Posted on 09/27/2002 5:02:25 PM PDT by Pokey78
Had Bob Crane not been a sex addict, had he not been bludgeoned to death with his own tripod in an Arizona condo surrounded by an elaborate array of video equipment, had he not photographed hundreds of women naked in twosomes and threesomes and orgies and had his murder not gone unsolved, he would not be the subject of a new feature film. He would be remembered, if he was remembered at all, as the star of ''Hogan's Heroes,'' a hit CBS comedy that ran from 1965 to 1971 and was set in a P.O.W. camp during World War II. As the star of ''Hogan's Heroes,'' Crane enjoyed the same kind of fame as Gilligan or Greg Brady -- his character became part of America's collective pop-culture nostalgia. Embalmed by syndication, Crane would have been the wisecracking Hogan forever. But in the years since his death in 1978, when the porno pictures started surfacing in the tabloids and his secrets began to unravel, Crane became infamous. And in the age of ''Behind the Music'' and ''The Osbournes,'' decadence and self-destruction make for the best kind of celebrity.
Crane's story conforms to the increasingly cynical formula of modern stardom: uncontrollable urges plus a precipitous decline equals mass appeal. Starting in the late 60's, he began making videotapes of himself in sexual encounters. He became more and more obsessed with documenting his conquests, and the precarious balance of his life between work, family and sex tipped heavily in the direction of sex. Crane's dreams of being a leading man in the movies never materialized; he ended up performing in dinner theater. His sex addiction overwhelmed his career, hurt his family and probably led to his murder. Yet Crane's seedy private life, which he tried to hide when he was alive, has given him, in death, a strange kind of validation. ''Auto Focus,'' the Bob Crane biopic that will be shown at the New York Film Festival on Friday night and arrives in theaters on Oct. 18, has made him the star he always wanted to be.
''The attraction of Bob Crane was, Here's a guy that people think they know, but they don't,'' says Paul Schrader, who directed ''Auto Focus,'' which features a riveting performance by Greg Kinnear as Crane. ''This film ripples with ideas: the evolution of American male sexual identity, the corrosive effect of celebrity, even minor celebrity, and the rise of home pornography. Yet Crane is a relatively minor character. He was a so-so sitcom actor. As a person, he wasn't much better. But he was perfect in his lack of awareness. So he can become an emblem without doing great insult to history.''
Schrader, who is sitting on a dark green sofa in his cluttered Times Square office, loves this material. He is grinning like a delighted child, and his oversize glasses seem to magnify his eyes. Growing up in Michigan, Schrader, who is 56, was brought up as a Dutch Calvinist and was forbidden to partake in ''worldly amusements'' like movies. He planned on becoming a minister. After a mutual friend introduced him to the critic Pauline Kael, however, his life changed. She arranged for him to attend U.C.L.A. film school, and soon afterward, in 1972, Schrader wrote the script for ''Taxi Driver.''
Throughout his career, in movies like ''Hardcore,'' ''American Gigolo'' and ''Mishima,'' Schrader has explored male sexuality, focusing on the tension between propriety and temptation. The allure of sin fascinates him, and the Crane story is an ideal springboard for this theme. To the world, Crane presented himself as an affable actor, a family man with three kids. In private, he was frequenting strip clubs and taping sex with strangers. ''Like many of my characters, Bob Crane had a contradictory thought process,'' Schrader says. ''And his contradictions became most vivid when he was with John Carpenter.''
Carpenter, played by Willem Dafoe in ''Auto Focus,'' met Crane on the set of ''Hogan's Heroes.'' He worked for Sony, instructing wealthy customers on how to operate home-video equipment -- a technology then in its infancy. Carpenter (who is not John Carpenter the horror-film director) set up systems for Elvis Presley and Alfred Hitchcock before selling equipment to Crane. The two men subsequently became friends, united in their pursuit of women in bars, through singles' ads and at swing parties. ''A day without sex,'' Crane liked to say, ''is a day wasted.''
Many of these encounters were captured on video. Crane's celebrity helped score the girls; Carpenter typically played cinematographer. The friendship ran aground, however, when Crane's second marriage collapsed and he could no longer find work. (Hollywood had learned of his secret.) Blaming his relationship with Carpenter for his problems, Crane severed contact. This break upset Carpenter, who had become emotionally dependent -- and perhaps sexually fixated -- on his famous friend. That conjecture is central to ''Auto Focus''; Schrader frames the symbiotic relationship of Carpenter and Crane as a story of unrequited love. Indeed, when Crane was found dead in Scottsdale, Ariz., Carpenter was the main suspect. He was later acquitted, because of a lack of evidence, and died in 1998.
