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May 16, 2025 46 mins

[Editor's note: The following contains spoilers for Final Destination Bloodlines.]


Brec Bassinger’s been racking up impressive film and television accomplishments since she was 13, but Final Destination Bloodlines is bound to send her star soaring even higher for a multitude of reasons.


Bassinger is at the heart of one of the movie’s most highly anticipated set pieces - the opening premonition. As a young Iris, she takes us back to 1969 when her boyfriend, Max Lloyd-Jones’ Paul, attempts to whip up a very special night. He surprises Iris with a visit to the Skyview, a restaurant that sits atop a 500-foot steel-beamed tower, and proposes to her. However, soon after their magical moment, a penny sets off a chain reaction that ultimately kills everyone in the restaurant and brings the entire structure down.


Due to the genius “bloodlines” concept, that’s the extent of Bassinger’s involvement in the movie. When the opening destruction concludes, the film shifts to the present day, where Kaitlyn Santa Juana’s Stefani experiences the Skyview disaster in the form of a nightmare. Yes, we do get an older version of Iris, played by Gabrielle Rose, but as far as Bassinger’s direct contribution to the movie goes, she gets a single sequence to make an impression - and she does, big time.


Yes, the opening Skyview disaster is a production feat that’s packed to the brim with widely impressive effects and stunts, but a big reason why all of that work hits so hard is because Bassinger doesn’t waste a second filling out Iris’ world and sparking a meaningful connection with the viewer. That level of engagement ensures Final Destination Bloodlines' opening premonition isn’t just a cool horror set piece, but one with some real emotion and meaning.


In celebration of Final Destination Bloodlines’ big release, Bassinger joined me for a Collider Ladies Night conversation to revisit her days on Nickelodeon, to discuss making DC’s Stargirl, and to dig into every ounce of her unforgettable Bloodlines performance.


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