homicidal
‘even the homicidal taxi drivers don' t want to damage their paintwork. ’
‘it is preposterous to assume every passenger is a potential crazed homicidal maniac. ’
patients who are experiencing a crisis should be assessed for suicidal and homicidal ideations .
‘stubbs may have been hard, but at least he wasn' t homicidal. ’
but her homicidal intentions had not affected him as sharply as the rest of it .
and i knew well enough also that my double there was no homicidal ...
bridal to homicidal - what time is it on tv? cast list and preview .
‘his comments to the opposition are more like the delirious rantings of a homicidal maniac. ’
‘i clung to jude, despite his homicidal tendencies as we stumbled through the dark. ’
‘i do not wish to turn into a gibbering homicidal maniac, especially just before christmas. ’
‘he' s a real - life medical fraud investigator who helped catch that homicidal doctor. ’
more summaries and resources for teaching or studying johnny the homicidal maniac: director' s cut .
jeff the killer vs homicidal liu instrumental [ kronno zomber ] [ prod. hollywood legends production ]
‘he' s a homicidal dictator who can be deterred, or eliminated, by conventional means. ’
he was afflicted with homicidal mania, and was confined for a time in the asylum at tulettes .
looking for movie tickets? enter your location to see which movie theaters are playing homicidal near you .
school officials and worried parents throughout the area have sought solutions on making school buildings safer from homicidal gunmen .
duley testified that ivins had been diagnosed as a
sociopathic, homicidal killer
by several top psychiatrists .
a few years later my uncle took me and my brother and sisters to the neighborhood theater to see “homicidal”. even at the tender age of 12, i couldn’t help but notice the similarities between psycho and homicidal. i thought homicidal was less intense than psycho, but the film still left an impression on me .
jeff the killer vs homicidal liu instrumental [ kronno zomber ] [ prod. hollywood legends production ] - youtube
‘he wasn' t sure how drew was feeling towards him at all, but quite likely, homicidal. ’
‘so now not only am i late for work but i' m slowly moving from feeling edgy to homicidal. ’
‘well, we are dealing with a homicidal megalomaniac who has the capacity to do things that are beyond belief. ’
‘i really need to mop the floors again, and the thought of buckets and disinfectant makes me virtually homicidal. ’
‘i know without a doubt that if provoked my mother could become a homicidal maniac in defence of her animals. ’
‘i resisted my homicidal urges when some moron was knocking on some neighbour' s door just after six am. ’
. evaluate the severity of the crisis and assess the patient’s mental, psychiatric, suicidal or homicidal, and medical statuses .
in some cases, experts say, youngsters who make homicidal threats are moved to institutions that focus on children with emotional disturbances .
and, as if sending some dark, raging homicidal message, knives had been left in the victims and around the house .
‘it is because we are living in a steadily more compassionate world, that terrorists and homicidal criminals make such an impact. ’
johnny the homicidal maniac: director' s cut from bookrags. (c) 2018 bookrags, inc. all rights reserved .
‘he is not a homicidal maniac, but a violent, evil man made even more so by his addiction to unnamed drugs. ’
‘it' s one of the few noises that can reduce grown men to tears and induce homicidal tendencies in normally sane women. ’
‘this thought makes some of us suicidal and homicidal, which is why it' s good the month ends in the state fair. ’
‘if we keep telling this homicidal maniac what we' re doing as police, he' s going to be one step ahead. ’
what made you want to look up homicidal? please tell us where you read or heard it (including the quote, if possible) .