''Auto Focus' is a male folie a deux,'' Schrader says, lighting a cigarette. ''Crane and Carpenter get involved in conduct that probably neither would have done alone.'' And it escalates. In one of the film's most unnerving scenes, Crane and Carpenter masturbate to a video of themselves having sex with women. ''It's my Norman Rockwell moment!'' Schrader jokes. ''You know, Carpenter was not as important in Crane's life as he is in the film. It is a distortion.'' Schrader, who wrote ''Raging Bull'' and ''The Last Temptation of Christ,'' has been down that road before. ''With 'Raging Bull,' the fights were accurate, but the arguments between the brothers were completely imagined. Of course, Jake LaMotta liked those scenes so much that he started believing they actually happened.'' Schrader pauses. ''My intent with 'Auto Focus' is not to be true or definitive. People's actual lives are not really that interesting. And with Crane I wanted to get at something meaty. Otherwise, who cares? Would you want to watch a movie about Alan Hale?''
Schrader chortles. His question (which, by the way, refers to the guy who played the Skipper on ''Gilligan's Island'') is intentionally inflammatory. Schrader knows that Scotty Crane -- the son from Crane's second marriage to his ''Hogan's Heroes'' co-star, Patricia Olson -- is incensed over the supposed inaccuracies in ''Auto Focus.'' Crane's son from his first marriage, Bobby, is happy with Schrader's treatment. He received $20,000 as a consultant on the film. ''Auto Focus'' has incited a war among the Cranes, one that has returned the family name to the tabloids. Not incidentally, it has given his sons a taste of what their father craved even more than sex: fame.
"The movie is 'Auto Fiction'!'' Scotty Crane says from his home in Seattle, where he briefly worked as a shock jock on the radio. ''Schrader's idea is to make my dad dark. 'Let's make him seedy; let's make him Travis Bickle from ''Taxi Driver.''' He's portraying a fiction as fact. Schrader has destroyed my father's reputation in the world. He was a happy-go-lucky guy. I'm just glad that my Web site represents the real Bob Crane.''
Usually, family members of stars whose lives become tabloid fodder try to protect that celebrity, asserting that someone's private life is nobody's business. But Scotty isn't embarrassed by his father's sex life. He boasts about it. For him, the crime of ''Auto Focus'' isn't that it sensationalizes his father's secret life; it's that it portrays Bob Crane as a creep rather than a sexual dynamo. This is odd, to say the least. But one thing is certain: attacking the film is getting Scotty, who is out of work, tons of publicity.
Scotty's Web site, which he created last year, is a disturbing repository of his dad's porn. On BobCrane.com, there are close-ups of women performing sex acts and countless shots of women exposing themselves for Crane's camera. There are orgy shots in which it's hard to make out who is doing what to whom, and there are many examples of that porn classic -- two girls fondling each other. The site offers access for $19.95 a month. Scotty has various items for sale online, including a Bob Crane T-shirt depicting him having sex and a snow globe of Scotty naked. Like father, like son.
''My dad would've loved the Web site,'' Scotty maintains, committed to the notion that Bob Crane was a sexual rebel who would have delighted in inspiring followers. ''My mom agrees. She says that if he could see that his sex life is worldwide news, he'd be so happy.'' Scotty bears a striking resemblance to his father and seems to have perfected Hogan's smirky grin. ''I think that if my father were alive, he'd be running the site himself.''
Scotty, who is 31, has feuded for years with his half-brother, Bobby, who is 51 and lives in L.A. Scotty has publicly cast aspersions on Bobby's legitimacy; Bobby has done the reverse. ''My father had a vasectomy in 1968, and Scotty was born in 1971,'' Bobby says. ''That's all I have to say.'' Bobby objects to Scotty's Web site, arguing that his father would never want his photos made public. ''Is this how he really wants to have his dad remembered?'' he asks. Bobby is balding and has a round, cherubic face. ''What I want to say to my so-called half-brother, Scotty, is, 'Get a job.'''
