‘He’s a son of a bitch – but he’s usually right’: why did Seymour Hersh quit the film about his earth-shattering exposés?

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He is the prickly, hotheaded journalist who uncovered the My Lai massacre in Vietnam and torture at Abu Ghraib prison. Making Cover-Up, a film about his astonishing life and countless scoops, was never going to be easy One morning last month, Seymour Hersh set off to buy a newspaper. The reporter walked for 30 minutes, covered six blocks of his neighbourhood, Georgetown in Washington DC, and didn’t see a single sign of life. No newsstands on street corners selling the glossies and the dailies. No self-service kiosk where you can slide in a dollar and pull out a paper. “Finally, I found a drugstore that had two copies of the New York Times in the back,” Hersh recalls. He bought one for himself. He can’t help but wonder whether anybody bought the second. Hersh was born in Chicago in 1937, the year the Hindenburg airship blew up and the aviator Amelia Earhart disappeared over the Pacific. That makes him a man of hot metal, the media’s ancient mariner, with metaphorical newsprint on his ...
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The Surfer review – beach bum Nic Cage surfs a high tide of toxic masculinity

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An office drone must suffer the machismo of an Australian coastal town in this barmy, low-budget thriller about a would-be wave-chaser

Here is a gloriously demented B-movie thriller about a middle-aged man who wants to ride a big wave and the grinning local bullies who regard the beach as home soil. “Don’t live here, don’t surf here,” they shout at any luckless tourist who dares to visit picturesque Lunar Bay on Australia’s south-western coast, where the land is heavy with heat and colour. Tempers are fraying; it’s a hundred degrees in the shade. The picture crash-lands at the Cannes film festival like a wild-eyed, brawling drunk.

The middle-aged man is unnamed, so let’s call him Nic Cage. Lorcan Finnegan’s film, after all, is as much about Cage – his image, his career history, his acting pyrotechnics – as it is about surfing or the illusory concept of home. The Surfer sets the star up as a man on the edge – a sad-sack office drone who desperately wants to belong – and then shoves him unceremoniously clear over the cliff-edge. Before long, our hero is living out of his car in the parking lot near the dunes, drinking from puddles, foraging for food from bins, and scheming all the while to make his way down to the shore.

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