series of three films made by Apostolof in the late 1960s dealing with the "confidential" sexual life of different groups of people, the other two being Motel Confidential and College Girl Confidential. The Bachelor's Dreams (1967) Office Love-in, White-Collar Style (1968) College Girl Confidential (1968) Apostolof was busy in 1968, with College Girl Confidential and Office Love-in, White-Collar Style. Office Love -in, White-Collar Style features voluptuous sexploitation icon Marsha Jordan and brunette Kathy Williams, among others, in a series of vignettes surrounding sex in and with people in an office. Williams and Jordan have a lesbian encounter and a gay transvestite is talked into experimenting with a woman who deep throats bananas. Office Love-in, White-Collar Style also features Colleen Murphy (the star of Alice in Acidland) and Forman Shane, who was in just about all of Apostolof's films. Lady Godiva Rides (1969) Motel Confidential (1969) The Divorcee (1969) 1970s Drop Out Wife (1972) Ed Wood co-wrote The Class Reunion (1972) Ed Wood co-wrote The Snow Bunnies (1972) Ed Wood co-wrote The Cocktail Hostesses (1973) Ed Wood co-wrote Five Loose Women (1974) Ed Wood co-wrote, played two roles on screen, another off, voiced the trailer The Beach Bunnies (1976) A soft core film made with Ed Wood as a co-screenwriter. Hot Ice (1978) Hot Ice, Apostolof's last picture, was an attempt at making a caper movie with an intricate plot and more action than usual in his films. It tells the story of a pair of male and female con artists who go into hiding at a ski lodge. Wood had a role, but it got axed due to his drinking. He was an assistant director. Hot Ice marks the demise of classic sexploitation cinema with its content absorbed into mainstream movies. Hardcore porn films had gained a firm foothold in the theatrical market by this point and had pushed out much of the "soft-core" product. The advent of the home video market in the late '70s also accelerated the decline of the sexploitation genre. Apostolof's struggles to finance another film project—or even a sequel to his successful "Orgy of the Dead"—in the late '70s were doomed to failure. The sheer numbers of hardcore porn films available on video—which could be viewed at home, rather than the consumer having to go to a public theater—pretty much killed the "sexploitation" theatrical market. At the beginning of the decade Apostolof found his way