Scotty insists that his Internet venture is not exploitative. He adheres to a strict if-you've-got-it-flaunt-it philosophy. ''Bob Crane was very talented,'' Scotty says. ''Very gifted. A great father. And he had a very large penis. By the way, I don't only resemble him from the neck up. All Bobby has to do is drop his pants, and I'll be able to tell if he's really Bob Crane's son. Maybe he's afraid to let me see.''
Schrader is amused by this sniping. ''Scotty has a couple of things on his mind that never get off his mind,'' he says, chuckling. ''One of them is the size of his father's penis. But what can you expect? Bob once took Bobby to the opening of 'Deep Throat' after a baseball game. He acted like that was what people do.''
In his office, Schrader picks up some photocopied pages that are sitting on a low table next to the couch. ''This is Scotty's book, 'The Faces of Bob Crane,''' he says. ''He wanted me to write the introduction.'' Schrader leafs through the pictures, which alternate between Crane as a loving father and Crane naked with girls, girls, girls. Clearly, Scotty doesn't see the contradiction in his dad's life that Schrader does. Maybe that's because Scotty's mom doesn't, either. ''This is Patti, Scotty's mother,'' Schrader says, showing a photo of a naked voluptuous blonde. ''There's also a picture of Patti with a woman.'' Scotty has not found a publisher for his book, but in May 2001 he went on Howard Stern's radio show and announced it would cost $55. Checks poured in to his Web site.
''These photos were private,'' Bobby protests. ''If my father was so proud of these photos, he would have published them when he was alive. And if Patti, who inherited these tapes and pictures, was the loving, grieving widow she pretends to be, she would have put this stuff into the furnace and burned them instead of giving them to her son to sell.''
The spectacle of the Crane boys and their grievances reinforces one of Schrader's moralistic themes: the legacy of having a murdered sex addict for a father is confused and angry sons. ''I could never have dreamed these people up,'' Schrader says, as if analyzing an alien species. ''Actually, I don't think 'dream' is the word. 'Fantasize' is more accurate. Wouldn't it be great if there were these kinds of characters for every movie? Bad behavior is so compelling.''
The first screening of ''Auto Focus'' was held in Los Angeles in July. Scotty Crane and his wife, Michelle, flew in from Seattle. ''It's my father, and I wanted to see it,'' he explains a week later. ''I've read the script, and Bob Crane is shown as a friendless loner and a pervert.''
This is not accurate, but it's Scotty's game plan and he's sticking to it. When he showed up at the Aidikoff Screening Room in Beverly Hills, a Sony publicist told him he had to leave. (The film is being distributed by Sony Classics, a curious choice given the link the film makes between its video equipment and pornography.) ''I saw Bobby and I said, 'Hey, Bobby, they don't want me to see this film about our dad!''' he recalls. ''I was escorted out. I threw 100 stickers in the air for BobCrane.com, and the next day I called Page Six and Variety and I went on 'Entertainment Tonight.'''
Scotty laughs. ''Schrader and Sony must love me. Those places would never have covered a movie screening.'' The publicity also helped Scotty's Web site. The week after the screening, Scotty says, BobCrane.com received 800,000 hits. If even a small percentage paid to see the porn, Scotty profited from his outburst.
Schrader, too, was pleased by Scotty's scene, but not surprised: ''Sony knows that it's in their interest to let Scotty flip out. Like his father, Scotty can't tell when he's acting in a counterproductive fashion. Like his father, he just wants the attention and isn't too discerning about what he gets attention for.''
In 1997, Scotty, his mother and his former radio partner, Johnny Seattle, wrote a screenplay about Bob Crane. ''The script is half his life and half his murder investigation,'' Scotty explains. ''It's a lot like 'Pulp Fiction.''' By contrast, ''Auto Focus'' traces Crane's rise from Los Angeles D.J. to ''Hogan's Heroes'' star and his subsequent decline into the fringes of the entertainment business. Kinnear vividly captures Crane's transformation from ordinary guy into deluded sex addict. The film is sympathetic to Crane's excesses; it's more like a story about an alcoholic than a high-handed attack on a pervert. ''Auto Focus'' ends with Crane's murder, but it does not delve into the myriad theories (many of them crackpot) surrounding his death. It does imply, however, that a jealous Carpenter was the likely culprit.
