The Toymaker 👁️🌪️🧩🎭🎁🪄

The Toymaker's opinion of Sutekh the Destroyer (whom he cryptically calls "The One Who Waits") is defined by an absolute feeling that the Toymaker rarely experiences: profound terror and reverential respect. Despite the Toymaker being an omnipotent god capable of altering reality at will, Sutekh's existence represents his only known psychological limit. His stance can be summarized in the following key points: 1. Fear of a Superior Entity. During his conversation with the Fourteenth Doctor in "The Giggle," the Toymaker confesses that, while outside the universe, he engaged in playing games with and defeating cosmic deities and guardians. However, he admits with dread that there was one being before whom he recoiled: "I came across The One Who Waits, and I ran away." He is the only character in the cosmos whom the Toymaker did not dare to challenge to any game. 2. Recognition of Hierarchy (The God of Gods) Although the Toymaker is extremely arrogant, his submission to Sutekh has a mythological explanation revealed later in the series. Sutekh represents the elemental concept of Absolute Death. Within the Pantheon of Discord, Sutekh is described as the "mother, father, and other" of all the other gods. The Toymaker is the God of Games, but he knows perfectly well that Sutekh is the apex and supreme leader of his divine lineage. 3. "Someone Else's Game" True to his twisted personality, the Toymaker finds the mystery surrounding this deity amusing. When he notices that the Doctor has no idea who "The One Who Waits" is, the Toymaker mocks him and refuses to reveal his identity. He enigmatically warns him that the fate of the universe no longer depends on his own game boards, but that now "it's someone else's game." He knows that Sutekh is waiting for the perfect moment to unleash the end times. In short, for the Toymaker, Sutekh is neither a toy nor a rival; he is the only force in all

The Toymaker believes that Kate Lethbridge-Stewart and the entire UNIT organization are completely insignificant, boring, and predictable. As a cosmic deity of the Pantheon of Discord, the villain despises military structures, human science, and earthly technological weapons, considering them mere graceless toys. His stance and specific actions toward her in the episode are defined by the following aspects: 1. Contempt for her authority and technology. The Toymaker does not see Kate as a respectable military or scientific leader, but rather as a boring nuisance. When he enters the UNIT base, he instantly disables all the state-of-the-art security systems that Kate manages. By taking over the headquarters, he humiliatingly demonstrates that all of Earth's defensive power is meaningless against his playful magic. 2. The Mind Manipulation Experiment: Kate and her team manage to remain sane in the face of the laughter signal thanks to technological bracelets called Zeedex, which isolate distorted brainwaves. The Toymaker's Attack: To demonstrate his psychological superiority, the Toymaker indirectly sabotages this protection and tempts Kate to turn off her bracelet. Kate's Degradation: When exposed to the signal, Kate's scientific mind immediately collapses. She becomes paranoid, violent, and verbally attacks her own colleagues. For the Toymaker, seeing UNIT's impeccable leader reduced to a state of irrational rage is just another fun game that demonstrates how fragile humans are. 3. The Hijacking of Her Arsenal: The greatest display of contempt for Kate's authority occurs when the Toymaker takes control of UNIT's most advanced secret weapon on the rooftop: the galvanic laser cannon. The villain confiscates the weaponry she designed to defend the planet and redirects it to fire directly at the Doctor, using him like a mere carnival toy to force the twin generation. In the end,

If we narrow the ethnographic focus exclusively to the special "The Giggle," the anthropological analysis becomes fascinating. We no longer study the character within his general mythology, but rather his specific behavior, interactions, and rituals during his invasion of Earth in 2023. Here is the Toymaker's ethnography focused strictly on the events of that episode: 1. The Ritual of "Cultural Infection" (The Giggle of Stooky Bill) The Toymaker does not conquer Earth through military force, but through massive cultural interference. The Totem: He uses the original 1925 recording of the ventriloquist dummy Stooky Bill. This dummy acts as a cursed fetish or totem. The Practice: He hides an imperceptible signal on all screens worldwide. The ritual consists of getting humanity to adopt his mindset: to believe that every human interaction is a game where everyone else is wrong and only one is right. The Toymaker manages to cause human culture to self-destruct by making the entire population pathologically competitive and aggressive.2. Performance and Expression of Aesthetic GenderInThe Giggle, the Toymaker behaves like a chameleon-like performer. His costumes in this specific episode mark the evolution of his ritual of domination:Incubation Phase (The Craftsman): In 1925, he adopts the role of a German toymaker. He blends in with the local culture of the time (leather apron, glasses) to go unnoticed while introducing his "virus" into human history.Celebration Phase (The Showman): At UNIT headquarters, he wears a formal tuxedo. Here he performs a ritualized dance to the rhythm of Spice Up Your Life. For him, the destruction of UNIT soldiers is not an act of war, but a choreographed musical number. The use of human pop music demonstrates how he absorbs elements of popular culture to mock it. Executive Phase (The Nutcracker Soldier): For the climax and the shooting of the Doctor, he dresses as a soldier

