Lifestyle
At Nevada's Clown Motel, the vibe is creepier than ever, and business is good
TONOPAH, Nev. — Business is so good at the Clown Motel, you might expect more of its painted faces to be smiling.
But as Vijay Mehar has learned in his years as owner of the creepiest motel in Tonopah, Nev., happy clowns are not what most of his customers want.
What they seem to want is fear, loathing, painted faces, circus vibes and hints of paranormal activity. Basically, Mehar said recently, “they want to be scared.”
So aiming to lure more people off Main Street (a.k.a. U.S. 95) to visit this 31-room motel in the dusty, stark middle of Nevada, Mehar is boosting his creepiness quotient.
A giant cutout of a clown adorns the side of the Clown Motel.
(Christopher Reynolds / Los Angeles Times)
By the end of 2025, he’s hoping to have completed a 900-square-foot addition, doubling the size of the motel’s busy, disquieting lobby-museum-gift shop area. Meanwhile, behind the motel, Mehar is planning a year-round haunted house, to be made of 11 shipping containers.
Many details are yet to be settled, but the idea is for these additions to complement the motel’s existing guest rooms, which teem with enough clown imagery to eclipse a Ringling Brothers reunion. Mehar also aims to convert an existing room into a honeymoon suite.
“America’s Scariest Motel,” read the brochures by the register. “Let fear run down your spine.”
There are paintings, dolls and ceramic figures, each with its own expression — smiling, laughing, smirking, weeping or silently shrieking. And then there are the neighbors. The motel stands next to the Old Tonopah Cemetery, most of whose residents perished between 1900 and 1911, often in mining accidents.
The creepy clown film “It” is muralized on the walls outside the rooms.
(Christopher Reynolds / Los Angeles Times)
Some guests explore the cemetery after dark or google “fear of clowns” (coulrophobia). Others settle in with a horror movie, perhaps one of the three made on site in the last six years. (“I am the bad clown in ‘Clown Motel 2,’ ” Mehar confided.)
Mehar said hundreds of people stop by the motel on busy days, mostly focusing on the gift shop and the crowded, dusty shelves of the museum. The clowns there, contributed by donors worldwide, are not for sale.
“When we came here, there were 800 or 850 clowns,” Mehar said. “Right now, we have close to 6,000.”
The lobby-gift shop-museum expansion means more room to show them off, along with the motel’s wall-mounted array of presidential caricatures, Joe Biden and Donald Trump included, each sporting a clown’s red nose.
Clown miniatures, donated to the Clown Motel from around the world, are on display around the motel.
(Christopher Reynolds / Los Angeles Times)
In the six years Mehar has owned the place, the gift shop merch inventory has swollen from hats, T-shirts and sweatshirts to include nearly 100 products: art, ash trays, bracelets, bumper stickers, clothing, key chains, magnets, mugs, patches, shot glasses and wallets.
“Do you use knives? I have clown knives,” Behar said, raising one in his right hand. The blades are 4 inches long.
Throughout the motel’s corridors and no-frills guest rooms (usually $85 to $150; rated at 3.5 stars by Yelp and Trip Advisor), the clowns continue against a color scheme of purple, yellow and red, augmented by polka dots of blue and green.
A spot check revealed five clowns in Room 102 and a dozen in Room 208 (but none in the bathrooms). Several rooms are themed, including 222, which highlights Clownvis (Elvis as a clown, basically).
If you book that room, the motel warns, you may be awakened by a mysterious “malevolent entity.” The hotel also warns all guests that, despite monthly pest-control visits, you may encounter “UFI’s (Unwanted Flying Insects),” because rooms open to the outdoors. (This part of Nevada is known for its many Mormon crickets.)
Every room at the Clown Motel, has its own art display.
(Christopher Reynolds / Los Angeles Times)
“If we had paid 60, or 70, or even 80 bucks, this place might have been worth it,” wrote one unamused motel customer on Trip Advisor recently.
“We had good fun, and even better we weren’t murdered,” wrote another.
It’s a family project. After years as an art director, Mehar’s brother, Hame Anand, serves as manager of the motel and has masterminded its latest face-lift, which includes a pair of clown cut-outs, two stories tall, that beckon passing traffic.