Scotty's unsold script was informed by his rather unusual relationship with his father. Although he was only 7 when his father died, Bob Crane showed his young son his sex films. ''I've been seeing these images since I could crawl,'' says Scotty, who maintains that he has not been affected by early exposure to porn starring his father and other women. ''For me, it was like looking at baseball cards. It's not like my father was a drug addict. He didn't drink; he didn't smoke; he just liked sex. If your father's hobby is making airplane models, you don't think it's strange. The reality is, I grew up with pornography. Now, Bob Crane would probably be famous for his home movies. I wouldn't even know Tommy Lee's name but for his porno video with Pamela Anderson. Madonna is celebrated for her sexuality. Why wouldn't my father have the same notoriety?''
When Paul Schrader first got involved with ''Auto Focus'' in March 2001, he was told by Sony Classics not to contact Scotty or Patti, since they were considered litigious and had a competing project. Bobby, however, was asked to advise Schrader on ''Auto Focus.'' The director considers him a more valuable asset than Scotty, who was so young when his father died. In the last six months of his father's life, Bobby lived with Bob Crane.
Bobby is proud of the film. ''It's great,'' he says. ''They captured the essence of my dad.'' Although Bobby feels Scotty's Web site is exploitative, he has no problem with the fact that this film will make Bob Crane notorious for being a sex fiend. ''My dad would have been thrilled to be involved with someone like Schrader,'' he says. ''I saw 'Taxi Driver' with my father, and he was blown away. He tried to meet with Scorsese for 'New York, New York,' but he was Hogan, and Scorsese wasn't interested.''
Like Scotty, Bobby does not see his father's behavior as perverse. ''My dad never showed me movies of himself,'' he says. ''He showed me women with other guys. I thought it was neat. I was watching this new video technology as a male: 'We can watch naked women in our house! That's cool.''' Bobby pauses. ''He did show me photographs from a threesome he had with Patti and another woman. I guess that could be considered weird.''
For all his attacks on Scotty, Bobby, who is a journalist, has also publicized Bob Crane's sex life. Writing in Partner, a porn magazine, he boasted that his father once had sex ''with five different women in one day.'' His conclusion: ''Good for you, Dad.''
Bobby recommended few changes to Schrader's script. Scotty, of course, was a different matter. After avoiding Scotty for months, Schrader purchased a T-shirt from BobCrane.com. Scotty noticed his order and e-mailed him: ''I know what the lies in your script are. What can I do to prove it to you?''
A few weeks later, nine days before ''Auto Focus'' finished its 33-day shooting schedule, Scotty flew to L.A. to meet with Schrader. During a contentious meeting in Schrader's suite at the Chateau Marmont, Scotty laid out his main grievances with ''Auto Focus.'' His father was not into S&M, as the script implies; his mother never threw an ashtray at his father; Patti did not sleep around (again, implied); his father was not lonely; he is his father's son, despite the vasectomy; and his father did not have penis-enlargement surgery, as the film suggests. That was it.
Scotty's complaints were hardly as urgent as, say, the charges of distortion aimed at Oliver Stone after ''J.F.K.'' Those involved in ''Auto Focus'' were undeterred. Nevertheless, Schrader was worried that Scotty was exploring legal options for his mother, who is played in the film by Maria Bello.
''Auto Focus' suggests that Patti slept around,'' says Lee Blackman, Patti's lawyer. ''The script was defamatory to her. And while Bob Crane can't sue because he is dead, Patti can. Sony is on notice.''
Schrader shrugs. ''We negotiated for six weeks with Scotty,'' he says. ''Nothing will satisfy him. He says he wants the truth to be known. I don't quite know how to respond. Part of his truth is letting people know that Daddy had a big penis. That's what truth means to Scotty Crane.''
Scott Alexander and Larry Karaszewski, the producers who shepherded ''Auto Focus'' to the screen, have a pet project they long to produce. ''Rainbow Man,'' their dream movie, is a biopic about Rollen Stewart, who became famous in the late 70's for dancing at sporting events in a rainbow-colored fright wig and holding up a ''John 3:16'' sign.
''It's so far off the deep end that we can't get it made,'' Karaszewski laments over breakfast with Alexander at the Beverly Wilshire in Los Angeles. ''Rainbow Man dances at sporting events, and then he finds God and he winds up in a shootout with the L.A.P.D. at the airport Hyatt.'' Alexander nods enthusiastically. ''It's also an American-dream story,'' he says. ''Like Bob Crane. Rainbow Man thinks he's found a way to be a success. The moral is that anybody with a strange idea, who is driven enough, can be a star.'' Karaszewski finishes the thought. ''America is the Rainbow Man,'' he says.
