Macabre

Sedlec Ossuary, or as it’s more commonly known, the Church of Bones, is an hour away from the capital of Czechia, Prague, and contains eight million individual bones

One of the most disturbing and dark tourist attractions is just three hours from the UK.

While Transylvania and Edinburgh may be go to’s for a gothic aesthetic among travellers looking for a spooky break, the travel experts at First Choice have found something a little darker and more grisly. Nestled in a rural Czech town just an hour from Prague, you’ll find the Sedlec Ossuary, or as it’s more commonly known, the Church of Bones.

The Roman Catholic chapel is decorated with the skeletal remains of between 40,000 – 70,000 individuals. In total, there are more than eight million individual bones in the cathedral of death.

The first Cistercian monastery in Bohemia, founded in 1142, is rich in history. In the 13th century, the spot became a popular burial ground after a monastery abbot consecrated the land with soil from the spot of Jesus’ crucifixion.

OPINION

Milo Boyd

By the 15th century, a new Gothic church had been built at the location, with the lower chapel re-assigned to house the tens of thousands of victims of the Black Plague and Hussite wars. But it was in the 19th century that the ossuary transformed into the creepy hotspot it is today.

Up until this point, the bones had been haphazardly stored in the various crypts, but in 1870 the monastery’s owners hired a local woodcarver named František Rint to artistically arrange the bones and give them a new sense of purpose.

Rint bleached the bones and used them to create the unique decorations visitors can see today, including:

The Chandelier of bones. This is a massive chandelier that hangs from the centre of the nave and is said to contain at least one of every bone in the human body.

Schwarzenberg coat of arms: A coat of arms made entirely of human bones, including a raven pecking the eye of a Turkish soldier’s skull.

Garlands of skulls that are strung from the ceiling.

Bone pyramids, which are four large, bell-shaped pyramids of stacked bones that occupy the corners of the chapel.

While Sedlec Ossuary makes for a perfect spooky Halloween day out, visitors are welcome all year round. In fact, the summer months make for a great time to visit as the chapel offers late-night, candle-lit tours hosted by monks and an organ performance.

Fans of Danny Boyle’s 2025 apocalyptic horror film 28 Years Later might find the spot particularly appealing – with various visual similarities to the film. And with part 2: The Bone Temple set to release in cinemas in Jan 2026, the spot is set to increase in popularity.

Situated in the town of Kutná Hora, a UNESCO World Heritage spot with a tonne of other historical sites to explore, the Ossuary is just over an hour from the capital of Prague making it a great option for a day trip out of the city.

Tours from Prague centre can be organised with travel companies like First Choice, which offers a day-long guided experience of Kutná Hora and the Sedlec Ossuary from just £63 per person, including transfers.

In Prague itself, dark tourists can try everything from ghost walks to concentration camp and abandoned psychiatric hospital tours. Visiting the capital can be very affordable, with stays including flights and accommodation starting at £188pp with First Choice, and food and drink famously on the lower end compared to similar historical capitals like Berlin and Paris.

Pick a stay at the Royal Court Hotel a 19th century royal residence building, now a modern day 4-star in the heart of the city. Prices start from £188pp, based on two adults sharing a double standard room, on a room-only basis for 2 nights, flights departing from London Stansted on 22 January 2026. Hand luggage only and transfers not included.

“The Institute,” a 2019 novel by Stephen King, Maine’s Master of the Macabre — or horror, I just said macabre for the alliteration — has become a miniseries with some major additions and minor emendations. Premiering Sunday on MGM+, it belongs to a popular genre in which superpowerful young’uns are gathered in some sort of academy, and more specifically to one in which children with extraordinary powers are weaponized by adults for … reasons. They always have reasons, those cruel adults.

The child at the center of the story is 14-year-old Luke Ellis (Joe Freeman, who shoulders a lot of dramatic weight), a genius with a mostly untapped ability to move things with his mind. (Classic power!) One night while Luke is asleep, people break into his house, and when he wakes in the morning in his bed, you know as well as I that what he’ll find outside his bedroom door is not the rest of his house — just like Patrick McGoohan in “The Prisoner,” one of several other works for the screen that may cross your mind as the show goes on. “Stranger Things,” “The Matrix,” “One Flew Over the Cuckoo’s Nest,” “The Breakfast Club” and “Severance” are some others that came to my mind.

Luke is in the Institute, a drab complex, whose young inmates are identified either as “TK” (telekinetic) or “TP” (telepathic), or once in a blue moon, “PC” (precognitive). Just how Luke’s kidnappers fixed on him in the first place is something for you not to think about. But there he is, and because he is also a genius, his warders think he might be more than usually useful to them. Ms. Sigsby (Mary-Louise Parker) runs the place; her cheery tone and promises of fun food and no bedtime does not hide from you, or from Luke, the fact that she is a liar. That she tells Luke he’s there as part of a project to “serve not just your country but the whole world” is not something to impress any kidnapped teenager.

Fionn Laird, left, Mary-Louise Parker, Simone Miller, Viggo Hanvelt and Arlen So in “The Institute.”

(Chris Reardon / MGM+)

Aiding and abetting Sigsby are sepulchral security head Stackhouse (Julian Richings), who at one point will speak the words “unjustly vilified term final solution”; Tony (Jason Diaz), an almost comically sadistic orderly; and Dr. Hendricks (Robert Joy), who has cooked up the pseudoscientific nonsense at the heart of the plan and puts Luke through a variety of upsetting “tests.” Housekeeper Maureen (Jane Luk) is nice, though — not to be completely trusted, necessarily, but nice.

Meanwhile, handsome Tim Jamieson (Ben Barnes), a former policeman, decorated for an incident that left him bad about feeling decorated, hitchhikes into town — the town near the Institute, whatever it’s called — and gets himself a job with the local constabulary as its “nightknocker,” checking that businesses have locked their doors and the streets are trouble free. At the police station, he meets Officer Wendy Gullickson (Hannah Galway), which makes space for some light guy-gal vibing, while his nocturnal peregrinations will bring him into contact with Annie (Mary Walsh), a street person and conspiracy theorist, who does know an actual thing or two, and who will inspire Tim to poke around that place up on the hill with the guards and the barbed-wire fence. He may not be a cop anymore, but he is not, he says, “the kind of guy who can look the other way.”

At the mostly empty, sort of shabby Institute — like a student center that hasn’t been updated in 30 years, because what’s the point — Luke meets fellow inmates Kalisha (Simone Miller), who inexplicably kisses him upon first meeting, Iris (Birva Pandya), cool kid Nick (Fionn Laird), and later little Avery (Viggo Hanvelt), who may prove the most powerful of all.

The institute has a Front Hall and a Back Hall; at some point, kids from the former are transferred to the latter, which completes a “graduation” the staff mark with a cake and candles. (They’re told that after doing time in the Back Hall, they’ll be going home, which could not possibly be part of the plan.) The meaning of the column of smoke rising from one of the compound’s buildings should be immediately obvious.

Written by Benjamin Cavell (who co-wrote the 2020 adaptation of King’s “The Stand”) and directed by Jack Bender (King’s “Mr. Mercedes”), it drags at times and isn’t particularly interesting to look at, though there’s action and a few special effects toward the end, which, King being King, isn’t over until it’s over — and it never is. Parker is always good to watch, and her Mrs. Sigsby is given some material to make her seem human — if not quite to humanize her — but nothing regarding the Institute and its complicated plans and methods really makes any sense, even in King’s made-world.

Still, if you regard “The Institute” as a kind of YA novel about resistance and revolt, and a metaphor for the way young people have been sacrificed by the old to feed their agendas and wars, it has some legs.