He's half-Dalek, you know.

The whole set up & execution of that had me thinking of John Cleese leading the Russian firing squad on Monty Python's Flying CIrcus: "How cood jou meess?"

When the Doctor said: "Regeneration?", for just a moment I thought it was him suggesting it as a way to save Clara.

I think that, as with the Millennium Falcon, there are a few touches she's added herself. She does seem to have made a study of technology.

Maybe it has some lingering effect where he remains face-blind for Clara, even if he intellectually knows she's about.

It was a layer cake of misdirects! The review notes most of them but my biggest fear was that it would be a re-hash of Donna Noble's exit — but nope, Clara out-thought that one. Clara Who indeed.

Excited…and scared.

Particularly ones that aren't one-horned, one-eyed, and flying.

I'm just hoping that it turns out her father was The Devil.

There are a few great moments like this in Superman Returns, with him stalking Lois with x-rays or chilling in orbit listening to radio traffic. Not selfish but perhaps self-indulgent and feeling really super.

Yeah, given how Kevin shouted at Patti to show herself when he was alone in the woods in the previous episode, it seems like he didn't need to free himself from Patti so much as free them both from his NEED for Patti.

When he was digging discovery up, there was just a moment when I hoped the tarp covering it was actually the sail of some sort of sky ship.

Or alternatively, Quincy M.E.

I'd even call it necessary for any ongoing Star Wars story. You need to have some way to stop people always jumping away other than sabotage and malfunctions.

Phrasing!

I read her as being more drunk on danger than happy. I didn't feel her being more than momentarily really happy since Danny died.

I was hoping for a defiant: "Danny!", not so much calling to him as stressing that the dead are not forgotten.

Oh yeah, good point. Or they could use Pete Townshend's adaptation as the first MCU musical.

Yeah between dangling the wife and lie-fucking Luke, Jess is going to have some serious penance to do (after she saves the world from the Purple Man, of course).

Yeah, when every scene is increasing the distance between where you are and getting to the end, it's probably harder to appreciate things that don't really build the story. But I actually find it kind of interesting, not just for the all-women dynamic but the way the secretary is trying to keep an even keel through it.