Many travelers make the 210-mile drive north from Las Vegas just for the clown experience. At booking or check-in, guests often sign on for a motel and cemetery tour with guide Wanda Crisp.
Tonopah sits roughly midway between Las Vegas and Reno, with a population (about 2,100) that’s been shrinking for more than 30 years. The hillside town, born as a silver-mining outpost in the first years of the 20th century, features a pair of historic hotels, the Mizpah (built in 1907, renovated 2011) and the Belvada (built as a bank in 1906, renovated in 2020), which flank Main Street in the heart of town. Tonopah Historic Mining Park includes an underground tunnel and displays of old equipment and minerals.
The Clown Motel is owned by Vijay Mehar and his family.
(Christopher Reynolds / Los Angeles Times)
You could say the Clown Motel grew out of the cemetery. As local boosters tell the story, a miner and clown-collector named Clarence David was killed in 1911 in a mining accident and buried in the cemetery. Thus, when two of his children, Leona and Leroy, decided to open a motel (then known as the David Motel) next to the cemetery in 1985, they displayed about 150 of their late father’s clown images and figures.
A decade later, they sold it to longtime Tonopah entrepreneur Bob Perchetti, who transformed the motel as part of his efforts to boost local tourism.
The big breakthrough came in 2015, when a crew from the television series “Ghost Adventures” came to shoot at the Clown Motel, intriguing lovers of kitsch and horror nationwide.
By then, Perchetti (who died this year) was well into his 70s. A few years later, he put the 1.2-acre motel property up for sale, asking $900,000 and later $600,000 (clown collection included). In 2019, veteran Las Vegas motel proprietor Mehar and his family bought it.
The façade of the Clown Motel.
(Christopher Reynolds / Los Angeles Times)
Mehar, who now splits his time between Tonopah and Vegas, declined to say the sale price, but said he was able to pay off the loan within a few years. Two or three times a year, “the paranormal people” will book the whole place, Mehar said, “and there’s a YouTuber every second day.”
That doesn’t mean the motel is a gold mine — Mehar still does most repairs and improvements himself — but in its niche, it has no rival.
“You know the American dream, rich and famous?” Mehar asked. “We’re half the way.”
Mara is a single mother of two in Minnesota. She and her family have depended on SNAP benefits to make ends meet.
Caroline Yang for NPR
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Caroline Yang for NPR
Although Mara is unemployed, she is busier than ever.
When she is not taking care of her two children, Mara is at her desk applying for jobs. She is surveying her belongings to see what she can pawn off to buy toiletries. Or she is sifting through bills, calculating which ones can wait and which need to be paid right away.
Soon, Mara, a single mom in Minnesota, may have another task on her busy schedule: figuring out how to afford food for her and her family.
That’s because of new work requirements for people receiving aid from the Supplemental Nutrition Assistance Program, also known as SNAP or food stamps.
“It would be so beyond hard” to lose SNAP benefits, Mara said. “Without SNAP, there’s no funds for food.” Mara asked for her last name to be withheld given the stigma tied to receiving government assistance. She is also worried that speaking publicly will affect her chances of getting a job.
Previously, SNAP recipients with children under 18 were exempt from work requirements mandating that recipients work, volunteer or participate in job training at least 80 hours a month. But now, under President Trump’s One Big Beautiful Bill Act, that exemption only applies to those with children under 14 — which is how old Mara’s youngest child turned in December.
“It would be so beyond hard” to lose SNAP benefits, Mara said.
Caroline Yang for NPR
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Caroline Yang for NPR
The Trump administration has argued that the mission of the nation’s largest anti-hunger program has failed.
“SNAP was intended to be temporary help for those who encounter tough times. Now, it’s become so bloated that it is leaving fewer resources for those who truly need help,” the White House said in a statement in June.
But policy experts say the SNAP changes do not fully take into account the unique challenges faced by single parents like Mara or the sluggish job market in many parts of the country. They argue that losing food assistance will only create more barriers for recipients struggling to find work.
The timeline for implementing the new SNAP policy varies based on state and county. In Mara’s home state of Minnesota, recipients who don’t qualify for an exemption or meet work requirements will be at risk of losing assistance as early as April 1. Others may have more months depending on when they next need to certify they are eligible for benefits.
