This article contains spoilers for the "final destination" franchise, including "blood lines".

One of the most important moments of the 2000s "final destination" is how Glen Morgan and Jamesesi Wong were reconfigured The premise of Effeefrey Redik for a boy who helps themselves and others avoid their fate after having a forbidden for a deadly crash on the plane In a desirable film where the killer is literally death. Not only did this mean that death was never personified or sometimes really seen in the film, it also allowed Morgan and Wong (the second also as a director) to present every scene of killing as a series of escalation accidents and accidents, essentially turning every setting into Ruby Goldberg-ESK machine of crippling. When the "Final Destination 2" was made just a few years later, the directors could simply write a sequel that repeated the premise of the first film and reportedly did so. It is a formula that would work, as it has been proven by "Final Destination 3" and "Final Destination", two films that have nothing to do with each other or previous installments outside the basic premise and some indications that they are all going in the same universe.

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However, the directors "Final Destination 2" added a wise wrinkle in the sequel: not only involved another fatal accident that several people choosing survived because of the forecast that caused them to be expelled to death, but also explaining how each of their survivors had already avoided death. Thus, if the flight 180 killed everyone on the ship as initially intended for death, then the survivors of the Cup of Traffic accidents would never be present in that accident, let alone survive. The turnaround began to bind The whole franchise "ultimate destination" Together, the notion mentioned only during "Final Destination 3." This concept seemed to be a paid lip service with a clever end of "Final Destination 5", What revealed that the survivors of that film became two of the convicted passengers on the 180 flight, making "5" a secret foretelling of the first film.

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Now, the latest installment of the franchise, "Final Destination Blood Lines", It seems to have restored the concept, though in a subtle way. Although there is no moment in "blood lines" that is similar to the scenes in "2" and "5" in terms of connecting the series, there is a strongly implicit link between the events of "blood lines" and the entire franchise, which means that the story of the "ultimate destination" can be a large Rubnica machine.

The "Final Destination" series It seems to have adopted the implicit idea that certain people may have foretolds about their death and that if they choose to change those events, death will try to follow them (and, in most cases, to succeed). While the events of the first two films "Final Destination" and "Final Destination 5" are linked, the series has so far found that a relationship with a person who may not have not survived death before it is not a prerequisite for death to be interested in someone. However, "Bloodlines" changes all this, in a way that is brazenly bold and impressively subtle.

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In "Bloodlines", we are shown the earliest example of forbidding and avoided disaster that was once shown in the series. In 1969 Iris (Breck Basinger) is taken to Skyview on the date of her stable buffalo, Paul Campbell (Max Lloyd-Onesons), and all the disturbing cancellations of the Iris crash have been rejected by her as the side effects of her new pregnancy. However, after Iris suffered a foresight showing the violent death of all attending Skyview opening, she is able to warn guests and avoid mass tragedy. Immediately, this marks the departure for the franchise, where the previous Cassandra figures in the series were able to persuade only a few other people to join them in leaving Doom's future page, Iris manages to save hundreds of lives.

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Like Iris' granddaughter, Stephanie (Caitlin Santa Yuana), and the rest of her wider family reveals to their horror, this means that death is robbed by hundreds of promised lives that a fateful day, and all subsequent offspring of people who have not been killed in the disaster. This puts the main plot of "blood lines" on the go, revealing that death requires to erase the Iris family of existence. Fortunately, thanks to the huge amount of notes and the research that the fatal death iris has gathered throughout her life, it is understood that numerous other people are also affected. At one point, the post-year note "2000" shows the malfunction of the Iris and Stephanie time frame. This is: "Blood Lines" concludes that every film "Final Destination" is the result of the "Skyview" disaster aversion and that the whole franchise is a large domino chain of death victims.

This unified theory of "Final Destination" is not only there to explain how and why the characters of past films have a felt of death, why they are directed first and so on. It also gives a smart explanation for one of the other longest mysteries of the series, namely, William Bludworth's backstew (Tony Todd). Ever since its appearance in the first "final destination", Bloodworth seems to be a very connoisseur of death, its various rules, patterns, and as a hunting with death can avoid their fate. With each subsequent look, speculation from fans about the origin of fornication, especially since he seemed to be the only authority over death. Although portrayed as a coroner who owned some funeral homes, some people began to theorizing that fornication could somehow be associated with death, or as an angel, a devil, or as a physical manifestation of the force itself.

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Given that Todd, who died in November last yearIt was unstable that it appears in "blood lines" to give the character appropriate sending, it is no surprise that the film took the opportunity to clarify who is fornication and how he met so much. It turns out that William was also present at the 1969 Skaviv Restaurant, a child of a woman performing at the Great Open event. Iris' actions saved his life. Thus, fornication and Iris hit the lifelong friendship, while the two tried to avoid death by studying it, both of whom shared information and tips on the road. Unfortunately, both fornoon and Iris were so successful that they almost simultaneously agreed with cancer, which was the last resort of death in their long search to seek them. Although Iris's death is accelerated by other circumstances, because she sacrifices herself to prove the threat of death to be real for Stephanie, it is understood that fornication will succumb to her illness.

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Perhaps the most impressive aspect of this comprehensive explanation of the franchise representing "blood lines" is that it is not inserted into the face of the audience. In other words, this is not an example of "blood lines" trying to trade nostalgia by directly referring to all previous films, but instead is a cool concept that is there if you want it. The explanation is satisfactory enough that the series can use "blood lines" as a culminating chapter, or can use it as a springboard for a few more sequels to follow. If the series "Final Destination" has as much gas left in the tank, as "blood lines" promises, then I hope the latter is the case.