The stunningly good "The Spoils of War" packs a lot of emotional subtext into a short and action-packed episode.
In "The Queen's Justice," ice and fire finally come together, and everyone needs to let go of the things they think they know.
With new allegiances being forged, "Stormborn" tests the strengths—and limitations—of different kinds of loyalty.
In "Dragonstone," the Season Seven premiere of Game of Thrones, survival may depend on reconciling the sins of the past with the needs of the future.
The tenth-season finale fails Pearl Mackie's Bill, but "The Doctor Falls" is a strong episode that sets Steven Moffat up to say his final word on Doctor Who.
In "World Enough and Time," all the themes that have obsessed Steven Moffat's era of Doctor Who come home to roost.
Classic Doctor Who writer Rona Munro returns with "The Eaters of Light," to show the current generation how to do a simple story well.
What could I possible say about Mark Gatiss's writing that I haven't said before? Not a thing, so I'm not even going to try...
In "The Lie of the Land," the multi-part story of the Monks comes to an end, with patently ridiculous plotting and sadly diminishing returns.
"The Pyramid at the End of the World" presents a familiar conflict: the Doctor vs. God. So this week I'm taking a long look at the treatment of religion in New Who.
Steven Moffat's "Extremis" inspired some thoughts on River Song, death, and the problem of endings in Doctor Who.
"Doctor don't you call me, cause I can't go/ I owe my soul to the company store..." Workers of the world unite behind the Doctor in Peter Mathieson's "Oxygen."
Delivering nothing, saying nothing, and meaning nothing, Mike Bartlett's "Knock Knock" is a forgettable and regrettable hour of Scooby Who.
Some excellent character work elevates a fairly standard "monster-of-the-week" story.
New companion Bill learns what it means to travel with the Doctor—and proves her mettle—in a strong second episode.