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This article is all about how men are pressured by media to have perfect bodies and examines the body image issues that result from it.

Meadows' critique of the male-dominated science fiction genre attempts to demonstrate the validity of science fiction novels and narratives that contain or celebrate family or romantic connections by listing a series of incredibly successful female science fiction novelists. Butler is name-dropped as one in a series of successful women writers, but her work is not extensively explored so much as hung as an emblem of female success in a male-dominated field. This popular piece merits an inclusion in a bibliography about Octavia Butler's works precisely because it illustrates so well the role that she is so frequently assigned: as an archetypal member of a denigrated group attempting to break the boundaries of science fiction. This is not to say that the critique of a male-dominated genre should not be done or should not attempt to list the number of successful female writers who have made their imprint on the genre, but it is once again important to note that despite Octavia Butler's consistent questioning of racial dynamics as well as fluid and queered sexualities, she is most frequently remembered and lauded in popular (white) publications for her femaleness. 

This obituary for Butler (written for the self-proclaimed feminist pop culture website Jezebel) exemplifies the many ways in which feminist writers and readers who are not themselves implicitly connected to Butler's legacy of Black feminism can underwrite and overlook Butler's racial politics in favor of a pseudo-uplifting pro-woman message that emphasizes her attempts to enter a male-dominated field without dwelling on the fact that it was also a predominantly white male-dominated field. It is vital that such works be read, discussed, and identified in order to continue the understanding of Octavia Butler's work in its appropriate historical and cultural context. This discussion would be impossible without clear proof of the many ways that white feminists have attempted to adopt and co-opt the works of Black feminists and feminists of color underneath a banner that has historically prioritized whiteness. Even the last line of the obituary, which reads "[Butler's] perseverance in and mastery of a field dominated by white men can lead the way for women, for women of color, and for anyone who's ever felt, as Butler did in school, like an outsider," places "women" and "women of color" in separate groups, thus hierarchizing whiteness as the default position for womanhood. 

The value of this source lies primarily in the fact that it provides an open forum for a number of interested voices to weigh in on different aspects of Butler's writing; though there is a moderator and a single person initiates the discussion, the majority of thoughts and opinions raised in the comments section critically engage with Butler's treatment of romantic relationships in "Wild Seed" and what implications said treatment has for the Black women reading her work and discussing it with one another. The true importance of a literary format that privileges discussion and a call-and-response model of thought sharing over a singular monologue, proven by citing other academic sources, cannot be emphasized enough. The readers/commenters on Racialicious (which bills itself as a site specifically focused on "the intersection of race and pop culture") are themselves invested in a response to Butler's work that is not academic so much as it is personal — "what is this author saying about race and sexuality and relationships, and how does it apply to me?" As a result, much of the ensuing discussion revolves around the main character's romantic relationship, and the ways in which the readers perceive it as unhealthy and, at times, coercive. That many of them disapprove of the ways in which the romance itself is depicted does not mean that they are negating Butler's point of view or purpose in writing the novel, only that they are committed to an engaged and continuing model of discussion that allows for an evolving pool of accessible Black feminist thought. 

Seewood's critique of science fiction works that are specifically focused on or discussed in terms of race or racial inequality provides a radically different perspective from the majority of other works referenced in this bibliography. Where other authors actively seek to emphasize the racial implications and references present in many of Butler's science fiction works and novels, Seewood takes umbrage at the idea that because a literary or cinematic work is created or curated by a Black writer or filmmaker, it must automatically be a critique of racism or a historical metaphor for slavery. His perspective is also informed by his proclaimed discomfort around the gendered and sexual implications of Butler's work, which he summarizes neatly, "In effect, to see BLOODCHILD as a metaphor about slavery is to deliberately obscure the more profound and disturbing aspects of the work which is of course the notion of male pregnancy." While Seewood claims to use Butler's own reaction to "Bloodchild"'s critical reception as his starting point for this critical viewpoint (namely her quote, "it amazes me that some people have seen “Bloodchild” as a story of slavery.  It isn’t.”) but his emphasis on pushing past a critical reception that takes an author's race and sexual orientation into account while analyzing a given literary work could be interpreted as a rejection of the intersectionality that forms the basis of Black Feminism.