It's surprising that ''Rainbow Man'' is not in production. Oddball losers are the current passion of Hollywood. Alexander and Karaszewski anticipated this freak-show mood. After graduating from U.S.C., where they were roommates, they wrote ''Ed Wood.'' That film, which was beautifully realized by Tim Burton in 1994, changed the focus of the entire biopic genre. Traditionally, biopics had been about great men -- heroes, prize winners, kings. Ed Wood was an obscure filmmaker who directed one of the worst movies of all time, ''Plan 9 from Outer Space.'' He was not Gandhi or Malcolm X or even a sports star like Jake LaMotta. ''Ed Wood'' was the first 15 Minuter biopic.
''The town loves to typecast,'' Alexander explains. ''Suddenly -- this was in 1992, before the 'E! True Hollywood Story' and 'Behind the Music' -- we became the guys who did biopics about people in the margins.'' They went on to write ''The People vs. Larry Flynt'' and ''Man on the Moon,'' the Andy Kaufman story. The producers' next project was ''Auto Focus,'' which was written by Michael Gerbosi.
''We get at least one pitch every day,'' Karaszewski says. ''Tiny Tim is a frequent idea. Leif Garrett. Sammy Davis Jr. was yesterday. Bonnie Lee Blakely, which we have no interest in, we hear all the time. The pinup, Bettie Page, we've been offered 50 times. We're developing a script about Billy Carter. And Liberace. Because of 'Behind the Music' and the E! channel, people recognize source material where they wouldn't have 10 years ago. But there has to be a point of view. I mean, Phyllis Diller? There's no film in Phyllis Diller.''
The controversy over ''Auto Focus'' calls to mind the debate last year over ''A Beautiful Mind,'' the Oscar-winning film about the mathematician John Nash. Just as Schrader's film is being attacked for its inaccuracies, Ron Howard's biopic was chided for offering a sanitized portrait of Nash. But the high-minded debate over ''A Beautiful Mind'' feels sadly out of date. Hollywood's interest now is in minor characters (like Crane) with a prurient streak and a strong desire to be famous. Movies about Chuck Barris (the host of ''The Gong Show'') and Michael Alig (a New York club kid who murdered a drug dealer) are replacing ennobling biopics like ''My Left Foot'' and ''A Man for All Seasons.'' As Schrader puts it, ''It's a good time for minor celebrities.''
And on television, ''The Osbournes,'' MTV's reality show about Ozzy Osbourne's family, has given birth to a slew of shows about faded celebrities, from Anna Nicole Smith's exercise in public humiliation to Liza Minnelli's coming reality show. These, like the 15 Minuter biopics, embrace the quirky, the strange and, all too often, the pathetic.
At their best, these movies and TV shows reveal something universal. ''Larry Flynt'' is about freedom of speech; ''The Osbournes'' offers an amusingly unvarnished look at family life; ''Auto Focus'' is about addiction. But ''Auto Focus'' also shows the problems with this genre. Too often, such projects treat sordid material with ironic detachment. In fact, the whole 15 Minuter genre is a little suspect. Does validating the Rainbow Man with a film about his life do anything other than provide yet another statement on the shallowness of American culture? Should ephemeral celebrities like Anna Nicole Smith or Bob Crane be given more exposure than a truly talented individual?
Even Alexander and Karaszewski are getting fatigued with the 15 Minuter form. ''We've had too many traveling freak shows,'' Alexander says. ''We're sick of the genre, and we're now making a great-man movie about the Marx Brothers.'' Karaszewski nods. ''It's the first subject we've done that actually deserves a biopic.'' He looks at Alexander. ''And this one we're having trouble getting made.'' Alexander nods ruefully. ''Everyone loves a freak.''
"Patti Crane says I am killing her,'' Paul Schrader says during a chat in early September. For the first time, he sounds a little alarmed. Patti, who played the secretary Hilda on ''Hogan's Heroes,'' is the one loose thread in the ''Auto Focus'' fabric, and she is threatening to unravel. ''I don't think I, or a movie, can be responsible for the health of a woman who is a lifelong smoker and drinker.'' Schrader, who is having a glass of white wine at L'Hermitage Hotel, where he is staying in L.A., smiles, regaining his composure.
