As the drive‑in market for his eccentric 1960s horrors dwindled and his marriage to Carolyn Brandt ended, Steckler made a stark, pragmatic pivot — he began producing hardcore adult films throughout the 1970s and 1980s. Steckler adopted a bewildering array of pseudonyms across genres, but in the adult field he even used the explicit porn‑name Cindy Lou Sutters. He opened the Las Vegas–based Mascot Video in the late 1980s and, after selling the business in 1995, continued to hawk his back catalogue directly to fans. Among the more notorious items Steckler offered were six volumes of footage described as young actresses and dancers in nude auditions for his camera — material he claimed were shot in 1991 for a project identified as The Hollywood Strangler (aka Las Vegas Serial Killer), a production whose own completion dates are muddled in Steckler’s account. The sales and distribution of such raw audition material blurred lines between exploitation and entrepreneurship and contributed to Steckler’s complicated legacy: celebrated in B‑movie circles for gonzo creativity, criticized by others for the tawdry commerce and questionable ethics of his later output.
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