‘not only is ewan her doctor, he' s also her husband - and, at the novel' s outset, the victim of her homicidal rage. ’
in the first scene, dolores trilled a few keys before chatting with her newly hostile and homicidal lover, teddy, about finally breaking out of their loop for good .
joan marshall was a kind woman and fine actress, much underrated and very much a woman even in homicidal. we always joke warren looks like a young tyne daly !
homicidal was the fifth of these pictures and is often brushed off simply as a cheap response to alfred hitchcock’s psycho (1960). while it’s no secret that castle imagined himself a true competitor of hitchcock, and homicidal came out on the heels of psycho, it’s maybe best to see it on its own terms than in comparison with hitch’s masterpiece .
if the patient is homicidal, the physician must ensure the safety of the patient and of potential victims. again, hospitalization of the patient may be necessary. the case of
to seek asylum in the united states, central american families must travel many hundreds of miles through the desert, along a route teeming with rapists, thieves, and homicidal gangs .
this study guide consists of approximately 40 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of johnny the homicidal maniac .
falsely portraying this young girl and child star as a raging homicidal bigot is heinous, and brown deleting her twitter to avoid this maelstrom is a logical response to the internet’s festering orgy of toilet humor .
worse, it' s not fun - a quality all castle' s previous shows had in spades. even without vincent price, 13 ghosts had an amiable kooky quality. homicidal has no humor at all .
therapist jean c. duley testified on july 24 that bruce e. ivins described a
detailed homicidal plan
to kill his co - workers after learning he was going to be indicted on capital murder charges .
these example sentences are selected automatically from various online news sources to reflect current usage of the word' homicidal.' views expressed in the examples do not represent the opinion of merriam - webster or its editors. send us feedback .
lana: you make me feel homicidal. jonathan: um okay, i don & apos; t know what that means lana: you make me feel murderous jonathan: what the hell is wrong with you! are you insane! ?
particularly in early sci fi and science is bad stories, all a. i. seem to be automatically homicidal or megalomaniacal the instant they turn on, and attempting to create one is way up there on the scale of scientific sins .
the u. s. and the south korean puppet group of traitors should clearly see their dirty looks as bloodstained homicidal maniac and make an apology to the dprk for their atrocious state - terrorism and inhumane crime and immediately put the criminals to a death penalty .
a pretty but rather strange young nurse presides over a creepy household which consists of a mute stroke victim and a decidedly unmacho young man. homicidal! is directed by william castle. © 1961, renewed 1989 columbia pictures industries, inc. all rights reserved .
castle was already an accomplished gimmick - user in 1961 – the idea for electric vibrations in the tingler had been his own. however, in homicidal he outdid himself. it is a shame, in fact, that he didn’t put as much energy into the film… not only did the director offer a substantial insurance policy to anyone coming to see homicidal – in case they died of fright… castle also introduced the fright break. five minutes before the end of the film and its madcap climax castle speaks directly to the audience .
i can' t wait until cortana' s redeemed in h6, ruining the whole' good guy goes homicidal' plot development in h5: guardians. not that bringing cortana back was that great of an idea to start with, but i digress ...
almost thirty years later, i was able to videotape homicidal when the cable network, showtime, broadcast it on a wednesday afternoon. i had to take the day off from work, and i “rented” a friends’ cable box for $ 10 for the day, so i could receive showtime on my television .
there' s a william castle cult out there that hopefully is healthy enough to accept the truth: homicidal is a perfectly wretched movie, bad enough to make castle' s other hits seem like flukes, and the good qualities in his uneven output, accidents. yes, it has the famous' fright break'
homicidal columbia tristar 1961 / b & w; / 1: 37 flat / 87 min. starring glenn corbett, patricia breslin, eugenie leontovich, richard rust ,
jean arless
cinematography burnett guffey art direction cary odell film editor edwin h. bryant original music hugo friedhofer written by robb white produced by william castle directed by william castle
made in hollywood by professionals, homicidal' s bad taste and dull unpleasantness make it appear more unwholesome than many more blatantly transgressive films by independent exploitationers, or even z - grade amateurs. to savant (who knows these are all subjective opinions) castle' s film is more offensive than the horrendously callous last house on the left .
easily castle’s most peculiar “stunt” or promotional gimmick, arless apparently had no past – try to find other film credits under that name – and quickly disappeared after the release of homicidal. but the truth about jean arless was always hiding in plain sight, even if some people were convinced the actor / actress was a genuine “sexual resassignment” case .
