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A paradoxical outcome of ´70s feminism is that today´s young women exult in their seductive power even though the seduction is often not reciprocal. Mimicking male bravado, some of my young female patients now regard “giving good blowjobs” as an accomplishment, an end in itself, yet they are really boasting about what they “give,” while males have historically bragged about what they “got”-the power differential still holds. In a misguided attempt to appear liberated, I believe many young women are allowing themselves to be exploited this way, participating in sex that is unilateral, usually in service of the male´s cum fiesta orgasm. In effect, they are doing what desperate women have always done-using their sexuality to lure a man into a relationship while deluding themselves into thinking otherwise-that, for example, they are doing it for the thrill. But the thrill of what?

Of course, sexual expression has always been a kind of “Rashomon,” a social and subjective construction. Its meaning is perpetually slippery, varying from person to person, culture to culture, historical period to historic period-not to mention from moment to moment during the act itself. To be sure, I am not arguing against young people engaging in oral sex, cum fiesta but I wonder if they understand their own and their partners´ motives.

Drawing inspiration from everything from American Pie to National Lampoon´s Animal House, Magna Cum Laude´s comedic quality is really quite astounding. The actual style of humor shifts frequently between the raunchy and vulgar variety to the obscurely referential. The cast of characters Larry encounters is pretty hilarious by itself, including his best male friend, a frequently drunk homeless man known only as The Commissar; a comically mismatched gay couple, featuring an effeminate middle-aged gay bar owner and a muscular, Speedo-clad German fellow named Helmut; a porno fairy-sporting cum fiesta a pink tutu