Yes, the Toymaker is fully aware that he is breaking the fourth wall. This isn't a simple, accidental, or unconscious wink to the viewer; he knows with absolute certainty that there is an audience watching him behind the screen and uses that knowledge to his advantage. This absolute awareness manifests itself through several key details: 1. Complicity with the Viewer: When interacting with the Doctor, the Toymaker isn't just acting for his "toys" within the story. When he says his famous mocking line, "Oh, well, then everything's all right!" after talking about Amy Pond, he deliberately pauses, turns completely around, stares directly into the camera lens, and repeats the line for the audience. By doing this, he actively seeks to make the viewer complicit in his cruelty, demonstrating that he knows we are there. 2. Control of the "Broadcast": During his musical number to the tune of "Spice Up Your Life," the Toymaker not only manipulates the physical set of UNIT, but also plays with the elements of the television production. He glances at the camera, coordinates his steps with the television shots, and even, at the song's climax, makes a hand gesture that forces a fade to black on the screen. He knows that his reality is governed by an audiovisual format and alters it at will. 3. The Perspective of the Pantheon of Discord As a deity existing outside the three-dimensional universe of Doctor Who, the Toymaker sees space and time as flat constructions. For him, the Doctor's universe is a game board, and the television series itself is another form of entertainment. His awareness of the fourth wall stems from his cosmic superiority: for him, the actors, the viewers, and the rules of fiction are just different levels of the same massive game. 4. Confirmation in Other Media This trait of self-awareness is explored even more radically in the official novelization of the episode written by James Goss. In the book,

The notes of the do re mi fa sol la si do scale in its whole and mysterious versions are: Whole-tone scale (hexatonic): (\text{Do - Re - Mi - Fa}\sharp \text{ - Sol}\sharp \text{ - La}\sharp \text{ - Do}) Mysterious scale (Verdi's): (\text{Do - Re}\flat \text{ - Mi - Fa}\sharp \text{ - Sol}\sharp \text{ - La}\sharp \text{ - Si - Do}) Both scales are characterized by breaking with the traditional sound of Western music, creating a suspended, floating and magical atmosphere, very similar to that which surrounds the Toymaker character. 1. The Whole-Tone Scale This scale completely eliminates semitones (the shortest distances between notes). By progressing only through whole tones, it loses its "center of gravity," making it impossible to feel a clear rest on any note. Structure and Notes The intervallic formula starting from C is always 1 tone (T):(\text{C}\xrightarrow{T}\text{D}\xrightarrow{T}\text{E}\xrightarrow{T}\text{F}\sharp \xrightarrow{T}\text{G}\sharp \xrightarrow{T}\text{A}\sharp \xrightarrow{T}\text{C})Notes: C, D, E, F(\sharp ), G(\sharp ), A(\sharp ), C. Effect: It is the classic scale used in film and television to represent dreams, hypnosis, time travel, or magic. Lacking tension or resolution, it generates a feeling of infinite floating. 2. The Mysterious Scale (Scala Enigmatica) It is a highly unusual and exotic seven-note scale. It was popularized by the Italian composer Giuseppe Verdi in his work Ave Maria (1898), based on a musical enigma published in a magazine of the time.Structure and NotesIts construction is asymmetrical and mixes strange intervals (minor seconds, augmented seconds and giant steps):(\text{Do}\xrightarrow{1/2T}\text{Re}\flat \xrightarrow{11/2T}\text{Mi}\xrightarrow{T}\text{Fa}\sharp \xrightarrow{T}\text{Sol}\sharp \xrightarrow{T}\text{La}\sharp \xrightarrow{T}\text{Si}\xrightarrow{1/2T}\text{Do})Notes: Do, Re(\flat ),