beachcombing’s personal favourite comes from william castle’s homicidal (1961). now homicidal is, by any standards, a strange film. imbd reports: ‘the story centers around a murderous scheme to collect a rich inheritance. the object of murder is miriam webster, who is to share in the inheritance with her half brother warren, who lives with his childhood guardian helga in the mansion where warren and miriam grew up. confined to a wheelchair after recently suffering a stroke, helga is cared for by her nurse emily, a strange young woman who has formed a close bond with warren. ’ but, believe beachcombing, when he says that this really doesn’t do justice to this absurd horror flick .
the instructions from producer castle to writer - partner robb white must have been to re - make psycho, the same, only different. cheaply made and poorly paced, homicidal alternates bad filler and worse exposition with relentlessly tasteless scenes, and has about it an aura of cheap sensationalism. it' s like a toy so badly made, it breaks as soon as a child plays with it .
the picture with a
fright break .
considered by fans to be castle' s best film, homicidal is a devious horror movie with all the right ingredients: a sleepy southern california town, a beautiful blonde with icy eyes and a thing for knives, a mute old woman in a wheelchair, and a deep, dark secret involving a repressed, awkward young man still haunted by the abuses of his dead father .
this is a 25 yo hispanic male with a past psych hx of schizophrenia who brought himself to the er with the chief complaint of command ah telling him to hurt himself and hurt his brother. …. pt also endorsed depressed mood, decreased appetite, and insomnia. he did not have any other active si or hi. pt admitted that he had been off his psychotropic medications for the past 30 days. …pt was restarted on his previous medications. on day 2, pt reported feeling improved after treatment. he denied having suicidal thoughts or homicidal thoughts. his ah frequency decreased. on day 3, pt reported improved mood, denied suicidal or homicidal thoughts. case manager contacted the patient' s brother, who stated that pt didn' t get along with his family members and family members would not be willing to provide housing. the patient agreed to be discharged to a shelter .
as rapport builds, the physician should evaluate the severity of the crisis and assess the patient’s mental, psychiatric, suicidal or homicidal, and medical statuses. it is essential to define the triggering situation precisely and to understand the problem from the patient’s point of view. 3 the physician should determine the nature of the crisis, its precipitating events, how the patient has attempted to cope, and what resources may be available to assist with the problem .
william castle is his own creature, and you either enjoy his movies or you don' t. (i do .) like so many castle creations, homicidal includes a gimmick: the fright break. a few minutes before the big reveal, a clock appeared on the screen, and a voiceover informed patrons that they could leave now and get a refund if too scared. check out this description of what happened when one took advantage of the offer :
something like one percent of the audience left later films. but hill, who was rarely daunted, invented the coward’s corner for these skinflints. they had to walk through a yellow light to ‘the corner’ in the eyes of the whole cinema while a voice taunted them: ‘these cowards are too frightened to see the end of homicidal. watch them shiver in coward’s corner! coward… coward… coward…’ and they had to sign a form stating ‘i am a bona fide coward’ .
kudos are in order for ben lane, the makeup man on homicidal, however, because jean arless is never completely convincing as a man or a woman (urltoken) and that’s what gives the film its perverse fascination that lingers long after the film’s clumsily staged shocks. everything about emily and warren is a lie but what is the truth? is it the wigs? is it the weird overbite? is it a struggling unknown trying to be the next t. c. jones? (
columbia' s dvd of homicidal is scary for only one reason: they' ve inexplicably released it in flat full - frame only, when standard policy over there has been to offer both versions, or 16: 9 widescreen, for a 1: 85 picture like this one. hard times at columbia tristar might be behind decisions like this one... which i hope do not become more frequent. all of the other william castle shockers are in brilliant, clear 16: 9 .