Over 100 job applications
Mara imagined she would have a job by now.
It was August when she was let go from her part-time administrative assistant role due to her workplace restructuring. Since then, Mara estimates that she has applied for over 100 positions. She has also attended job fairs and taken free workshops on resume writing.
She has been working since high school, she said, but “ I’ve never been out of work for more than one month, so it’s very difficult.”
Mara spends time working at the computer at CareerForce, a resource for job seekers in Minnesota, on March 4.
Caroline Yang for NPR
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Caroline Yang for NPR
Although she misses her old job, Mara said it didn’t pay enough to support her and her kids, so she relied on SNAP benefits.
Many recipients are part of the low-wage labor market, where job security is often unpredictable and turnover tends to be high, according to Lauren Bauer, a researcher at the Brookings Institution who has studied SNAP extensively.
“SNAP is supposed to be there to help people smooth that and not let the bottom fall out when they experience job loss,” she said. “And this policy doesn’t account for that at all.”
Mara’s lowest point came in November when the government shutdown led to disruptions in SNAP benefits. Not only was she searching for a new job, but she was constantly figuring out where to get her family’s next meal.
“I might be looking for food stuff during the day when I should have been looking for a job,” she said. “Then, I’m trying to make up that time in the evening after my kids go to bed.”
During the pause, Mara turned to food banks, which revealed other challenges. First, food pantries do not always provide enough for an adult and two growing teenagers, she said. Second, they often lack gluten-free foods, which is essential for her daughter who has celiac disease, an autoimmune disorder that causes digestive problems if gluten is consumed. Gluten-free products tend to be more expensive.
If Mara loses access to SNAP again because of the new work requirements, she fears another stretch of long days spent looking for the right food and enough to feed her family.
“I would be so reliant on looking for food shelves or food banks,” she said. “There would not be time to even live.”
“We’re going to see increases in poverty. We’re going to see increases in food insecurity”
The Congressional Budget Office estimates that roughly 2.4 million people will lose food benefits in a typical month over the next decade as a result of the new SNAP requirements — including 300,000 parents like Mara with children 14 or older.
Gina Plata-Nino, the SNAP director at the nonprofit Food Research & Action Center, says many of the affected recipients will be single mothers who make up a majority of single parent households in the U.S. She added that the changes target a group that often lacks or struggles to afford a support system to help care for their children.
“How can they have a full-time job when they need to pick up their children [for] various activities?” she said. “And they are working — just not enough hours because they need to be there present for their children.”
Mara shops for groceries at a local discount grocery store.
Caroline Yang for NPR
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Caroline Yang for NPR
The new law also imposes work requirements on veterans, homeless people, young adults aging out of foster care, and able-bodied adults without dependents from ages 55 to 64.
It also toughened the criteria for waiving work requirements for recipients in areas with high unemployment. Previously, there were multiple ways to determine a weak labor market and secure a waiver. Now, it only applies to places with an unemployment rate above 10%. (Alaska and Hawaii have a different measure.)
For those who fail to meet the work requirement, SNAP provides assistance for up to three months within a three-year span. But Bauer from the Brookings Institution argues that it is not enough and the impact of SNAP changes will be widespread.
“We’re going to see increases in poverty. We’re going to see increases in food insecurity. We’re going to see increasing strain on the charitable food sector,” she said.
Mara holds her favorite anchor ring, which carries the inscription, “God for me provide thee.”
Caroline Yang for NPR
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Caroline Yang for NPR
As anxiety hangs over her head, Mara tries to put on a brave face for her children. She does not want them to worry, explaining that her recent struggles have reminded her how tough life can get as an adult.
“I remind them it’s not their responsibility and they’re not accountable for me or for what’s happening,” she said. “I say, just know you get to be a kid.”
Dylan Dreyer
Savannah Will Likely Come Back … Just Not Sure When
Published
TMZ.com
Dylan Dreyer is giving a small update on her embattled “Today” co-host, Savannah Guthrie, as the search continues for Savannah’s mom, Nancy — telling TMZ she does believe she’ll likely return to the show at some point.
We caught Dylan leaving NBC Tuesday afternoon, and she said while she thinks Savannah will come back, the timing is totally unclear — adding everyone at the show is simply giving her the space she needs because they care about her so much.