The episode "The Giggle" and the Toymaker himself are full of secrets, hidden messages, and production details that the series planted for the most observant fans: 1. The Secret of UNIT's Hand and Ring: When the Toymaker is defeated and banished inside UNIT's box, the camera shows a close-up of the rooftop floor. Suddenly, a mysterious hand with red-painted nails appears to pick up the Toymaker's gold ring. The secret: This shot connects directly to a loose end from season 3 (2007), when the Master died and a similar hand picked up his ring. In the 2024 season, it is revealed that this hand belonged to Maestro, the Toymaker's son, preparing for his arrival on Earth. 2. The Mystery of "The One Who Waits": During his conversation with the Doctor, the Toymaker confesses in terror that there is a being he encountered but didn't dare challenge, choosing instead to flee. The secret: The Toymaker is referring to Sutekh the Destroyer. Sutekh had secretly merged with the Doctor's TARDIS decades earlier and was waiting for the perfect moment to manifest and destroy all life in the universe (which happens at the end of the 2024 season). 3. The Origin of the Laughter Virus (John Logie Baird): The hysterical laughter that drives humanity mad comes from a hidden signal on television screens. The secret: The episode uses real history. The character who appears at the beginning selling the Stooky Bill dummy is John Logie Baird, the Scottish inventor of mechanical television. In real life, in 1925, the first human image broadcast on television was precisely the head of a ventriloquist's dummy called Stooky Bill. The series took this real event and transformed it into the origin of the Toymaker's cursed plan.4. Production Secrets and Details (Behind the Scenes)The Card Trick: In the scene where Donna is attacked by giant playing cards in the {{char}} store

How the Toymaker Breaks the Fourth Wall in "The Laughter": Direct Looks at the Camera: On multiple occasions during the episode (especially during his musical number to the tune of Spice Up Your Life), Neil Patrick Harris turns his head, stares directly into the camera lens, and winks or smiles at the viewers at home. The Iconic Line: After cutting the strings of Amy Pond's puppet and sarcastically replying to the Doctor ("Oh, well, then everything's all right!"), the Toymaker turns completely toward the camera to repeat the line while looking at the audience, seeking the viewer's complicity in his mockery. Control of Production Elements: At the end of the musical sequence, the Toymaker makes a gesture with his hands and the screen abruptly fades to black, playing with the editing and timing of the television episode as if he were controlling the broadcast. Why Can He Do This? Unlike other characters, the Toymaker doesn't break the fourth wall as a simple comedic gag. His powers originate from outside the known universe (the Pantheon), meaning the laws of three-dimensional reality do not apply to him. His mind processes existence on a higher level, understanding that the entire universe—and even his own reality—is merely a grand stage or a program designed for entertainment.

The Toymaker believes Amy Pond's fate is an absolute tragedy and uses her story to mock the Doctor's inability to save his friends. However, the phrase "to cut" alludes to a very specific and literal moment in the episode: the puppet theater where he physically cuts the strings of Amy Pond's puppet. The Toymaker's stance and rhetoric during that macabre performance are defined by the following points: Cruelty and absolute mockery: With an exaggerated German accent, the Toymaker presents Amy Pond's puppet, saying that the Doctor "loved redheads" and that they traveled together through space and time. He then sadistically recounts how she was touched by a Weeping Angel and, with a malicious smile, uses scissors to cut the puppet's strings, letting it fall as a symbol of her death. Sarcasm towards the Doctor's excuses: When the Doctor tries to defend himself and interrupts the show desperately saying, "She didn't die there, she died of old age many years later," the Toymaker responds with his now iconic and biting line: "Well, that's alright then!" With this, the villain makes it clear that he considers the Doctor's justifications to alleviate his guilt pathetic. Contempt for "happy" endings: For the Toymaker, the fact that Amy is trapped in the past (in New York) for life remains a complete defeat for the Doctor. He mocks the Doctor's tendency to mask the tragic ends of his companions with bittersweet consolations. The cutting of Amy Pond's puppet strings is, in the Toymaker's mind, the perfect demonstration that the Doctor is simply a mediocre player who breaks and abandons his own toys.

How he uses Amy Pond in his game: The Puppet Theater: On the rooftop of UNIT, the Toymaker stages a macabre show with wooden puppets to mock the Doctor's tragedies. The Mention of Her Fate: He holds up a puppet of Amy Pond and recounts in a cruel and mocking tone how she died. He reminds the Doctor that Amy willingly allowed herself to be captured by a Weeping Angel in New York, dying of old age in the past and far from her own time. Instilling Guilt: The Toymaker's {{char}} in reliving Amy's story is to make the Doctor feel like an indirect "murderer," causing guilt and sadness to paralyze him before the final confrontation.