The last few weeks have been particularly validating for Schrader; ''Auto Focus'' has garnered excellent early reviews and been accepted at the New York Film Festival. For the first time in two decades of filmmaking, Schrader has received an offer to direct a big-studio film, a ''prequel'' to ''The Exorcist.'' He is clearly excited. ''I haven't had a trailer on the set of a film in 20 years,'' he marvels.
Sony's legal department carefully vetted the Patti scenes in ''Auto Focus,'' making a small change in a scene where Patti tells Crane that she wants them to have an ''open'' marriage. ''According to the Sony lawyers, the word 'open' indicates that Patti, as well as Bob, wanted sex outside the marriage,'' Schrader says. ''I said, 'I know she did girl-on-girl stuff,' but they said, 'That's not enough.' So we changed the line to Patti saying they want a 'modern' marriage.''
Patti would not be interviewed for this article; Scotty and her lawyer, Lee Blackman, are her spokesmen. According to Scotty, his parents were reconciling at the time of Bob Crane's death. Bobby Crane strenuously denies this claim. ''I was living with my father then, and he never mentioned a reconciliation,'' Bobby says. ''Good luck, Patti. What's that line from Shakespeare? I think she doth protest too much. I think the cops in Scottsdale didn't investigate her enough for my Dad's murder. Who gained from his death? Nobody, except Patti, who inherited everything. Why do she and Scotty keep talking about this supposed reconciliation? I guess she's out of money. So, sue Sony -- get some of that 'Spider-Man' money.''
''Auto Focus' rewrites Patti's history,'' Blackman says. ''It's not true about her. She did not cheat on Bob. She still wears his wedding ring today.'' He also denies Bobby's charge that Patti was involved in Crane's death.
Patti inherited Crane's money from ''Hogan's Heroes,'' and a feature film based on the TV show is in development. Currently, ''Hogan's Heroes'' plays in the United States on TV Land. These assets could be imperiled if ''Auto Focus'' stains Crane's reputation. ''If 'Auto Focus' strips her of her income from 'Hogan's Heroes,' then she has a case,'' Scotty says.
Not surprisingly, Patti has written her own book, meticulously recounting her life with Crane. She has finished 500 pages. ''Whom did she sleep with to get this part?'' she writes, depicting the thoughts of ''Hogan's Heroes'' cast members upon meeting her. ''Will she sleep with me?''
Schrader isn't worried about TV Land dropping the show. ''Since when has scandal made anything less valuable?'' he asks. ''This is a snowball gaining speed. The movie only enhances Bob Crane's fame.''
Schrader smiles. He's like Zeus, watching the mortals prove him right. He knows that the Crane family's complaints benefit everyone. If Patti sues, the movie becomes notorious, and crowds will line up to see it. Scotty's Web site will attract millions of viewers, and Patti will sell her biography. Everyone, especially Scotty and Patti, claim to be violently upset, but their behavior contrasts tellingly with that of Anne, Crane's first wife. Anne has never uttered a peep about the husband who cheated relentlessly. Everyone else, including Schrader, is feeding off the same corpse.
''Bob Crane doesn't really matter,'' Schrader says again. ''He's not important. I never would have been interested in him.'' He pauses. ''He's just a way to make a point. And his family, such as they are, keep making the point over and over again.'' Schrader sips his wine. ''I used Bob Crane as a metaphor for the corrupting influence of even minor celebrity, and his family have fleshed out my premise.'' He smiles. ''They are the movie. Only, like Bob, they don't know it.''
First, I canot believe I even finished the article...
Second, I need to go take a shower...Delousing,let me know what happens, ok?
I just cannot believe people are going to see it, a celebration of perversity. And the studios will make this film, they will market it, it will be a cult classic, for sure...
I've noticed throughout my life that women flip over guys with black hair and squinty eyes...
To think the Hollywood community believes *it* should be preaching morals to the rest of the world...
OK..I had to stop reading here...that's the funnies thing I've read on here in ages...sorry...muuuuuuwwwwaaaahhhhahahahahaha!
Yeah, I get it.
"Besides the fact that Bob Crane was an uncontrollable sex addict who hung around drug dealers and other kinds of rapists, what evidence do you have that he was in any way immoral?" queried Katie.
Didn't the old gray lady tell us that sex is a private matter and none of our business?
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