TMZ.com
Dylan also reflected on Savannah’s emotional visit to the “TODAY” studio last Thursday, saying the hug they shared was something they both really needed in that moment.
Catch the full clip — Dylan says the visit was incredibly emotional, adding Savannah clearly wants to get back to some sense of normal life … she just doesn’t quite know how yet.
Still, Savannah managed a few smiles during the brief stop by the studio, doing her best to keep moving forward during an incredibly tough time.
TMZ.com
As we reported, Nancy was taken from her Tucson home in the middle of the night on February 1. She was last seen entering the house just before 10 PM on January 31 after dinner with her daughter Annie and Annie’s husband, Tommaso Cioni.
Kevin Kline plays actor Richard Bean, and Laura Linney is his sister-in-law Kristen, in American Classic.
David Giesbrecht/MGM+
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David Giesbrecht/MGM+
American Classic is a hidden gem, in more ways than one. It’s hidden because it’s on MGM+, a stand-alone streaming service that, let’s face it, most people don’t have. But MGM+ is available without subscription for a seven-day free trial, on its website or through Prime Video and Roku. And you should find and watch American Classic, because it’s an absolutely charming and wonderful TV jewel.
Charming, in the way it brings small towns and ordinary people to life, as in Northern Exposure. Wonderful, in the way it reflects the joys of local theater productions, as in Slings & Arrows, and the American Playhouse production of Kurt Vonnegut’s Who Am I This Time?
The creators of American Classic are Michael Hoffman and Bob Martin. Martin co-wrote and co-created Slings & Arrows, so that comparison comes easily. And back in the early 1980s, Who Am I This Time? was about people who transformed onstage from ordinary citizens into extraordinary performers. It’s a conceit that works only if you have brilliant actors to bring it to life convincingly. That American Playhouse production had two young actors — Christopher Walken and Susan Sarandon — so yes, it worked. And American Classic, with its mix of veteran and young actors, does, too.
American Classic begins with Kevin Kline, as Shakespearean actor Richard Bean, confronting a New York Times drama critic about his negative opening-night review of Richard’s King Lear. The next day, Richard’s agent, played by Tony Shalhoub, calls Richard in to tell him his tantrum was captured by cellphone and went viral, and that he has to lay low for a while.
Richard returns home to the small town of Millersburg, Pa., where his parents ran a local theater. Almost everyone we meet is a treasure. His father, who has bouts of dementia, is played by Len Cariou, who starred on Broadway in Sweeney Todd. Richard’s brother, Jon, is played by Jon Tenney of The Closer, and his wife, Kristen, is played by the great Laura Linney, from Ozark and John Adams.
Things get even more complicated because the old theater is now a dinner theater, filling its schedule with performances by touring regional companies. Its survival is at risk, so Richard decides to save the theater by mounting a new production of Thornton Wilder’s Our Town, casting the local small-town residents to play … local small-town residents.
Miranda, Richard’s college-bound niece, continues the family theatrical tradition — and Nell Verlaque, the young actress who plays her, has a breakout role here. She’s terrific — funny, touching, totally natural. And when she takes the stage as Emily in Our Town, she’s heart-wrenching. Playwright Wilder is served magnificently here — and so is William Shakespeare, whose works and words Kline tackles in more than one inspirational scene in this series.
I don’t want to reveal too much about the conflicts, and surprises, in American Classic, but please trust me: The more episodes you watch, the better it gets. The characters evolve, and go in unexpected directions and pairings. Kline’s Richard starts out thinking about only himself, but ends up just the opposite. And if, as Shakespeare wrote, the play’s the thing, the thing here is, the plays we see, and the soliloquies we hear, are spellbinding.
And there’s plenty of fun to be had outside the classics in American Classic. The table reads are the most delightful since the ones in Only Murders in the Building. The dinner-table arguments are the most explosive since the ones in The Bear. Some scenes are take-your-breath-away dramatic. Others are infectiously silly, as when Richard works with a cast member forced upon him by the angel of this new Our Town production.
Take the effort to find, and watch, American Classic. It’ll remind you why, when it’s this good, it’s easy to love the theater. And television.
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