While the high-octane spectacle of the Las Vegas Strip often dominates the local skyline, the real heart of genre fandom beat loud and bloody downtown this past January 16 through January 18. Hosted at the Plaza Hotel and Casino on Fremont Street, the 2026 iteration of Days of the Dead Las Vegas proved once again that a convention doesn’t need to be massive to be impactful. By trading the sterile, overpriced sprawl of the Strip for the gritty, historic atmosphere of the Plaza, the event fostered an intimate “family reunion” vibe that combined high-tier celebrity access with a deep dive into the macabre.
The Intimate Celebrity Ecosystem
The true value of this convention lies in its accessibility. Unlike the “pay-and-go” culture of larger pop-culture expos, Days of the Dead allows for genuine interactions. This was evident when filmmaker Eli Roth, arguably the weekend’s biggest draw, beamed a huge smile and pointed at a fan wearing a vintage Goretorium shirt (a nod to his former Vegas haunt).
The guest list was a masterclass in genre diversity. Legacy stars like Linda Blair (The Exorcist) and Heather Langenkamp (A Nightmare on Elm Street) anchored the event with historical gravitas, while modern icons like David Howard Thornton (Art the Clown in the Terrifier series) drove high-demand lines for professional photo ops. Attendees noted that the con was small enough to allow for comfortable, lingering conversations with legends like C.J. Graham, the formidable Jason Voorhees from Friday the 13th Part VI.
Panel highlights were equally memorable. While many fans pined for a dedicated Cabin Fever reunion given the presence of Roth and Rider Strong, the standout was undoubtedly Ted Raimi. His natural delivery and effortless smoothness made his session an absolute pleasure, leaving the audience hoping for a future panel that might unite him with the convention’s other Evil Dead alumni, like Alyssa Sutherland (Evil Dead Rise) and Jane Levy . Sutherland herself was seen engaging in warm post-panel discussions with fans about their favorite television shows, further cementing the show’s reputation for personal connection.
The “Wild Menagerie” Marketplace
The vendor floor at the Plaza was described as a “wild menagerie” of the transgressive and the artisanal. This wasn’t just a place to buy mass-produced t-shirts; it was a high-density flea market for the truly strange. Highlights included:
- Killer Art Co.: Featuring hand-painted, horror-themed weaponry like cleavers and chainsaw blades.
- Dealer of the Dead: A local favorite showcasing preserved taxidermy and oddities, including mummified octopus tentacles.
- Badly Behaved Babies: Perverse creations such as Care Bears with baby doll heads that challenged traditional toy aesthetics.
The marketplace also served as a launchpad for independent creators. Filmmakers like Shawn C. Phillips and Kevin Greig were seen crowdfunding for Desert Fiends 2, offering fans the unique opportunity to purchase an on-screen “kill”. This grassroots energy was bolstered by the 15th-anniversary celebration of the International Film Festival, which presented its prestigious “Bad Mutha Fucker” (Best in Show) trophy alongside awards for best features and shorts.
Tattoos, Pub Crawls, and Late-Night Horrors
A unique differentiator for the Las Vegas stop is the concurrent Tattoo Expo. The Plaza’s halls were transformed into a sprawling tattoo studio where hand-selected artists from around the globe provided permanent souvenirs for attendees . When the show floor closed, the energy shifted to the “dark of night” programming, including a Saturday night pub crawl through Fremont Street’s best venues .
The costume showdown was another focal point, featuring professional-grade character acting from local crews like Nathan Harris and his Halloween Maze team. Characters like “Cletus the Clown” and “Klorox” meandered through the booths, providing spontaneous scares and improvised sketches that made the event feel like a living, breathing horror film.
Final Thoughts and Survival Tips
For those planning to attend future iterations, a few logistical notes remain constant. First, the Plaza’s location on Fremont Street keeps pricing reasonable compared to the Strip, but “cash is king” at the celebrity booths for selfies and autographs. Second, the 30-minute early entry for VIP pass holders (starting at 4:30 PM Friday and 10:30 AM Saturday/Sunday) is critical for navigating the long lines of modern slasher icons like Thornton.
Days of the Dead Las Vegas 2026 wasn’t just a convention; it was a high-density intersection of independent cinema, professional body art, and legacy media fandom. By prioritizing the social gathering of “like-minded monsters” over commercial transaction, it remains a vital fixture in the experience economy of the macabre .
