Auto Focus dramatizes an ugly unraveling: Crane, a radio man-turned-TV star, was recast in private as a compulsive sex recorder once he met John Henry Carpenter, an electronics expert positioned at the dawn of the home-video era. Carpenter allegedly supplied the equipment, smoothed introductions at sex parties, and often participated in the recordings — behaviors that calved away Crane’s wholesome public image and wreaked havoc on his career and personal life. The fallout was concrete: Crane’s first marriage ended, he remarried a Hogan’s Heroes co-star, and once Disney hired him for the family picture Superdad his reputation for pornography and obsession began jeopardizing work offers. By the late 1970s Crane was reduced to dinner-theater bookings and financial strain, a textbook descent from TV idol to tabloid pariah driven by the invasive, career-destroying technology of amateur videotaping.
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