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The robot's creator, Clayton Bailey, a professor of art at California State University, Hayward called this "censorship" and "next to book burning." Artificial women have been a common trope in fiction and mythology since the writings of the ancient Greeks.

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The first gynoid in film, the maschinenmensch ("machine-human"), also called "Parody", "Futura", "Robotrix", or the "Maria impersonator", in Fritz Lang's Metropolis is also an example: a femininely shaped robot is given skin so that she is not known to be a robot and successfully impersonates the imprisoned Maria and works convincingly as an exotic dancer.

They fought in two multi-part episodes of the series: "Kill Oscar" and "Fembots in Las Vegas", and despite the feminine prefix, there were also male versions, including some designed to impersonate particular individuals for the purpose of infiltration.

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".

Among the few non-eroticized fictional gynoids include Rosie the Robot Maid from The Jetsons.

However, she still has some stereotypically feminine qualities, such as a matronly shape and a predisposition to cry.

The 1964 TV series My Living Doll features a robot, portrayed by Julie Newmar, who is similarly described.

More recently, the 2015 science-fiction film Ex Machina featured a genius inventor experimenting with gynoids in an effort to create the perfect companion.

As more realistic humanoid robot design is technologically possible, they are also emerging in real-life robot design. Robotess is the oldest female-specific term, originating in 1921 from the same source as the term robot.

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