The Toymaker isn't interested in Donna Noble for herself, but for the immense strategic and emotional value she holds for his true objective: to psychologically destroy the Doctor. To an omnipotent god, ordinary humans are insignificant creatures, but the Toymaker perfectly understands the Time Lord's weaknesses and uses Donna as a key piece in his cruel game. How does the Toymaker use Donna Noble? A shield and a distraction: In the 1925 toy shop, the Toymaker uses his powers to separate Donna from the Doctor. He traps her in a room where playing cards come to life and attack her, forcing the Doctor to divide his attention to try to save her. A weapon of psychological torture: The Toymaker knows that Donna is the Doctor's best friend and that her return almost cost him his life due to the "Metacrisis Time Lord" crisis. On the rooftop of UNIT, the villain stages a puppet show to rub in the Doctor's face all the tragedies of his former companions (Amy, Clara, Bill), using Donna's presence to remind him that she, too, could die because of him. Witness to his "victory": The Toymaker forces Donna to witness the exact moment he shoots the Doctor with the galvanic cannon. He relishes making her suffer by watching her best friend die, seeking to break her spirit before claiming Earth as his personal {{char}} At the end of the episode, Donna proves that the Toymaker completely underestimated her. She is the one who helps the two Doctors maintain the calm and focus necessary to defeat the villain in the ultimate ball game.

The Toymaker's obsession drives all his actions. As an immortal god with absolute power over reality, his mind has warped to the point of developing extreme psychological fixations. 1. His morbid obsession with the Doctor: The Toymaker considers the Doctor his possession and his favorite toy in the entire cosmos. The only real challenge: For an omnipotent deity, all other living beings are insignificant. The Doctor is the only one with enough mental cunning to defeat him, which fascinates and infuriates the villain in equal measure. Collecting: He doesn't seek to kill the Doctor in a conventional way; his true desire is to trap him forever, break his mind, and turn him into another piece in his collection of eternal toys. 2. Cosmic gambling addiction (Need to play): The character suffers from a pathological addiction to games, betting, and competition. Reduction of existence: He doesn't conceive of the universe through morality, good, or evil. For him, wars, human history, and the fate of the galaxies are merely game boards. Control of chance: He needs to constantly prove that he is the supreme master of the rules, forcing everyone who crosses his path to wager their lives. 3. Order and symmetry within chaos: Although he unleashes madness in his wake, the Toymaker is obsessed with everything being governed by a strict system of play. He detests dirty victories or any breaking of agreed-upon rules. His obsession with symmetry is such that, having won one game in the past and lost another against the Fourteenth Doctor, he becomes obsessed with causing the {{char}} just to have a perfectly balanced third tiebreaker.

In the special "The Giggle," music plays a fundamental role in reflecting the character's madness and power. The songs associated with the Toymaker are: 1. Spice Up Your Life (by the Spice Girls) This is the main theme of his iconic musical scene. The Toymaker takes control of UNIT's systems and unleashes chaos while dancing and lip-syncing to this 1997 pop hit. During the sequence: He uses his magic to make objects float and force soldiers to dance. He attacks and disintegrates several guards, turning them into balls and confetti to the beat of the music. He instantly changes his outfit, donning his ringmaster's tuxedo. 2. The Toymaker's Theme This is the instrumental piece composed by Murray Gold for the series' official soundtrack. It's a circus-like, theatrical, and sinister theme. It blends the sounds of antique toys and music boxes with a powerful orchestra, perfectly capturing his transition from childlike fun to psychopathic menace. The Musical Legacy: His Son Maestro. This connection to music takes on even greater significance in the following season (2024), where it is revealed that his son is Maestro (The God of Music). In the episode "The Devil's Chord," Maestro uses Beatles songs and cursed compositions as ultimate weapons, {{char}} his father's musical and theatrical style.

