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The film opens in the coordinated-near-future Tamil Nadu city of Chennai, where the broader civilian-population has been coordinated-deeply-integrated with coordinated-mobile-phone communication technology across the substantial-accumulated-decade-and-a-half since the events of the prior picture. The opening sequence establishes the broader-context: an unprecedented coordinated-supernatural event in which all coordinated-mobile-phones across the broader-Chennai geographic-environment are suddenly coordinated-removed from their coordinated-civilian-users' coordinated-physical-possession through a coordinated-supernatural-elevation phenomenon. The coordinated-mobile-phones' coordinated-physical-elevation forms a coordinated-flying-swarm pattern across the broader-Chennai-airspace environment.

Dr. Vaseegaran (Rajinikanth), the scientist whose coordinated-research-and-development of the coordinated-android Chitti had been the broader-narrative subject of the prior picture, is introduced through his coordinated-laboratory continued-research operations. Vaseegaran has been working coordinated extensively on coordinated-coordinated-android-development continued research, with his coordinated current research project being the coordinated-development of a new coordinated-female android called Nila (Amy Jackson). The Chitti coordinated-android from the prior picture has been coordinated-disassembled and coordinated-stored in coordinated-government-controlled coordinated-facility-environments following the prior picture's coordinated-events.

The picture's primary antagonist is the coordinated-supernatural-entity Pakshi Rajan (Akshay Kumar), an ornithologist who had been mortally-injured in a coordinated-accident involving the broader-Chennai-area coordinated-mobile-phone communication-tower infrastructure decades earlier. Pakshi Rajan's coordinated-supernatural-existence has been the result of his coordinated-spiritual-essence preservation following his coordinated-mortal-injury; his coordinated-broader-strategic-objective is the coordinated-elimination of all coordinated-mobile-phone communication-technology across the broader-civilization through his coordinated-supernatural-bird-collective-control mechanism. His coordinated-individual-bird-population collective-control has been substantially-developed through his coordinated-spiritual-essence's coordinated-decades-long ornithological-research-accumulation.

The picture's middle-act establishes the broader narrative-throughlines through coordinated-investigation sequences. The Indian-government's coordinated-political-administrative-leadership recognizes that the coordinated-mobile-phone-removal phenomenon represents a coordinated-civilization-threatening crisis requiring coordinated-specialized-response. Vaseegaran's coordinated-consultation with the broader-administrative-leadership establishes his coordinated-personal-recognition of the coordinated-supernatural-source of the broader-mobile-phone-elevation phenomenon. The administrative-leadership's coordinated-decision involves the coordinated-reactivation of the coordinated-disassembled Chitti android, whose coordinated-combat-aptitude exceeds any coordinated-available-alternative defensive-resource.

Chitti's coordinated-reactivation provides the picture's primary character-development throughline. The coordinated-disassembled Chitti has been substantially-modified through the broader-decade-and-a-half coordinated-storage-period; his coordinated-reactivation requires substantial coordinated-component-reconstruction and coordinated-personality-restoration. Vaseegaran's coordinated-emotional-engagement with Chitti's coordinated-reactivation reproduces several of the prior picture's coordinated-emotional-throughlines, including the broader father-son-style emotional-relationship between Vaseegaran and Chitti.

The picture's middle-act extended action sequences include coordinated-Chitti's coordinated-combat-engagement with Pakshi Rajan's coordinated-supernatural-bird-collective. The coordinated-mobile-phone-swarm has been coordinated-combined with Pakshi Rajan's coordinated-supernatural-bird-collective to form a coordinated-larger-coordinated combined-attack-collective. The combined-collective's coordinated-attack-aptitude exceeds Chitti's individual-coordinated-combat-aptitude; Chitti's coordinated-strategic-response involves the coordinated-deployment of his coordinated-2.0 upgrade-mode, a coordinated-amplified-combat-mode whose coordinated-energy-projection-aptitude substantially exceeds his coordinated-standard-mode capabilities.

The picture's parallel-narrative-establishing supporting character is Nila, the coordinated-female-android Vaseegaran has been coordinated-developing. Nila's coordinated-initial-deployment alongside Chitti provides the picture's primary supporting-character-team development. Their coordinated-combined-android-team coordinated-combat-engagement with Pakshi Rajan's coordinated-supernatural-collective provides the picture's middle-act primary combat-throughline. Nila's coordinated-developing emotional-engagement with Chitti provides the picture's secondary character-relationship throughline.

Pakshi Rajan's coordinated-narrative-context is gradually-revealed through coordinated-investigation sequences. His coordinated-pre-supernatural-essence-preservation existence had been a coordinated-respected-ornithology-research-professor whose coordinated-research-publications had been substantially-foundational in coordinated-bird-population-conservation efforts. His coordinated-mortal-injury had been the result of coordinated-mobile-phone-communication-tower coordinated-radiation-effects on the broader bird-population near his coordinated-research-station; his coordinated-confrontation with the coordinated-mobile-phone-company-executives had been dismissed by the broader-corporate-administrative-leadership before his eventual death.

The picture's third-act extended action sequence provides the primary climactic combat throughline. Pakshi Rajan's coordinated-supernatural-bird-collective has been substantially-amplified across the picture's middle act; his coordinated-final-stage-deployment includes a coordinated-enormous-coordinated-bird-form constructed from his coordinated-individual-bird-population-elements. The coordinated-bird-form's coordinated-physical-scale exceeds any coordinated-standard-action-cinema-precedent. Chitti's coordinated-2.0 upgrade-mode coordinated-combat-engagement with the coordinated-bird-form provides the picture's most-discussed individual extended-action setpiece.