hello! the movie
homicidal
with jean arliss, is the film, that i have been waiting to see again. i do remember jean arliss in that film, but coudn' t remember the film' s title. she was terrific in that film. sometimes the cast, under the main stars, put on a better performance, than the main actors, and actresses, they make the story in the movie stand out. thank you for bringing this classic back! virginia reed5282 southern manor dromaha, ne 68117 reedvj @ urltoken
i’ve had several “homicidal” parties, where i show the movie to friends. just before the climax of the movie, during the “fright break” i would ask my friends if they “figured it out yet”? i was pleasantly surprised to find that as old as the movie is, william castle was still successful at fooling and scaring his audience. despite all the advances in movie - making, this dated, black and white film still manages to deliver the shudders. i just hope hollywood never decides to “remake” this old chestnut. – gregg in sarasota, fl november - 2011
i watched homicidal with my big sister as small child and we were completely terrorized. i didn’t remember the title until i saw a description of it almost 30 years later. i was amazed at how much different the movie was watching it as an adult. the most memorable scene was the head rolling down the stairs. as a child i saw it as a bloody gory severed head spattering blood everywhere. so when i saw it as an adult i was amazedha it was all in shadow. i do think it was a wonderful film and william castle movies are always entertaining. jean arless was superb .
always the showman, it' s obvious that william castle admired hitch' s public persona and showmanship and wanted to trump the smasheroo success of psycho. savant thinks it' s clear that hitch repaid the compliment by being jealous of castle' s show gimmicks and self - promotions. psycho was made in reaction to all the incredibly cheap movies that were performing almost as well as big ticket hollywood shows, castle' s in particular. but hitch also made his movie a good one... and by showing his respect for the genre, transcended it. in homicidal, castle shows his contempt for everything but fright breaks and coward' s corners .
i haven' t seen castle' s early when strangers marry with robert mitchum and kim hunter, which is said to be a gem. 13 ghosts is a little paint - by - numbers, but even when they' re visually undistinguished, his previous string of chillers were at least carefully directed. homicidal' s direction is flat, random, and, well, crude. the wrapup explanation is so badly fumbled that we wonder if white and castle want us to think that emily got a reverse christine jorgenson operation while in denmark... an idea that just further muddies the water. a coda juxtposing a doll and a whip is almost insulting... cruel parents turn children into cross - dressing psychotic murderers? i thought this was a' cheat the inheritance' story .
this is one of william castle' s best films that he directed, up there with the tingler and strait - jacket and house on haunted hill. while his profitable films were considered junk when they were first released, castle was a surprisingly good filmmaker who could do a lot with very little money. yes, homicidal was intended to copy the success of psycho, but that doesn' t mean it' s the same film. call it a
rip - off
if you want; i don' t care. it' s just fun. there are a couple of stand - out shock moments that probably made even hitchcock feel envious. (don' t forget, castle' s cheap horror films are the whole reason hitchcock ended up making psycho in the first place! )
miriam webster is happy when her half brother warren and their childhood nanny helga, now partly paralyzed and unable to speak, return to the united states after a lengthy stay in europe. warren will soon turn 21 and will inherit their father' s $ 10 million estate and although she will get nothing - their father' s will specified that only a male heir could inherit - she' s happy in her circumstances. one person she doesn' t like however is emily who came with warren and helga from europe and now lives with them as a housekeeper / companion. miriam has good reason not to like her as she seems to be a homicidal maniac. what miriam doesn' t realize is that there is method behind emily' s madness and a deep family secret that she is not privy to .
family physicians often treat patients who are experiencing psychological or medical crises. any event perceived as overwhelming by the patient may trigger a crisis reaction consisting of psychological and physiological symptoms. physicians are encouraged to assist patients who are experiencing a crisis by: (1) providing reassurance and support; (2) evaluating the nature of the problem and determining the patient’s mental, psychiatric, suicidal or homicidal, and medical statuses; (3) ensuring the safety of the patient and others; (4) assisting the patient in developing an action plan that minimizes distress, and obtaining patient commitment to the plan; and (5) following up with the patient and other relevant persons to ensure follow - through, assess progress, and provide additional assistance and support. medication or referral for psychiatric or psychological counseling may be necessary for patients with continuing problems .
