There is definitely a conversation to be had about the sexualization of young women, and their ability to consent. You can sense C.K.'s attempt at grappling with those issues in the film — often with Rose Byrne, a former protégée of Goodwin's who still invites him to parties to scope out young girls, and whom Topher is currently wooing — but they all kind of fail to say anything meaningful. Perhaps because Moretz's role in this movie is as an object — first to her father, who gives her whatever she wants without seeing her as a person, and then to Goodwin, who delights in being "loved by a girl and rejected by the woman she becomes."