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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.
Such essentialist ideas may present as sexual or gender stereotypes.
Fembots in Japan, for example, are designed with slenderness and grace in mind, People also react to fembots in ways that may be attributed to gender stereotypes.
This research has been used to elucidate gender cues, clarifying which behaviors and aesthetics elicit a stronger gender-induced response.
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.
It was called simply "36C", from her chest measurement, and had a 16-bit microprocessor and voice synthesiser that allowed primitive responses to speech and push button inputs.