Pat Sajak, the Cool, Unflappable, Reliable Host, Signs Off
The New York Times
In 41 seasons at the helm of “Wheel of Fortune,” Mr. Sajak, whose final episode as host airs on Friday, has been a durable fixture of the American cultural landscape.
If AI were ever prompted to generate an avatar of a game show host, surely the result would be Pat Sajak.
After four decades on the air, Mr. Sajak, 77, presides over his last episode of “Wheel of Fortune” on Friday. And his departure — Mr. Sajak has suggested in a series of televised exit interviews with Maggie Sajak, his daughter, that this will be a welcome retirement — offered a chance to reappraise what it is that made him such a durable fixture of the American cultural landscape.
Mr. Sajak, it is probably worth remembering, has been with viewers through seven presidents, wars in Afghanistan and Iraq, both the AIDS and the Covid pandemics, the Sept. 11 terrorist attacks, the 2008 financial crash and, oh, the Kardashians. Not incidentally, he has outlasted the internet’s incursions into broadcast television’s long-held primacy.
Through it all he’s been with the American game show audience, unflappably prompting contestants to choose a consonant or buy a vowel. He calmed contestants as they guessed at Hangman-style word puzzles. He bantered inoffensively with the imperturbable Vanna White in her parade of sparkly gowns. He blandly exchanged quips with an ever-changing roster of celebrity guests as they spun a carnival-style wheel, willing it to clatter past “Lose a Turn” and “Bankruptcy” to land on big money.
And, for 41 seasons, this avuncular figure in a jacket and tie hovered into millions of households a night, a perma-tanned deity ruling over a placid empyrean.
Against a backdrop of lives filled with workaday stress and debt, “Wheel of Fortune” was a refuge, notably less as game of chance than bulwark against everyday humdrum. How oddly easy is it to forget that overdue electric bill as Mr. Sajak asks, in his peppy tenor, “How do you feel about ampersands?”
In the months leading up to the election, Donald J. Trump sat for a slew of casual and unconventional conversations with podcasters and streamers. We watched them all.
In the last year, museums, book festivals, arts journals and other organizations have experienced bitter discord over what qualifies as tolerable speech about the conflict and its combatants.
John Krasinski may not have the raw energy of Glen Powell, but a collaboration with the stylist Ilaria Urbinati has paid huge dividends.
The star of Jacques Audiard’s showy new musical about a trans Mexican crime boss, Karla Sofía Gascón, adds soul to the melodrama. Zoe Saldaña also shines.
The powerhouse soprano, already a company stalwart at 37, still seems to be figuring out a character whose moods change on a dime.
The artist’s works are the subject of two New York shows, at the Metropolitan Museum and the Jack Shainman Gallery.
The YouTube star has a coffee company, a podcast and a new collaboration with Warby Parker. One thing she isn’t doing much? Posting.
The FX series strives to capture the complexity of its subject: the long sectarian conflict in Northern Ireland known as the Troubles.
Nora Holt was a pioneer of Chicago’s Black classical music scene. A friend of Josephine Baker, she later became a blues singer in Parisian nightclubs.
In the film “Conclave,” the costume designer Lisy Christl clothed an army of catty cardinals, from their miters down to their quirky glasses.
The sprawling PST festival of more than 70 exhibitions doesn’t quite live up to its theme of art and science colliding. But there is a handful of impressive entries.