But the police box is bigger on the inside and travels in time and space!

The final scene in Kill the Moon is one of my favorite things Doctor Who has done. Just blowing up 50 years of premise and returning it's central relationship to a dark level it hasn't been at since the Doctor was a kidnapper.

Like I said, everything between Flatline and Deep Breath I rate about the same because it's all "solid Who". The bread and butter, workaday stuff. Really depends on what kind of solid Who you like for that order. The top 5 I chose because they all did something unique.

Contradictory emotions and illogic is the engine on which Doctor Who THRIVES.

That's Our Master! *laugh track*

Before a better solution came, which really happens once a month with the man.

Pretty sure looms are thoroughly uncanon by this point.

I never thought I'd see the day when something that uses a "power of love" ending gets described as joyless.

A Christmas Carol is my favorite Doctor Who story, and I'm an absurdly huge fan of the Rankin/Bass specials, so I'm okay with this.

Listen
Mummy on the Orient Express
Kill the Moon
Dark Water/Death in Heaven
Flatline
In the Forest of the Night
Robot of Sherwood
The Caretaker
Time Heist
Into the Dalek
Deep Breath

Their filming schedules probably made that difficult, difficult, lemon difficult.

How cathartic must that have been for him? I like to think he just saw Missy, recognized who she was because hivemind, and instantly killed her on sight without even assessing the context. Saving the Doctor's soul was an unintentional bonus.

The bow tie is now a mark of death.

The whole thing was just a clever thought that's actually dumb. Taking the idea of "The Doctor's the only one who can save the Earth", to it's logical extreme of "therefore we must make it legally possible and required of him to do so" is clever. Shoehorning that into this story for no reason was dumb. It's one of…

Disagree. We have proof previously established Time Lords can change gender, so he's obviously Romana.

To answer the last question, I do! It was a clever subversion of the Doctor/Companion dynamic, one that was both shocking and dramatically rich! Granted, if you're looking for anything else you're probably disappointed (and that's probably rational), but I LOVED that aspect so much I can look over everything else.

I don't think he ever actually wanted his memories erased, I took it as implication he knew it was for the greater good from the start and explained that to Clara off screen.

It was so RTD like I was convinced the Doctor was going to win by making the Cybermen remember their human side again. Though it was not RTD-like in that the Doctor/Master chemistry was now boringly heterosexual.

By far it's most thematically rich season. Has any other season even had a theme? I think the closest is that weird entropy dealie classic season 18 was working with. Anyways, I loved it, and want more.

Ah, a classic Moffat finale script. One that has awful pacing and huge tonal whiplashes, one that introduces ludicrous concepts that go nowhere, one that still doesn't seem to understand that men and women are in fact not separate species, and one that MAKES ME CRY LIKE A BIG BABY AND BELIEVE IN THE POWER OF LOVE.