Author: Alex de Borba
Alex de Borba
Bogotá, Colombia
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Nadezda’s ‘Hopscotch’ Holds More Than the Play Admits
At Modern Eden Gallery in San Francisco, Nadezda’s ‘Hopscotch’ is a mini-collection testing whether spontaneity and psychological precision can coexist.
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‘Whistle’ Debuts on Shudder with Its Aztec Curse Intact
Corin Hardy and Owen Egerton route a genuine Pre-Columbian ritual instrument through American high school horror, premiering on Shudder on…
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ParaPsyCon Se7en and the Prison That Refuses to Release
Seven consecutive years inside the Ohio State Reformatory have made ParaPsyCon the paranormal convention circuit’s most coherent sustained experiment.
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‘Dark Secrets’ Has the Hammer, While ‘Witches’ Has the Victims
‘Dark Secrets’ in London and ‘Witches’ in Nantes engage the book that authorized mass executions. The framing is irreconcilable.
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Pestilence Always Pulls the Cover, Never the Position
Pestilence has cancelled four covers across eight years — one plagiarized, three AI-generated — and publicly defended each original decision.
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At Père Lachaise, the Murdered Dead Precede the Famous Ones
Napoleon’s secular death invention and the 1871 Commune massacre gave Père Lachaise, Paris, two dark pilgrimages that never fully reconcile.
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The Museum Receives Carrington, Hammershøi, and Meatyard
Three exhibitions in Paris, Madrid, and Atlanta reframe darkness — surrealist, symbolist, and American vernacular — as institutional inheritance.
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Dark Academia Is Gothic Fiction That Forgot Its Name
Forty-three dark academia titles in 2026 confirm what ‘The Secret History’ always knew: the mode’s Gothic core is structural, not…
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Dead Can Dance Return One Song at a Time with ‘Death Cults’
Brendan Perry steers Dead Can Dance into 2026 via a Bandcamp-exclusive monthly series, with ‘Death Cults’ as its most expansive…
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Damian McCarthy’s ‘Hokum’ Opens in US Theaters via Neon
Irish filmmaker Damian McCarthy brings a witchcraft-rooted folk horror narrative to US theaters with ‘Hokum,’ starring Adam Scott, on May…
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Gothic Performance and the Historic Cemetery’s Return to the Living
From Brooklyn’s catacomb stages to London’s Victorian courtyards, documented practitioners are returning the cemetery to its original function as a…
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‘She Made Herself a Monster’ Trades Ambiguity for Allegory
Anna Kovatcheva’s debut sets a con artist loose in nineteenth-century Bulgaria, but the novel’s refusal of supernatural ambiguity costs it…
