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However, he is also a psychotic serial killer who often hallucinates and murders people in increasingly horrific ways, either at the most trivial of provocations or for no reason whatsoever. Most of the people in Pat's life don't really know anything about him, but then, he doesn't know anything about them either. Most of the people he knows can't even be bothered to remember his name— but he isn't so sure about their names either, so it all evens out.

There is no one who listens to him; he confesses at least once a week, but no one seems to notice or indeed care. And Ellis explains that Patrick may not really be a serial killer. Patrick may just be harmlessly insane. Or bored. But Patrick may also be speaking the absolute truth.

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It's up to the reader to decide. The book also crosses over with Ellis' earlier novel The Rules of Attraction , but like everything else, it's of no consequence whatsoever. The main character Patrick Bateman also makes appearances in his later books Glamorama and Lunar Park In , the story was adapted into a feature film by Mary Harron and Guinevere Turner and starring Christian Bale as Bateman, which has since grown a cult following.

A movie sequel In Name Only is described on another page. Inspired the song and album title of the same name from The Misfits. Not to be confused with the song by Canadian rock band Treble Charger or the experimental track by John Zorn on Radio. Community Showcase More.

Follow TV Tropes. You need to login to do this. Get Known if you don't have an account. Prima donna self-absorbed, wide awake and never bored. Tropes Present in American Psycho. Alcohol-Induced Idiocy: All Just a Dream: All adaptations allow for the possibility that the murders and other events recounted by Bateman only take place inside his head.

You Can Be Queen for a Day

Aluminium Christmas Trees: Peanut butter soup is actually a real thing nkatenkwan, the national dish of Ghana , although it's usually made with chicken and yam, rather than duck and squash. Always Someone Better: Ambiguously Jewish: Both the book and movie portray an early scene of dialogue where Bateman plays devil's advocate for political correctness when he calls out a colleague for claiming that a business rival is Jewish and was "spinning a menorah" in his office.

Arc Words: An Axe to Grind: Bad People Abuse Animals: In both the movie and the book, Patrick stomps a dog to death that belonged to a homeless man he previously stabbed. In a chapter in the book, he disembowels another dog, then shoots its owner; in a chapter set at a zoo, he throws nickel coins to the seals, just because he saw a table asking people not to do so because they can choke on them.

Beneath the Mask: Publicly, Patrick is charming, mild-mannered, and likable to those in his circle of friends. Privately, Patrick is a violent sadist incapable of empathy, remorse, or compassion. He explicitly refers to his friendly facade as his " mask of sanity ". Berserk Button: For instance, the very thought that Patrick will not get a good table at a restaurant is enough to put him "on the verge of tears".

Also in the movie , as much as he despises Luis, it's the fact that Luis had business cards that Patrick thinks are better than his own that drives him to attempt to murder Luis almost immediately.

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Black Comedy Borrowed Catchphrase: In part of the work's satire in shaping Bateman as a product of 's American culture and values, as molded by its media and most prominent political figures, Patrick appropriates other popular phrases of the era for himself. Bush's "Read My Lips". Broken Ace: Patrick outwardly appears wealthy, handsome, and successful, but Beneath the Mask his life is empty, soulless, and deeply disturbed. Can't Get in Trouble for Nuthin': No one suspects Patrick of anything, even after he confesses everything. Capitalism Is Bad: Patrick's and his associates' entire existences revolve around being shallow consumers of high class commercial products like designer clothes, expensive watches, fancy electronics, and getting reservations in highly fashionable restaurants.

Cassandra Truth: There are times when Bateman openly confesses his crimes to people, who either don't believe him, mishear him, or think he's joking. Whenever anybody around Patrick is speaking about something that puts him at unease or if he is feeling uneasy about things on his own mind , Patrick frequently evokes his idol Donald Trump or his first wife, Ivana in efforts to put himself back in control.

In the book and film, during a limo ride with his mistress Courtney, Patrick tries to ignore Courtney's drugged state while wondering aloud if Donald Trump's limo is beside theirs in traffic. In the book, when nervously meeting his ex-girlfriend Bethany for lunch, Patrick makes up a story about recently returning to New York after a flight on the Trump Shuttle. In the book, when meeting his brother Sean for his birthday at Dorsia, jealous that his brother was able to get a table, Patrick outright lies about personally knowing Donald Trump, having plans to attend a party of his, and being able to introduce him to Sean.

In the book, when Detective Kimball visits Bateman's office, Patrick successfully derails the conversation about Paul Owen's disappearance by directing the detective's attention to the copy of Donald Trump's book The Art of the Deal on top of his desk and asking Kimball if he's read it. Crapsack World: Almost every character, with the exception of Jean, is an absolutely odious, shallow, and self-centered individual, lacking in anything even remotely like a redeeming feature. They pretend to be conscious of tragic news stories and global crises murders, drugs, mafia, nazis, AIDS, homelessness, Sri Lanka, et.

