After those words cued the start of this historic episode, Pat Sajak made his way from behind the puzzle board, arm-in-arm with co-host Vanna White. It’s difficult to imagine another person taking his place on one of America’s most popular game shows, but that’s what will happen in September when TV personality Ryan Seacrest takes over as host of “Wheel of Fortune.” They’re big shoes to fill, even for someone as well-known as Seacrest, whose résumé includes “American Idol,” daytime talk show “Live With Kelly and Ryan” and numerous other shows and specials.
Friday, however, was a chance to hear Sajak, who has hosted “Wheel of Fortune” since 1981, say goodbye. And it was a clip from his first appearance that kicked off the show. “Morning everyone, welcome to ‘Wheel of Fortune.’ Please do not adjust your sets at home. Chuck Woolery’s not shrunk. A lot of people are playing with their vertical hold right now. As Jack mentioned, I’m Pat Sajak.” (For anyone who didn’t grow up with an ’80s-era CRT television set, vertical hold was a button you would use to adjust the picture.)
Pat Sajak, left, with contestants Adrienne Bean, Tammi Barker and Nino Toro in his final episode as host of “Wheel of Fortune.”
(Carol Kaelson / Sony Pictures Television)
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It was that type of quip, and his warmness toward White, contestants and the show’s announcers, that endeared Sajak to millions of viewers over the years. This episode, which will air locally at 7:30 p.m. Pacific on KABC-TV (Channel 7), was no different. “I’m all grown up! Way grown up,” he said as he walked onto the stage after the introduction.
The episode was mostly business as usual. His final contestants were Tammi Barker of Livermore, Nino Toro from Augusta, Ga., and Adrienne Bean of Memphis, Tenn., whom he introduced after the first game, a Toss Up. He set up a joke with Toro, who said he was a firefighter and that his co-workers back at the firehouse would be watching his performance. “I can just hear the trash talk when they see me on TV.”
“I don’t want to say anything to make you nervous, but try not to mess up,” Sajak said, eliciting laughs from Toro and the audience. “I’ll do my best, Pat. Thank you,” Toro replied.
At about the three-minute mark, Sajak acknowledged that it was his final show and that he would be making some remarks. In order to make time for that, they would cut a round. But as a compromise for the contestants, he would spin the wheel, add $1,000 to whatever it landed on and give that amount to each person. It landed on $1,000, but he paused. “You know what, it’s not my money. Let’s give them all $5,000.” Cheers erupted.
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Eventually, the show wound down to its final spin and viewers got a fitting puzzle. The clue: a thing. The solution: STANDING OVATION.
Vanna White on “Wheel of Fortune” with the answer on the final spin.
(Carol Kaelson / Sony Pictures Television)
In anticipation of his final show, Sony Pictures Television, which produces the program, released a clip of Sajak’s farewell to the “Wheel of Fortune” audience. His goodbye speech was slightly longer on the episode, where he thanked viewers, contestants — calling them “the real stars of the show” — the staff and crew and his family, including his daughter, Maggie, who does interviews on the show’s social media channels.
“I want to start with all of you watching out there. It’s been an incredible privilege to be invited into millions of homes, night after night, year after year, decade after decade,” he said. “And I’ve always felt that the privilege came with the responsibility to keep this daily half-hour a safe place for family fun. No social issues, no politics. Nothing embarrassing, I hope. Just a game.”
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He also acknowledged the show’s legacy, saying it became “a place where kids learn their letters, where people from other countries hone their English skills, where families came together along with friends and neighbors and entire generations.”
Lastly, he gave thanks to White, “his professional other half.” “We’ve seen a lot of changes in each other’s lives over the years, but we’ve always been there for each other,” he said. “I will miss our nightly closes and her laughter and good nature. She’s a very special woman.”
Pat Sajak thanked Vanna White, left, “his professional other half.”
(Carol Kaelson / Sony Pictures Television)
White will continue in her role when Seacrest joins as co-host.
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Sajak took over as host from Woolery, the first host of the game show along with Susan Stafford, back when the half-hour program was still on daytime television, later morphing into a syndicated program. Before that, Sajak was a weatherman on local station KNBC and had a career on radio as well. Joining him as co-host and letter turner in 1982 was White, who on Thursday in a prerecorded segment gave a heartfelt goodbye to her longtime colleague.
“I don’t know how to put into words how much these past 41 years have meant to me, but I’m going to try. Eight thousand episodes went by like that,” said White, snapping her fingers. “When I started, I was so green. You made me so comfortable and made me so confident, Pat. You made me who I am.”
She described how, as hosts, they spent countless hours together, traveling the world for the show. “What an incredible and unforgettable journey we’ve had. And I’ve enjoyed every minute of it with you,” said White, her voice cracking. “You’re like a brother to me and I consider you a true lifelong friend, who I will always adore.”
Sajak, now 77, announced his retirement last summer, writing on Twitter (now X): “I’ve decided that our 41st season, which begins in September, will be my last. It’s been a wonderful ride, and I’ll have more to say in the coming months. Many thanks to you all.” His departure marks another major change for the game show landscape. In 2020, “Jeopardy!” host Alex Trebek died at 80 after a battle with pancreatic cancer. “Wheel of Fortune” has traditionally aired directly after “Jeopardy!”
Over the years, “Wheel of Fortune” has been watched by countless viewers, becoming a cultural touchstone for generations of Americans. Phrases like “I’d like to buy a vowel” or “I’d like to solve” are synonymous with the show, as is Sajak’s style of a quip to elicit laughs from the audience in between segments.
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“What an honor to have played even a small part in all that,” he said. “Thank you for allowing me into your lives.”
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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