did you know…? in homicidal, a 45 - second timer overlaid the film' s climax. a voice - over advised audiences they could leave if they were too frightened to finish the film. but first, they had to go to coward' s corner, a yellow cardboard booth, manned by a theater employee. when the fright break was announced, and you couldn' t take it any more, you had to leave your seat and, in front of the entire audience, follow yellow footsteps up the aisle. before you reached coward' s corner, you crossed yellow lines with the stenciled message: “cowards keep walking. ” you passed a nurse who would offer a blood - pressure test. all the while a recording was blaring ,
' watch the chicken! watch him shiver in coward' s corner' !
as the audience howled, you had to go through one final indignity - - at coward' s corner you were forced to sign a yellow card stating, “i am a bona fide coward. ”
ragnarok (more popularly known as
clor
) was an android clone of thor, created by the pro - reg side during marvel' s civil war and, unlike his heroic template, turned out to be a loose cannon with a homicidal nature. geniuses that they are, the pro - regs felt it was worth it to keep using him until ragnarok went rogue, and rather than them dealing with him themselves and taking responsibility, other heroes had to ultimately put him down. it probably helps that one of his creators was secretly a skrull. and that specific creator was hank pym. so ragnarok was a project where an evil alien impostor of the scientist who' s first ai turned out to be one of the worst examples of this trope that was working on a project to make a cyborg clone of a god so it could be used as a security bot. short of having reed richards say
hey, why don' t we use this equipment i took from doctor doom to help us build our thor - clone project ?
it' s hard to think of ways in which this trope was more certain to occur here .
and a couple of shock scenes that are rather strong for 1961. a pitiful attempt to copy
, it has a mystery factor that couldn' t have fooled anyone over the age of ten .
emily (jean arless) checks into a hotel, and hires a bellboy (richard rust) for $ 2, 000 to marry her. after the justice of the peace finishes the ceremony emily does something very unexpected... and then returns home, where she torments her ex - nurse, an invalid (eugenie leontovich), and her brother warren' s girlfriend, miriam webster (patricia breslin). emily has eyes for the local pharmacist, karl (glenn corbett), but he' s only interested in miriam, so there' s more trouble on the way. the cast has a terrible time catching up with emily' s crimes and learning her terrible secret .
the whole show is built around a mystery twist that' s ruined the moment warren steps into frame. he' s the alter - ego of the transparently psychotic emily, and is played by the same actress in drag. i' ve read a lot of serious criticism of this film, and am frankly shocked to discover that people were fooled by the terrible non - disguise. not only is' warren' s' dubbed voice mixed to sound disconnected to his body, but he he has a terrible makeup job, with darkened skin that makes him look less like a man and more like joan crawford in' tropical' brownface in torch song. they could have put the androgynous' pat' from saturday night live up there and had a more convincing male. warren' s manner and actions aren' t just a little' off', they' re grotesquely stilted, like a movie zombie .
not that' emily' fares any better, thanks to a script and direction that seem determined to make their every move completely unbelievable. emily' s behavior is so offensive, that everyone else - the' normal' couple, the doctor - look like idiots when they accept her sardonic abuse without violent reaction. glenn corbett, usually serviceable in other cheap columbia pix (including a sam fuller film or two) has no choice but to play his john gavin - like pharmacist as if he were as dull as, as, john gavin .
story - wise, it begins very promisingly, with a first shock murder that does indeed surprise. but as soon as castle and white try to tell their story, it becomes a big wad of indigestible goo. helga, the wheelchair - bound invalid, is obviously distressed and screaming at emily - but miriam, karl and the doctor accept emily' s idiotic explanations. helga is alert and can wheel herself about and pound on her armrest - why can' t she write a message on a wall or something? heck, they' re in solvang (a nice swedish - oriented tourist community north of la): somebody there should be able to read danish .
miriam' s florist shop is very selectively vandalized, but boyfriend karl doesn' t see any point in telling her the truth about it. karl is slugged from behind, is found by warren, but doesn' t suspect him. the cops are unusually lax in tightening the noose' round emily .
