The Endless Summer and the Passing of Mike Hynson

The Endless Summer was a transformative film that left an indelible mark on surf culture and beyond. It helped popularize surfing as a global sport and encapsulated the beach lifestyle associated with it. On a broader cultural scale, the film inspired countless young people to travel, explore the world, and chase their passions. Its distinct style and cinematography have become iconic, influencing filmmakers to this day.

Mike Hynson, one of the film’s stars, often reflected on the magical day at Cape St. Francis, South Africa, immortalized in the movie. “That Cape St. Francis was always flat when I went back,” he said, reminiscing about that perfect surf captured on film. “It was a gift from God that day.”

After filming in South Africa, Hynson smuggled five rolls of the 16mm film shot at Cape St. Francis under a loose Hawaiian shirt, slipping through customs unnoticed before boarding their flight to Australia. “And that was it, baby,” he later said. “We all knew what had happened and that we’d just made the movie.”

Bruce Brown, the visionary behind the project, recruited Hynson in 1963 as the concept took shape: two surfers chasing an endless summer as the season moved across the globe. At the time, 21-year-old Hynson was grappling with fears of being drafted to fight in Vietnam. “I was like, ‘I’m outta here, man,’” he recalled in an interview with The Guardian. “We were all little rascals in Pacific Beach, San Diego, always trying to cut corners.”

The Endless Summer was more than just a film about surfing. It was a manifesto for breaking free from the chains that bind us, a celebration of the possibilities waiting just beyond the blue horizon.

Hynson’s later years were marked by his involvement in the countercultural movements of the 1960s, spending time in Maui during its peak as a hub of alternative lifestyles. While some say he fell into the drug culture of the era, what remains clear is the enduring impact he had. For me, he opened my eyes to life’s possibilities.

Mike Hynson’s passing was confirmed by Donna Klaasen Jost, the sister of his longtime partner Carol Hannigan and co-author of his autobiography. While no cause was disclosed, his legacy lives on, captured in the waves and spirit of adventure immortalized in The Endless Summer.

Hynson is survived by Carol Hannigan of Encinitas; stepchildren Haley Ogden of Encinitas, Toby Ogden and Krys Ogden of Vista, and Damien Ogden of San Juan Capistrano; his son, Michael Hynson Jr. of Laguna Beach; and multiple grandchildren.

Skeeter Wesinger
January 17, 2025

 

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Film Review: Outer Banks Season 4 – A Treasure Worth the Journey, But at What Cost?

Season 4 of Outer Banks takes the Netflix series into deeper, more daring territory, delivering a blend of thrilling adventure and emotional depth that sets it apart from its peers. With high-stakes drama and gut-wrenching moments, the show continues to hold its place as a standout teen drama with universal appeal.

At the center of it all is John B Routledge, played with charm and tenacity by Chase Stokes. Stokes, who once hesitated to audition for the role, has fully stepped into John B’s scrappy, determined persona. From his early days in Lost Island to television credits on Stranger Things and Tell Me Your Secrets, Stokes has grown into an actor who commands the screen. His portrayal of John B grounds the whirlwind narrative, making the treasure hunts and betrayals feel deeply personal.

Madelyn Cline as Sarah Cameron shines as both a partner in adventure and a layered character in her own right. A Charleston, South Carolina native, Cline’s rise from summer commercials to a Netflix lead is as compelling as her on-screen journey. Her chemistry with Stokes is electric, and her ability to convey Sarah’s inner conflict adds a richness to the series’ emotional core.

This season’s most devastating twist comes in the form of JJ Maybank’s story. Rudy Pankow, who has always brought a chaotic, magnetic energy to JJ, delivers his most heartbreaking performance yet. The revelation that JJ is a Kook by birth, followed by his tragic death at the hands of his biological father, Chandler Groff, is a bold narrative decision that leaves a lasting impact. Pankow’s final scenes are raw, emotional, and a testament to his talent. It’s a loss that will undoubtedly reshape the dynamic of the Pogues.

The Pogues themselves are the heart of the series, a chosen family bound by loyalty and shared dreams. With Madison Bailey as Kiara and Jonathan Daviss as Pope continuing to deliver nuanced performances, the group’s bond feels authentic and unbreakable, even as they face unimaginable loss.