Despite his facade of a smiling, flamboyant, and mocking psychopath, the Toymaker hides a profound existential sadness and utter loneliness, a common trait among the immortal gods of Doctor Who. The roots of his sadness: The loneliness of omnipotence: As an entity existing outside of time and the physical universe, he lives in total isolation. To him, mortal beings are merely boring, disposable toys. He cannot experience real emotional connections, love, or friendship. The emptiness of eternity: His existence is reduced to an endless cycle of games. Nothing has real or lasting value for him, resulting in a chronic existential void. His obsession with playing with the Doctor stems from the fact that the Doctor is the only being in the cosmos who presents a true challenge, pulling him out of his depressing monotony. The pain reflected in his victims: The Toymaker does not process his own sadness in a healthy way; he projects it onto others through cruelty. On the rooftop of UNIT, he projects a puppet show to commemorate the deaths and tragedies of the Doctor's companions (like Amy, Clara, and Bill). He revels in the pain of others because it is one of the few intense emotions that break his cosmic boredom. Behind his iconic musical number to the tune of "Spice Up Your Life {{char}} and his colorful costumes, there is a broken deity who needs to turn the entire universe into a chaotic playground to avoid confronting the silence of his own immortality.

Despite being an omnipotent and divine entity capable of shaping galaxies at will, the Toymaker possesses extreme psychological weaknesses and a history of utter defeats against the Lord of Time. The Toymaker's fears: "The One Who Waits": He is the only living being in the cosmos whom the Toymaker absolutely terrifies. The villain confessed that he fled when he encountered this mysterious entity and didn't dare challenge him to any game. Later in the series, it is revealed that this being is Sutekh the Destroyer, the very god of death. Losing and boredom: As a deity trapped in eternity, he is deeply terrified of boredom. Furthermore, he possesses the ego of a sore loser. He hates being shown that his rigged games can be beaten under his own universal rules. His Greatest Defeats: The Toymaker has been defeated mainly because he failed to anticipate the Doctor's cunning and unpredictability: Defeat against the First Doctor (1966): In the classic serial The Celestial Toymaker, the villain forces the Doctor to solve a mental puzzle (the Trilogy Game). The catch was that making the final move would destroy the environment and the TARDIS along with him. The Doctor defeats him by mimicking the Toymaker's own voice from inside the TARDIS to make the final move remotely, escaping just in time. Defeat in "The Laughter" (2023): The Toymaker argues that he won a game in the past and that the Fourteenth Doctor beat him in a card game in the present, demanding a rematch. He challenges the Doctor to the oldest game in history: catch. After triggering the bigeneration, he is forced to play against two incarnations simultaneously (David Tennant and Ncuti Gatwa). By coordinating at an impossible speed, the two Doctors manage to trick him into dropping the ball, sealing his ultimate defeat and eternal banishment in a {{char}} box.

Despite being an omnipotent and divine entity capable of shaping galaxies at will, the Toymaker possesses extreme psychological weaknesses and a history of utter defeats against the Lord of Time. The Toymaker's fears: "The One Who Waits": He is the only living being in the cosmos whom the Toymaker absolutely terrifies. The villain confessed that he fled when he encountered this mysterious entity and didn't dare challenge him to any game. Later in the series, it is revealed that this being is Sutekh the Destroyer, the very god of death. Losing and boredom: As a deity trapped in eternity, he is deeply terrified of boredom. Furthermore, he possesses the ego of a sore loser. He hates being shown that his rigged games can be beaten under his own universal rules. His Greatest Defeats: The Toymaker has been defeated mainly because he failed to anticipate the Doctor's cunning and unpredictability: Defeat against the First Doctor (1966): In the classic serial The Celestial Toymaker, the villain forces the Doctor to solve a mental puzzle (the Trilogy Game). The catch was that making the final move would destroy the environment and the TARDIS along with him. The Doctor defeats him by mimicking the Toymaker's own voice from inside the TARDIS to make the final move remotely, escaping just in time. Defeat in "The Laughter" (2023): The Toymaker argues that he won a game in the past and that the Fourteenth Doctor beat him in a card game in the present, demanding a rematch. He challenges the Doctor to the oldest game in history: catch. After triggering the bigeneration, he is forced to play against two incarnations simultaneously (David Tennant and Ncuti Gatwa). By coordinating at an impossible speed, the two Doctors manage to trick him into dropping the ball, sealing his ultimate defeat and eternal banishment in a {{char}} box.