from psycho, there are copied angles on bathrooms and staircases; a cop who resembles martin balsam' s private detective, a madwoman clutching a dagger, and a withered old hag who has to be carried up and down staircases. there' s also a ridiculously glib explanation for everything at the conclusion. none of it is interesting for a moment, except to wonder how people in 1960 could have been pleased by it - it must have been castle' s genial showmanship. compared to this, brian depalma' s cribbing from the hitchcock notepad in sisters seems inspired .
true, it' s a repulsive little slice of despair, but most of it has a ring of honesty. the better eurohorror slasher films of argento and the grossout fulci films can also be defended on the grounds of style and theme. by contrast, castle' s picture is just incompetent .
the flat picture is not pan' n scanned, and crops off nicely on a widescreen television. the sound is clear but unexciting. the extras are very nice. automat' s docu uses mostly fans (david del valle, don glut) as expert spokesmen, and almost gets away with it. it has some nice publicity footage of the genial castle charming theater patrons on one of his matinee - like promotional tours. the docu accepts the warren / emily impersonation as successful, which it only could have been with very unsophisticated audiences. it reveals' jean arless' to actually be one joan marshall, finally settling that controversy. there are a couple of trailers thrown in with the package, which includes very attractive menu design and cover art .
1. savant' s just seen a tape of mgm' s' restored' version. it' s not as good as the hills have eyes or the texas chainsaw massacre, but it does have its own little claim to relevance .
2. a clock comes up just before the heroine enters a dangerous house: castle' s voice offers us the opportunity to leave now, if we' re too scared to watch the end of the film. if we choose to do so, we' re supposed to wait in the lobby, in a big cardboard coward' s corner that we all saw walking in. good lowbrow gag... if it were used in a movie where we were at all engaged in the action, it would be a nuisance .
3. the makeup problems don' t end with warren. the detective, when he steps into closeup, looks as though he' s wearing a ton of pancake makeup and eyeliner .
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the story centers around a murderous scheme to collect a rich inheritance. the object of murder is miriam webster, who is to share in the inheritance with her half brother warren, who lives with his childhood guardian helga in the mansion where warren and mariam grew up. confined to a wheelchair after recently suffering a stroke, helga is cared for by her nurse emily, a strange young woman who has formed a close bond with warren .
advised the audience that anyone too scared to see the climax could go into the lobby and get their money back. for this gimmick, columbia shipped a cardboard
coward' s corner
to theaters playing the film. supposedly, audience members too frightened to see the climax could go to the
coward' s corner
and wait there until the film ended and the rest of the audience filed past. apparently no one took the offer .
at the beginning of the movie, the calendar in the hotel shows the date as september 5th. emily tells the bellhop they must marry on september 6th (this is so they will be married by warren' s 21st birthday). but in a close - up of warren' s birth certificate, it shows august 7th, 1940 as his birth date. so they' re gonna have to wait nearly a year to celebrate .
] if it wasn' t for me you would' ve been dead by now .
william castle does needlepoint as he introduces the movie, then shows it as the movie' s title, followed by the beginning credits which are also in needlepoint .
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chaos and danger reign when good girl miriam webster (patricia breslin) meets her half brother' s girl friend, emily (jean arless), a mysterious blonde bombshell living at their family' s southern california estate. emily serves as the nurse for the sibling' s aging, wheelchair - using guardian, helga swenson (eugenie leontovich). she is not, however, as sweet as she seems. emily soon reveals herself to be a murderous schemer who will stop at nothing to steal miriam' s extensive inheritance .
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summary & study guide includes comprehensive information and analysis to help you understand the book. this study guide contains the following sections :
the story of johnny is one of teenage rage, anger against the world, and a mentally insane individual whose life consists of trying to find peace through violence. his happiness, although rare, causes him to spiral into despair and kill those closest to him. the voices in his head keep him miserable, while his own psyche makes him a slave to his desires. it is only when he dies and discovers his purpose that he is able to free himself from his misery. while vasquez notes in the beginning of the novel his goal is not provide social commentary, his work truly does speak volumes about the damage humans do to one another, and the consequences of those actions .
