburban lifestyle and white-collar job. Together with his friend Lucius Best known as Frozone, Bob relives "the glory days" by moonlighting as a vigilante. After his supervisor prevents him from stopping a mugging, Bob loses his temper and injures him, resulting in his dismissal. Returning home, Bob receives a message from a woman called Mirage, who gives him a mission to destroy a savage tripod-like robot, the Omnidroid, on the remote island of Nomanisan. Mr. Incredible disables it by tricking it into ripping off its own power source. Mr. Incredible finds higher pay rejuvenating, he improves his relationship with his family and begins rigorous physical training while awaiting more work from Mirage for the next two months. Finding a tear in his blue suit, he visits superhero costume designer Edna Mode to have it mended. Assuming that Helen knows what Bob is doing, Edna makes new suits for the entire family. Setting out for Nomanisan once again, Mr. Incredible discovers Mirage is working for Buddy Pine, a disaffected former fan whom he had rejected as his sidekick, Incrediboy.
Having adopted the alias of Syndrome, he has been perfecting the Omnidroid by hiring different superheroes to fight it, killing many of them in the process. Syndrome intends to send the latest Omnidroid to Metroville, where he will secretly manipulate its controls to defeat it in public, becoming a "hero" himself, he will sell his inventions so that everyone can become "super", rendering the term meaningless. Helen learns what Bob has been up to, she activates a beacon Edna built into the suits to find Mr. Incredible, inadvertently causing him to be captured while infiltrating Syndrome's base. Elastigirl borrows a private plane to head for Nomanisan, she finds out that Dash have stowed away, leaving Jack-Jack with a babysitter. Elastigirl's radio transmissions are picked up by Syndrome; the plane is destroyed, but Elastigirl and the kids survive and use their powers to reach the island. Helen discovers Syndrome's plan. Discontented with Syndrome's indifference when her life was threatened, Mirage releases Mr. Incredible and informs him of his family's survival.
Helen races off with Mr. Incredible to find their children. Dash and Violet are chased by Syndrome's guards, but fend them off with their powers before reuniting with their parents. Syndrome captures them all, leaving them imprisoned while he follows the rocket transporting the Omnidroid to Metroville; the Incredibles escape to Metroville in another rocket with Mirage's help. As per its programming, the Omnidroid recognizes Syndrome as a threat and shoots off the remote control on his wrist, making him incapable of controlling it and knocking him unconscious; the Incredibles and Frozone fight the Omnidroid. Elastigirl acquires the remote control, allowing Mr. Incredible to use one of the robot's claws to destroy its power source. Returning home, the Incredibles find Syndrome, who plans to kidnap and raise Jack-Jack as his own sidekick to exact revenge on the family; as Syndrome is flying upward to reach his jet, Jack-Jack's own superpowers start to manifest and he escapes Syndrome midair. As Elastigirl catches Jack-Jack, Syndrome boards his plane, but Mr. Incredible throws his car at the villain, causing him to get sucked into the jet's turbine by his own cape, killing him and causing the plane to explode.
Three months the Incredibles witness the arrival of a supervillain called the Underminer. They put on their superhero masks, ready to fac