Inside the trials and tribulations of adolescence

The long-awaited sequel to Inside Out explores the trials and tribulations of adolescence through the main character, Riley. While the characters from the original Inside Out remain (Joy, Sadness, Fear and Anger), we are introduced to four new characters following the demolition and refurbishment of Riley's mind during puberty. The control panel once managed by Joy has now been replaced by a more complex, updated version, which Anxiety is eager to control along with Envy, Disgust, Ennui and Embarrassment. 

Prior to this, Joy thought she had a foolproof method of ensuring Riley's mental health – to suppress Riley's 'bad' memories and send them to the back of the mind. Through doing this, Riley forms the core belief of 'I am a good person'. In the film, Joy takes us and Sadness down to the belief system. This belief system is made up of what the film calls 'core memories'. In the world of Cognitive-Behavioural Therapy, we might call them 'early experiences'. 

The film succinctly describes how these early experiences (good and bad), form the way in which we view ourselves, others and the world. For example, when Riley plays with her friends, she forms the belief of 'I am a good friend'. The film helps viewers to understand how these beliefs then impact how an individual might act in the here and now. 

When puberty sets in and Anxiety takes control over the console, it encourages Riley to act in a way that will ensure she has new friends when her old friends move to another school. To do this, Anxiety shoves Riley's sense of self to the back of the mind, along with Joy, Sadness, Fear and Anger. This desire to fit in despite the cost of losing one's sense of identity is common for this stage of development, and is described as a task in the adolescent stage of Erik H. Erikson's psychosocial model (outlined in 1980's Identity and the Life Cycle). During the adolescence stage, Erikson proposes that the key task for the developing individual is to develop a sense of self. To do so one must perceive oneself as unique, with all parts integrated. It is only until the end of the film when Joy and the other veteran emotions locate Riley's old sense of self, along with the suppressed memories, that Riley is able to form a well-rounded identity inclusive of the pleasant and not-so-pleasant memories. 

Another important message throughout the film is the concept of acceptance. Acceptance of all emotions and all parts of oneself. When Joy shows compassion to all parts of Riley – 'I am selfish', 'I am kind', 'I am a good friend', 'I need help sometimes' – Riley begins to feel relief from the panic attack she is experiencing. Viewers may notice that when all the parts of Riley are included in the new belief system, it becomes bigger and brighter than the one before, signalling the new-found strength in her sense of self. 

At the end of the film, we see Joy accepting and nurturing Anxiety. She acknowledges the valuable role of Anxiety in some situations. For example, when Anxiety causes Riley to practice more for ice hockey tryouts. The film also highlights that Anxiety responds well to care rather than avoidance and supression. At the end of the film we see Joy encouraging Anxiety to sit in a massage chair with some 'Anxie-tea' and provides Anxiety with positive reframing of events. This allows for a better regulated Riley. 

This film highlights the societal shift towards psychological mindedness and encourages viewers to engage in self-compassion. While made for children, the messages ring true for adults and provide valuable lessons on the impact of early experiences on the here and now and the important role that all emotions play. 

• Reviewed by Sharon-Lin Harwood (Trainee Clinical Psychologist and founder of PsychYourselfUp newsletter @SharonBPsych)