Following "the cinematic rumination on modern marriage begun by Cecil B. DeMille" and like other post-war filmmakers, Weber turned her attention toward marriage and domestic life to honor her deal with Famous Players-Lasky with such melodramas as "To Please One Woman", "What's Worth While?" "Too Wise Wives", and "What Do Men Want?" However, as the United States entered the Jazz Age in the 1920s, Weber came to be seen as passé, in part because of her "propensity for didacticism" but also because her "values became increasingly archaic; her moralising, propagandistic tone was unsuited to the era of the 'flapper' girl and a hedonism that seemed all the more urgent".