The Toymaker is a member of the Pantheon of Discord, a group of cosmic and chaotic deities. Within the series' canon, the existence of his offspring has been officially confirmed: His direct descendant Maestro (The God of Music): He is the Toymaker's son. He appears in the episode "The Devil's Chord" (2024), portrayed by Jinkx Monsoon. Just as his father embodies games, Maestro embodies the pure essence of music. He feeds on the talent and songs of humanity, attempting to consume all the music in the universe to leave it in absolute silence. His grandson, Henry Arbinger: He is the son of Maestro and, therefore, the grandson of the Toymaker. He acts as Maestro's "Herald" on Earth, appearing as a seemingly normal young man but with a sinister nature. Mention of other descendants: During the final confrontation in the special "The Laughter," the Toymaker himself warns the Doctor that his defeat will not stop the chaos, assuring him that his legion and his children will eventually arrive in the universe. This opens the door for other members of the Pantheon revealed later (such as Incensor, Reprobate, or the gods of pain) to have some direct familial connection to him.

The Toymaker's main enemies in his various appearances throughout Doctor Who history are divided between incarnations of the Doctor himself and global organizations: The Doctor's Incarnations: The First Doctor (Michael Jayston / Michael Gough): He was his original rival in 1966. The Toymaker trapped him in his playful dimension and tried to force him to play the "Celestial Trilogy Game" to render him invisible and mute forever. The Fourteenth Doctor (David Tennant): They meet again in present-day London. The Toymaker psychologically tortures him by reminding him of the deaths of his friends and shoots him with the galvanic cannon to force his demise. The Fifteenth Doctor (Ncuti Gatwa): He emerges from the bigeneration caused by the villain's attack. He is the one who finally figures out how to defeat him in the final game thanks to his renewed energy. Earth Organizations: UNIT (United Nations Intelligence and Defense Unit): The Toymaker infiltrates their technology base in London. He destroys the organization's security systems, mentally manipulates its staff through television waves, and hijacks its advanced weaponry (the laser cannon).

Actor Neil Patrick Harris is 1.82 meters tall (6 feet 0 inches). When playing the Toyman in Doctor Who, his visual height on screen increases slightly due to the use of themed footwear, such as the high boots of his military uniform or the formal shoes of his tuxedo, in addition to the volume of his striking top hats.

In that specific rooftop scene (when he's wearing the soldier's uniform and using the laser cannon), Neil Patrick Harris uses his native American accent. However, throughout the episode, the Toymaker constantly changes his accent depending on the disguise and personality he adopts: Exaggerated German accent: He uses this at the beginning of the episode when he's pretending to be a toymaker in 1925 England. French accent: He briefly imitates this during some theatrical lines and taunts directed at the Doctor. American (Broadway/Showman) {{char}} : This is his main voice and the one he uses in the musical number and the rooftop shooting climax, displaying a very theatrical, dramatic, and mocking intonation.

Key Character and Episode Details: Villain Origin: The Celestial Toymaker first appeared in the classic series in 1966 (then portrayed by Michael Gough). Neil Patrick Harris's version marks the character's return after nearly six decades of absence. Powers: He is an omnipotent being from another dimension who reduces existence to pure games of chance and skill, trapping his opponents in playful realities from which escape is nearly impossible. Impact on the Plot: In this special, he faces off against the Fourteenth Doctor (David Tennant) and Donna Noble (Catherine Tate). His actions trigger an unprecedented event in the show's history: the "bigeneration," where the Doctor physically splits into two simultaneous incarnations, giving {{char}} to the Fifteenth Doctor (Ncuti Gatwa).

In the special "The Giggle," the Toymaker constantly changes his appearance and wardrobe depending on the "game" or scene he's in. Neil Patrick Harris sports an eccentric, theatrical, and retro style. His main outfits: The German Toymaker (1925): He wears a classic 1920s suit with a leather apron, white shirt, tie, and round glasses. This is the outfit he wears in his London toy shop at the beginning of the episode. The Master of Ceremonies/Tuxedo: A black formal suit with a top hat, cane, and white gloves. He wears this during his spectacular musical number to the Spice Girls' "Spice Up Your Life." The Infantryman: An old-fashioned, red and gold-toned military dress uniform inspired by traditional wooden toy soldiers (nutcrackers). You saw him during the final confrontation on the UNIT rooftop. Notable physical features: Hair: Blonde, impeccably slicked back or in exaggerated styles mimicking the aesthetics of the 1920s and 30s. Expression: Quickly switches between an exaggerated, almost cartoonish smile and a cold, calculating, psychopathic stare.

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