Season 4 also cements Outer Banks as a show willing to take risks. By pushing its characters into uncharted emotional territory, it maintains a balance between high-energy action and poignant storytelling. The finale is both a celebration of the show’s adventurous spirit and a sobering reminder of its stakes.

Outer Banks remains a treasure in the Netflix lineup—bold, heartfelt, and impossible to ignore. Season 4 raises the bar, leaving audiences eager to see where the Pogues’ journey will take them next.

By Skeeter Wesinger

November 15, 2024

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The Lincoln Lawyer Season Three

The Lincoln Lawyer returns to Netflix for a third season, and it’s as sharp as ever. For those unfamiliar with the series, you’re in for an entertaining legal drama set against the sun-drenched backdrop of Los Angeles. Based on Michael Connelly’s novels, this season draws from The Gods of Guilt, the fifth book in the series, and once again puts Manuel Garcia-Rulfo’s Mickey Haller front and center as the smooth-talking, quick-thinking defense attorney.

The show doesn’t waste time on filler—every scene adds something, whether it’s depth to the characters or insight into the legal process. Shot in L.A., it shows us more of the city than just the postcard moments, offering a grittier, more authentic look at the environment where these high-stakes cases unfold.

What really stands out this season is the cast. Becki Newton continues to impress as Lorna Crane, Haller’s former wife turned indispensable assistant. She’s as capable in court as she is navigating her complicated personal life, and her wardrobe—crafted by designers Chloé Kristyn and Bettina Benson—becomes a character in its own right.

Mickey’s defense of Julian La Cosse, played by Devon Graye, offers the usual twists and turns, but what elevates this season is Elliott Gould. As David ‘Legal’ Siegel, Haller’s mentor, Gould’s performance is understated yet powerful, adding real weight to the proceedings. It’s a reminder of the kind of veteran presence that can lift a show from good to great.

In short, The Lincoln Lawyer Season 3 doesn’t just meet expectations—it surpasses them, delivering a slick, well-crafted legal drama that’s both entertaining and thoughtful.

 

Review by Skeeter Wesinger

October 22, 2024

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Why “American Graffiti” is George Lucas’s Best Film

Why “American Graffiti” is George Lucas’s Best Film

Story by Skeeter Wesinger

When George Lucas unveiled “American Graffiti” in 1973, it wasn’t just a film but a time machine. The year was 1962, and Lucas’s canvas was the nocturnal sprawl of Modesto, California, his boyhood backdrop. This was America before it lost its innocence, before the seismic shifts of the Vietnam War, the assassinations of JFK and MLK, the Manson Family horrors, and the Watergate scandal. It was an America that existed just before everything changed, and Lucas captured it with aching nostalgia.

Remember 1973? Nixon was reshaping America’s financial landscape by detaching the dollar from the gold standard. Protests against the Vietnam War were a fixture in the news. Yet amidst this turmoil, Lucas offered a retreat to a seemingly simpler past. “American Graffiti” parked us squarely on those sun-baked Modesto streets where the biggest worry was what song the DJ would play next.

Critics might argue that Lucas’s later works surpass this early outing with their grander scales and technological innovations. Yet, “American Graffiti” stands out in Lucas’s filmography as his most personal film, a lovingly detailed tableau of his youth. The film’s power lies in its ability to evoke nostalgia without being blinded by it. Lucas doesn’t just remind us of the past; he makes us feel the poignancy of losing it.

The soundtrack alone—featuring hits like “At the Hop,” “Runaway,” and “16 Candles”—is a masterclass in storytelling, each track capturing the zeitgeist of early ’60s teen culture. It’s an era encapsulated in the blissful ignorance of the film’s characters, teenagers on the cusp of adulthood, unaware of the tumultuous changes awaiting them in the decade.

“American Graffiti” also set a stylistic precedent that resonates through cinema today—from the teen angst of “The Breakfast Club” to the nostalgic echoes in “Guardians of the Galaxy.” Lucas’s film isn’t just a reflection on youth; it’s a commentary on the American experience, a mirror held up to a society perpetually in flux.

In a filmography filled with faraway galaxies and epic sagas, “American Graffiti” does something remarkable. It brings us home. It reminds us of where we came from and, more poignantly, how far we have traveled. That’s why, in my view, it remains not just a significant work in Lucas’s oeuvre but his finest film.

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