Pat Sajak will wind down his record-breaking spin hosting “Wheel of Fortune” on Friday night. Here’s what to know about the game show icon’s decades-long tenure on the show.
When does Sajak’s final episode air?
The “Wheel of Fortune” Season 41 finale, titled “Thanks for the Memories,” airs at 7:30 p.m. Friday on KABC-7. Thursday’s penultimate episode will include a farewell message from Sajak’s longtime co-host, Vanna White.
How long has Sajak hosted?
Sajak has hosted the Hangman-style game show for more than 40 years, stepping in for original host Chuck Woolery after its seventh season in 1982, when “America’s Game” still aired on daytime television.
“Wheel of Fortune” debuted in 1975 with Woolery and Susan Stafford leading the show before the “Love Connection” host departed over a salary dispute with NBC. Legendary producer Merv Griffin hired Sajak and famous letter-turner White in 1982, and the two have become fixtures of the series. In 2019, Sajak scored the Guinness Book of World Records title for longest career as a game show host on the same show. He will retire with almost 8,000 episodes to his name.
He earned three Daytime Emmy Awards as game show host during his run and a Daytime Emmy Lifetime Achievement Award in 2011. He also has a People’s Choice Award and a star on the Hollywood Walk of Fame credited to his “Wheel” run.
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In 2021, “Celebrity Wheel of Fortune” premiered in prime time on ABC with Sajak usually serving as host.
Why is Sajak stepping down?
The 77-year-old announced his retirement a year ago, writing on X (formerly Twitter) that the current season would be his last. In an interview with his daughter, “Wheel” social correspondent Maggie Sajak, the host said that he could continue hosting the show if he wanted to but felt he needed to exit on his own terms.
“I’d rather leave a couple years too early than a couple years too late,” he said, adding, “I’m looking forward to whatever’s ahead.”
Who’s taking over ‘Wheel of Fortune’? And when?
Ryan Seacrest will become the new “Wheel of Fortune” host in September.
( Associated Press)
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Less than a month after Sajak revealed his retirement, “American Idol” and “On Air” host Ryan Seacrest announced that he would step into the emcee’s shoes. At the time, Seacrest lauded his predecessor for the way Sajak “always celebrated the contestants and made viewers feel at home.”
Seacrest, who signed a multiyear deal with Sony Pictures Television last June, will begin the new gig in September.
White is set to remain on “Wheel of Fortune” for the next two years. She has previously filled in for Sajak as host on a few occasions and, before the brief search for Sajak’s successor came to an end, fans campaigned for White to replace her longtime colleague.
What did Sajak do before ‘Wheel’?
It’s hard to think about Sajak doing anything other than soliciting consonants and vowels or declaring a player “bankrupt,” but his storied career began long before “Wheel of Fortune.”
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Born and raised in Chicago, Sajak got his broadcasting start as a newscaster and announcer at a small radio station, looking to broadcast legends Arthur Godfrey, Dave Garroway, Steve Allen and Jack Paar for inspiration to shape his TV personality. He served in the U.S. Army in the late 1960s and was sent to Vietnam, where he hosted a daily show for Armed Forces Radio in Saigon shouting “Good morning, Vietnam!” each day.
After being discharged, he worked at small radio stations in Kentucky and Tennessee, spending several years as a staff announcer, talk show host and weatherman at Nashville’s WSM-TV. A talent scout for NBC-TV in Los Angeles spotted him and brought him onboard in 1977 to serve as the local NBC station’s primary weatherman. In 1981, Griffin asked him to assume hosting duties on “Wheel” when it still aired during the day on NBC, well before the syndicated version premiered in 1983.
“The nice thing about working in local TV in L.A.,” Sajak has said, “is that decision makers are watching you every night.”
The avuncular host has joked that he spent 40 years doing “a part-time job pretending it was full-time,” given how the show’s shooting schedule has allowed him to tape several episodes at a time.
“The great benefit is [my wife] Lesley and I could spend time together and do things,” he told his daughter in an interview posted this week on the “Wheel of Fortune” YouTube channel. “And I could watch you guys grow up and go to the games and all that kind of stuff that work might have taken me away from.”
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What else is on Sajak’s résumé?
During his tenure, Sajak has entertained generations of fans, inspired “Saturday Night Live” and “South Park” jokes and generated numerous headlines about his behavior with contestants. He also briefly hosted the short-lived late-night talk show “The Pat Sajak Show” in the late 1980s and played himself in a number of films and TV shows, including “The A-Team,” “227,” “Airplane II: The Sequel,” “Santa Barbara,” “The King of Queens,” “Just Shoot Me!” and “Fresh Off the Boat.”
“We became part of the popular culture … more importantly became part of people’s lives,” he said in a recent interview with his daughter, who made her “Wheel” debut as a 1-year-old when she joined her dad onstage. The Princeton and Columbia University grad has been the show’s social correspondent since 2021.
Pat sajak also has helped reformat the show, adding the Toss Up puzzle to contribute more content each episode, plus the idea of the $100,000 Toss Up.
But his awkward dad jokes have raised eyebrows in recent years, with the stalwart host fully committing to an odd voyeurism quip while bantering with White during a 2023 episode. He also has landed in hot water for asking her if she liked watching opera in the buff andrepeatedly raised social media hackles when he mocked and pranked a contestant over her fear of fish, poked fun at a man and his long beard by referring to him as one of Santa’s helpers, and put a winning contestant in a chokehold.
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What’s next for Sajak?
Sajak said he’s looking forward to time to “with my crossword puzzles” and family. He will continue his duties as chairman of the Hillsdale College Board of Trustees, a position he took up in 2019.
At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.
When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.
After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.
Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.
The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”
“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”
The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.
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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.
(Refik Anadol Studio for Dataland)
Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”
“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”
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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.
Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.
“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”
“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”
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