Pro-Capitalism and other Antiquated Ideas on Court TV
Court TV shows offer uncritical eyes on the systemic inequalities of the legal world.
After 14 years, the Final Destination franchise returns with Bloodlines, a horror-thriller that balances nostalgia, inventive storytelling, and a terrifying new take on fate. The film follows a chilling premise: what if Death held a grudge — not against one person, but against an entire family tree?
The story begins in 1968 with Aris Campbell, a young woman who prevents a tower collapse that would have killed hundreds. Though her act is heroic, Death views it as an offense. Those spared were meant to die — and decades later, their descendants are targeted. Death comes not just for those who cheated it, but for their bloodline.
Aris’s granddaughter leads the modern-day plot, uncovering the truth about her family’s curse. As the deaths mount, her family begins to believe her, setting this film apart from earlier entries where skepticism always led to tragedy. The narrative becomes a blend of suspense, mythology, and tragedy — anchored in the idea that fate, once delayed, returns with more fury.
Plagued by a violent recurring nightmare, college student Stefanie heads home to track down the one person who might be able to break the cycle and save her family from the grisly demise that inevitably awaits them all.
Court TV shows offer uncritical eyes on the systemic inequalities of the legal world.
The assassins in Bullet Train are quirky, deadly, and diverse. Yet, they all seem to be some type of caricature. While the movie is fun and action-packed, it’s also packed with stereotypes that don’t make for the best representation.
Ever since the mid-’90s, the Mortal Kombat game franchise has seen multiple attempts to make it on the big screen, or at least adapted into other media.