Compensating for the weakness of her main argument, Carpenter also serves up a mix of anecdotes, mansion gossip, and cynical innuendo, all tailored to poke holes in Hefner's carefully groomed public image as the urbane champion of the American post-war sexual revolution. (" has not one Marion Davies to call his own" is one such cutting remark meant to highlight his assumed frustration at transitioning playmates into legitimate actors.) In sum total, these jabs at Hefner's reputation form an ancillary attack, leaving the accumulating impression that his paternal relationship with Stratten, and in particular his benevolent promotion of her acting career concealed a darker, self-serving intent. To that end, Carpenter ties Hefner to Snider, each one maneuvering to exploit Stratten for their own selfish interests and both men are portrayed as outsiders, desperate to use the playmate to win acceptance and validation: Snider from Hefner and his tight-knit group of mansion pals, and Hefner from the Hollywood power elite.