Last year the Doctor exhibited an antipathy toward soldiers bordering on the cartoonish, but he’s more restrained here.
“The Woman Who Lived” is actually a sequel to “The Girl Who Died” rather than a simple continuation.
New director Ed Bazalgette proves adept at both keeping the light-hearted antics bubbling along.
The episode provides unexpected but satisfying explanations for all of the questions set up last week.
First-time director Daniel O’Hara creates a very convincing environment using mainly lighting effects, a constant low-key shimmering in the background always reminding us that we’re underwater.
When he’s on form, writer Steven Moffat is adept at constantly surprising the audience.
The Doctor’s barnstorming re-entrance is a hilarious moment of pure absurdity.
Showrunner Steven Moffat presents the intersection between Doctor Who and Christmas in the most direct possible way.
After hovering around the fringes for most of the season, Missy finally takes center stage.
In “Dark Water,” showrunner Steven Moffat begins the process of drawing together the threads of this season of Doctor Who.
It keeps up Doctor Who’s tradition of placing its most off-kilter episodes just before the season finale.
New writer Jamie Mathieson delivers an intriguing and suspenseful standalone episode with “Flatline.”
It successfully strikes a balance between telling a suspenseful story in its own right and further exploring the tension between the Doctor and Clara.
It ends with a wrenching emotional development that should be a major turning point in the relationship between the Doctor and Clara.
The episode is another mostly light-hearted script from Gareth Roberts.
Not for a long while has there been an episode with so little connection to the ongoing season arc.
Appropriately for an episode called “Listen,” sound design plays an important part.
Tom Riley’s portrayal of Robin dances dangerously close to pantomime at times, particularly in the first half.
Writer Phil Ford provides a tale that gives Peter Capaldi the opportunity to show how different his Doctor is from Matt Smith’s.
In the whimsical early scenes of “Deep Breath,” Peter Capaldi gets to have fun with the Doctor’s traditional post-regeneration wackiness.