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Content Warning: This section of the guide includes discussion of graphic violence, physical abuse, emotional abuse, and death.
Bad Blood is the fourth and concluding novel in Jennifer Lynn Barnes’s Naturals series, which follows a group of gifted teens whom the FBI recruits into a clandestine FBI program. Each member possesses an innate, specialized ability for solving crimes: Cassie Hobbes is a profiler, Dean Redding shares her talent, Lia Zhang is a human lie detector, Michael Townsend reads emotions, and Sloane Sheridan is a living encyclopedia of facts and statistics.
The series begins with The Naturals (2013), which follows the team’s formation by the FBI and their initial work in solving cold cases. In the second installment, Killer Instinct (2014), the team (Cassie, Dean, Michael, Lia, and Sloane) transitions from cold cases to active investigations, and they look into unusual murders that mimic those committed by Dean’s father, a notable serial killer who is incarcerated. In the third installment, All In (2015), the team travels to Las Vegas, Nevada, to hunt a serial killer whose methods connect to a complex mathematical pattern. In Bad Blood, their focus shifts to an active threat from a secret society of serial killers. Known as the Masters, this cabal has operated for more than a century, orchestrating ritualistic murders in cycles of nine and timing their killings according to the Fibonacci sequence (an infinite sequence of numbers that occurs in patterns throughout nature).
A central mystery that runs throughout the series concerns the fate of Cassie’s mother, who was presumed murdered years ago but, in the fourth book, is revealed to be alive and held captive by the Masters. She isn’t merely a prisoner but holds the title of the Pythia, a high-ranking figure who judges and sanctions the Masters’ killings. Bad Blood escalates this conflict, moving the Naturals from being the investigators to being the targets. As the book’s tagline states, “The hunters become the hunted” (i), forcing the team to confront the Masters directly to save not only future targets but also themselves.
The series combines the methodological framework of a criminal procedural (a genre that emphasizes the process of evidence collection, forensic analysis, and criminal profiling) with the conventions of the Young Adult (YA) thriller (a genre that gained popularity in the 2010s, often featuring teenage protagonists and coming-of-age themes). Barnes centers the series on the personal histories and emotional conflicts of the Naturals team, while they function like a specialized FBI unit, analyzing crime scenes and developing profiles of their targets. Cassie’s tense prison interview with Daniel Redding in Chapter 1, in which she attempts to draw him into a conversation to extract information, is a classic procedural trope. By merging the YA thriller and criminal procedural genres, Barnes creates protagonists who process personal traumas and navigate relationships through the detached, analytical lens of their investigation work.
The concept of “Naturals” (teens with innate criminal profiling talent) is a fictionalized extension of a real-world investigative practice. Criminal profiling, formally known as criminal investigative analysis, was pioneered by the FBI’s Behavioral Science Unit in the 1970s to help identify unidentified subjects (or “UNSUBs”) by analyzing crime scene characteristics (such as indication of weapons or methods used and the presence of objects or messages left by the perpetrator) and behavioral patterns (like whether murders mimic those of previous killers, where and when murders occur, and whether the bodies indicate prolonged captivity and/or abuse). Profiling in criminal procedurals was later popularized in TV shows like Criminal Minds.
However, the field has long been a subject of scientific debate. Many psychologists and criminologists argue that profiling lacks rigorous empirical validation and relies too heavily on intuition and ambiguous typologies. For instance, a comprehensive 2007 review for the British Home Office found little evidence that professional profilers are significantly more accurate than untrained individuals at predicting offender characteristics.
In Bad Blood, Jennifer Lynn Barnes sidesteps this scientific ambiguity by reimagining profiling as an inherited, almost supernatural gift. This narrative choice allows her to explore themes of identity and destiny. The characters’ abilities aren’t learned skills but an intrinsic part of who they are, raising questions about nature versus nurture. Dean Redding, for example, fears that his talent for getting inside a killer’s mind is a form of “bad blood” inherited from his serial killer father. When Daniel Redding asks Cassie if she ever wonders “just how close [Dean] is to snapping [her] neck” (6), he directly links Dean’s ability as a Natural to a genetic predisposition for violence. By treating profiling as a heritable trait, Barnes transforms a controversial investigative tool into a metaphor for the internal struggles that her characters face.



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