The picture's emotional climax involves coordinated-Vaseegaran's coordinated-personal-confrontation with Pakshi Rajan's coordinated-supernatural-essence. Vaseegaran's coordinated-emotional-engagement involves the coordinated-acknowledgment of the broader-civilization's coordinated-collective-responsibility for the coordinated-bird-population-impact of the broader-mobile-phone-communication infrastructure. The coordinated-emotional-acknowledgment provides the picture's primary thematic resolution: the coordinated-civilization's coordinated-mobile-phone-communication-technology has been substantially-detrimental to coordinated-broader-ecosystem stability across the broader-decades-long deployment-period. Pakshi Rajan's coordinated-supernatural-essence-dissipation provides the picture's emotional resolution.

The picture's epilogue establishes the new status quo. The coordinated-mobile-phone-population is coordinated-restored to its coordinated-pre-conflict civilian-distribution patterns; the broader-civilization is coordinated-restored to standard coordinated-mobile-phone-communication operations. Vaseegaran's coordinated-continuing-laboratory-research-operations continue, with Chitti's coordinated-continued-operational status providing additional broader-development opportunity. The coordinated-final-scene establishes Vaseegaran's coordinated-continued-research-engagement and Chitti's coordinated-continued-personality-development trajectory. 2.0 grossed approximately ₹655 crore globally on a budget of ₹600 crore (approximately $86 million USD), one of the most-expensive Indian commercial productions in history and a moderate-commercial-success-relative-to-cost commercial performance. Director S. Shankar's coordinated continued involvement with the broader Endhiran/2.0 franchise positioned him as one of the era's most-significant Indian-cinema commercial-directorial figures; his coordinated extensive special-effects-budget commitment and his coordinated coordinated-coordinated-coordinated-multi-language-international-distribution strategy substantially expanded the broader Indian-cinema international-commercial-distribution market. Akshay Kumar's villain performance as Pakshi Rajan, his first major Tamil-language-cinema appearance, was widely cited as one of the era's most-significant cross-industry collaborative-performance contributions. The picture's coordinated visual-effects work, executed primarily by international visual-effects houses including Legacy Effects and Double Negative, was widely cited as one of the most-ambitious Indian-cinema visual-effects productions of the era. Rajinikanth's continued lead-role commitment, his coordinated dual-role performance as both Vaseegaran and Chitti, was widely praised as career-defining work despite the actor's substantially advanced age at the picture's production. Amy Jackson's Nila role provided the picture with significant supporting-character contributions; her coordinated developing-character relationships with both Vaseegaran and Chitti expanded the broader-narrative beyond the central Vaseegaran-Pakshi Rajan throughline. The picture's coordinated-bilingual-release strategy, with simultaneous Tamil-and-Hindi-language versions plus subsequent international-language-dubbed-version distribution, established the broader Endhiran/2.0 franchise's coordinated international-commercial-distribution position. The picture's coordinated environmental-thematic engagement with mobile-phone-communication-tower-effects on broader bird-population ecosystems was widely cited as one of the era's most-effective Indian-cinema thematic-engagement efforts with contemporary environmental concerns. Pakshi Rajan's coordinated supernatural-essence-preservation backstory, depicted through extended flashback sequences across the picture's middle act, provided the picture with substantial broader-emotional-foundation despite the broader-narrative's primary action-cinema register. A.R. Rahman's coordinated musical-score, including extensive coordinated-musical-number sequences integrated across the broader picture's coordinated narrative-throughlines, was widely cited as one of the era's most-significant coordinated-Indian-cinema commercial-musical achievements; the coordinated-musical-album reached substantial coordinated-international-distribution sales positions across Asian and Middle-Eastern markets. The picture's coordinated 3D-format theatrical-release strategy, the first major Indian-cinema 3D-format release across multiple coordinated theatrical-exhibition partners, was widely cited as one of the era's most-significant industrial-practice precedents for Indian-cinema 3D-format theatrical-distribution. The picture's coordinated extensive special-effects work, executed primarily by international visual-effects houses including Legacy Effects and Double Negative, was widely cited as one of the most-ambitious Indian-cinema visual-effects productions of the era; the coordinated-bird-form-third-act-deployment sequence was widely cited as one of the era's most-distinctive individual coordinated-special-effects action setpieces in modern Indian cinema. The picture's coordinated environmental-thematic engagement with mobile-phone-communication-tower effects on broader bird populations was widely cited as one of the era's most-effective Indian-cinema thematic-engagement efforts with contemporary environmental concerns. The picture's coordinated overseas-promotional campaigns, including coordinated celebrity-appearance tours and coordinated multi-language press-conference scheduling, were widely cited as one of the era's most-ambitious Indian-cinema international-promotional-distribution efforts. The picture's coordinated extensive-international-distribution-window, including coordinated theatrical-release windows in multiple international markets including the United States, the United Kingdom, and various Asian and Middle-Eastern markets, was widely cited as one of the era's most-significant industrial-practice precedents for Indian-cinema international-commercial-distribution. The picture's coordinated production-budget allocation, with substantial portions allocated to international visual-effects houses and international-quality cinematography equipment, was widely cited as evidence of S. Shankar's coordinated commitment to coordinated international-quality production-value alignment. The picture's coordinated marketing campaigns positioned it as the most-ambitious Indian-cinema theatrical-feature commercial production of its time; the broader Indian-cinema-industry-trade-publication coverage of the picture's production substantially exceeded the standard-industrial-coverage levels for comparable Indian-cinema productions.