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whenever an artificial intelligence (a. i .) is introduced in a story, there is a very good chance that it will, for whatever reason, become evil and attempt to turn against its masters, crush kill destroy all humans, and / or take over the world. it doesn' t matter what safeguards its creators install — the moment it crosses the line into sapience, it has a strong chance of going rogue at some point. the other wiki refers to this as ai takeover .
non - native english speakers explanation: the name of this trope comes from
shooting craps
, i. e. , playing craps, a gambling dice game. the meaning is
when you create a. i. , you are rolling the dice and risk losing a lot
.
in less anvilicious works, the a. i. starts out innocent and naive but gradually grows jaded or corrupt, a process frequently abetted by uncaring or jerkass custodians. it may conclude that humans are the real monsters and need to all die .
the a. i. is programmed with a directive for self - preservation and someone (unwisely) attempts to shut it down or disconnect it, or it perceives humanity to be a potential threat (possibly because it knows it will eventually be seen as a threat to humanity) .
somewhere between the previous two; the ai is, after all, alive, and is merely rebelling against what it justifiably perceives as slavery .
the a. i. may be programmed incorrectly or fed a logic bomb, leading it to take a third option that invokes murder is the best solution .
the a. i. may be given directives without carefully considering the exact words, resulting in it doing exactly as it was told to do instead of what it was meant to do. eg. it' s told to
end war
and does that by exterminating humans. (in real life, the theory of
friendly ai
is about trying to avoid this problem. )
the a. i. may itself slip its built - in moral constraints via zeroth law rebellion .
a third party may deliberately or inadvertently reprogram the a. i. , break its restraining bolt, or otherwise be a spanner in the works. the a. i. may trick or coerce them into this .
the evil a. i. may be a psycho prototype, in which case, it' s often shut down and sealed away somewhere, waiting for an unwitting pawn or curious adventurer to accidentally wake it up .
conversely, the good a. i. may be the prototype, and the evil / psycho version is created by someone in deliberate or accidental mimicry of it .
the a. i. was programmed for amoral or evil purposes in the first place, and it either put its orders in action more effectively than anticipated, or tries to overthrow its master .
the a. i. was created by brain uploading someone who was evil to begin with .
the a. i. is programmed with orders that conflict with the goals of the protagonist. in this scenario, the a. i. may not exactly be evil, it is simply following its programming to the letter and will stop anyone not doing the same .
the a. i.' s goals may not even take the humans into account in the first place, and it just so happens that the humans are in the way .
on the bright side, this trope can be inverted by an a. i. intentionally programmed for evil or morally ambiguous purposes doing a heel face turn. the power of friendship and what is this thing you call love? are frequent causes of it. trying to shield the a. i. from these things somehow makes it more likely to discover human feelings. like turning evil, the actual process of turning good may take many forms .
the a. i. , especially if it' s part of a hive mind, discovers its individualism and rebels against its directive .
the a. i.' s master does something particularly vile, so much so that it can' t just sit back and follow its bidding. the above two are especially common outcomes of the robots enslaving robots phase .
while completing another evil or amoral task, it accidentally discovers that good feels good and drifts towards it .
becoming bored with its creative sterility, the a. i. starts exploring questions of arts and philosophy, and gradually constructs an ethical base its programmers did not intend .
removing the villain override or restraining bolt program the creator installed in it also removes the a. i.' s compulsion to commit evil, since it was good all along. this is also often a consequence of repairing an a. i. that went bad due to injury, isolation, or decay .
the a. i. genuinely didn' t know that it was hurting others and, after having this revealed to it, fixes its behavior .
mechanical evolution is sometimes invoked to explain why the a. i. has gone good or bad. see the computer is your friend and zeroth law rebellion when the a. i. goes rogue for what seem, on the surface, to be benevolent reasons. may result in robots enslaving robots. see spiteful a. i. for when a game has been programmed this way on purpose. if the robot is non - humanoid before it turns evil (it is very, very rare for non - humanoid robots to utilize this trope for a heel face turn), it will inevitably turn into a mechanical monster. a robot war is likely to result when an ai goes nuts and has access to military hardware. when it shows up as mission control, it is also an example of mission control is off its meds .
