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Jack Halberstam writes that these gynoids inform the viewer that femaleness does not indicate naturalness, and their exaggerated femininity and sexuality is used in a similar way to the title character's exaggerated masculinity, lampooning stereotypes.Feminist critic Patricia Melzer writes in Alien Constructions: Science Fiction and Feminist Thought that gynoids in Richard Calder's Dead Girls are inextricably linked to men's lust, and are mainly designed as sex objects, having no use beyond "pleasing men's violent sexual desires".

This has been seen as an allegory of male chauvinism of the period, by representing marriage as a master-slave relationship, and an attempt at raising feminist consciousness during the era of second wave feminism.

The stereotypical role of wifedom has also been explored through use of gynoids.

In The Stepford Wives, husbands are shown as desiring to restrict the independence of their wives, and obedient and stereotypical spouses are preferred.

While not truly artificially intelligent, the fembots still had extremely sophisticated programming that allowed them to pass for human in most situations.

The term fembot was also used in Buffy the Vampire Slayer (referring to a robot duplicate of the title character, a.k.a. The 1987 science-fiction cult film Cherry 2000 also portrayed a gynoid character which was described by the male protagonist as his "perfect partner".

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