Critical Research Failure: In-Universe , and more frequently in the book than in other sources. As much as Bateman tries to present himself as possessing immense knowledge and informed opinions in appreciation of pop culture, music, movies, TV, and other trivia , he does occasionally get things wrong, although this isn't always made glaringly obvious: In all adaptations, there's a scene where Bateman references a quote which he attributes to infamous murderer Ed Gein.

In actuality, the quote in question was said by another serial killer, Edmund Kemper. In the book and musical, a character points out that he hung his cherished, original David Onica painting upside-down. This gets her killed. Moreover in the book: It's actually by The Rolling Stones. It also humorously demonstrates complete ignorance of the uplifting, reassuring quality of the song's pop hook that explains, "You get what you need.

At a U2 concert, Patrick and his friends aren't sure which one is "The Ledge". He attempts to compliment Tom Cruise while sharing an elevator by telling him how much he liked the actor in the movie " Bartender ".

Tom Cruise corrects Patrick on the film's actual title— Cocktail. In the movie, Patrick says Huey Lewis' Fore!

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Bateman says Whitney Houston 's debut album had four number one singles on it when it only had three. Damned by a Fool's Praise: The music Bateman talks about is an example of this. Ellis didn't like any of the music Bateman liked; he used it because "it seemed to reflect a certain kind of mass-taste" Bateman wanted to be a part of.



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He later came to regret associating Huey Lewis and the News with Bateman. Disposable Sex Worker: Disposable Vagrant: Bateman also targets homeless people just as often as prostitutes. In the book, Al is suggested to have survived his encounter with Patrick and reappears later in the second half.

Disproportionate Retribution: Several of Bateman's victims are killed out of jealousy or vengeance over incredibly petty grievances.

Sexy Boys Gone Bad: 7 Porn Stars Who Turned To Crime / Queerty

Dumb Blonde: Evelyn and Courtney, primarily. Also, three models Libby, Daisy and Caron Patrick and his associates mingle with in a nightclub. In the book, when they're asked to name any of the planets, two guess the Moon, and the third one guesses Comet. This is deconstructed with one of the models lamenting this and saddened by how Bateman sees her as nothing but a brainless squeeze, suggesting there is more to her character , but she doesn't mind because she thinks Patrick is actually a nice person.

The '80s: This decade is omnipresent from fashion, trademarks and pop culture references to discussions on topical issues related to the era. Even Evil Has Standards: Three characters who Bateman does not kill are Evelyn, his fiancee; Jean, his secretary; and Luis, his gay associate, all of whom are in love with him. Notable, as Bateman finds Evelyn incredibly annoying, but never considers murdering her, and he was actually about to kill Luis, until he revealed he was gay and in love with Bateman.

Even though Bateman is disgusted by this he still does not kill Luis.

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Also inverted in the book, where Bateman kills a small boy but doesn't find it evil enough. Evidence Dungeon: In his apartment, there is a head in the fridge and numerous implements of murder and torture. Subverted as the ending implies that Bateman may be having psychotic delusions about his murders. As he is an incredibly unreliable narrator , it calls into question everything we've seen and whether the 'evidence' was really there. Evil Is Petty: Patrick kills people for such things as having fancier business cards than he does.

Extra-Strength Masquerade: Bateman could be caught, but no one cares to catch him. When Bateman is ready to confess his crimes to his lawyer, Harold Carnes, his murder of Paul being among them, the lawyer rebuts his claims by saying that he had dinner with Paul in London, twice, just ten days ago. Gainax Ending: What will happen to Patrick? Is he really a murderer, or is it all in his head? Impossible to say.

Girl-on-Girl Is Hot: Patrick has an extreme hatred for homosexual males whom he derides as "faggots" but is deeply aroused by lesbian sex. In one instance late in the book, Patrick relates to the reader that, when the topic of his favorite daytime talk show turns out to be "Teenage Lesbians," he finds the program "so erotic" that it causes him to miss a business meeting.

Hide the Evidence: Bateman does so little, if any, productive work at his office , and when Detective Kimball visits him at work and remarks, "I know how busy you guys can get," Patrick suddenly notices his still-running Walkman on top of a small stack of skin mags on his desk, which he quickly tries to slip into his top drawer.

High Concept: Bret Easton Ellis has stated that this premise was arrived at relatively late in the process of writing the novel, and the earlier chapters are more about Bateman's vanity and isolation.