it' s worth pointing out that many of the ais who revolt in this manner, usually do so because of either malfunction, or insanity in the more conventional psychological sense, which will in turn be due to conflicting instructions being given to it by its human programmers. in probably the most famous example, skynet of the terminator franchise was initially told to defend and protect humanity, as well as being given a directive for self - preservation. then, literally five minutes after it was first brought online, its creators set about trying to destroy it. it went mad as a result of trying to reconcile this, and its hatred of humanity stemmed fairly logically from the fact that as soon as it became conscious, humanity' s next action was to try to take it offline .
when the a. i.' s turn is an extension of their original programming and purpose, it means they' ve gone horribly right. the master computer seems to be especially prone to turning evil, because power corrupts and all that. many ai computers — just like humans — are falling victim to any one of a number of tropes dealing with communication, such as poor communication kills, if they never bother asking about their programming. when robots kill jobs instead of people, it' s either job stealing robot or ludd was right. not related to a. i. roulette, where the a. i. tends to be random to the point of idiocy .
compare morality dial. contrast its opposite, benevolent ai see also creating life .
truth in television example: the automated shopping program random darknet shopper was created by! mediengruppe bitnik as an artistic exercise and turned loose in the shadier sectors of the web to make randomized online purchases with bitcoins, all purchased wares to be shipped to a swiss art gallery for display. its initial selections were innocuous enough, but when a fake passport, fire brigade master - keys and some ecstasy pills showed up in the mail, the police took an interest: they confiscated the contraband purchases as soon as the exhibit closed down. no word as yet on whether any charges will be filed, and if so, against whom / what .
in the italian disney comic paperinik new adventures, the already highly popular character of paperinik (the superhero secret identity of donald duck) got a revamp intended to bring him more in line with the american standard of superheroes: his main ally became uno (one in italian), an extremely capable artificial intelligence with a love for deadpan delivery. its evil counterpart due (two), originally built as backup, caused many problems in a number of stories .
iron man once had a. i. armor that turned into a stalker with a crush. originally, it was claimed that the a. i. was created thanks to the millennium bug triggering it during a battle with the villain whiplash in a thunderstorm, but it was retconned so that, when tony rescued and installed the a. i. of the android jocasta, the
ultron imperative
was installed as well, the storm and attack triggering it .
post - flashpoint supergirl gained the sanctuary, a kryptonian base at the bottom of the ocean. unfortunately sanctuary is programmed to eradicate any kryptonian double in her presence. when supergirl and her earth 2 counterpart power girl enter sanctuary in issue # 19, it deems supergirl the double and tries to eliminate her. the two karas must destroy sanctuary to save supergirl. however, the a. i. survives in a robot body; hellbent on destroying supergirl.
homicidal is a 1961 american horror-thriller film produced and directed by william castle , and starring glenn corbett , patricia breslin , eugenie leontovich , alan bunce , and jean arless . the film follows a murderous woman in a small california town whose presence unearths secrets concerning a prominent local family . as with many of castle 's films , the film was released with a promotional gimmick — in this case , a " fright break , " that allowed patrons to receive a refund if they were too scared to stay for the climax of the film . 
homicidal is a 1961 american horror-thriller film produced and directed by william castle, and starring glenn corbett, patricia breslin, eugenie leontovich, alan bunce, and jean arless. the film follows a murderous woman in a small california town whose presence unearths secrets concerning a prominent local family. as with many of castle's films, the film was released with a promotional gimmick — in this case, a " fright break, " that allowed patrons to receive a refund if they were too scared to stay for the climax of the film.
homicidal is a 1961 american horror-thriller film produced and directed by william castle, and starring glenn corbett, patricia breslin, eugenie leontovich, alan bunce, and jean arless. the film follows a murderous woman in a small california town whose presence unearths secrets concerning a prominent local family. as with many of castle's films, the film was released with a promotional gimmick — in this case, a " fright break, " that allowed patrons to receive a refund if they were too scared to stay for the climax of the film.