13. The Lodger (Series 5 - Episode 11 - 2010)
The Doctor faces what has perhaps always been the most elusive subject in his Millenia plus of existence...everyday human life. Series 5 took the typical "Doctor Lite" episode slot reserved to showcase companions and side characters and turned it into the "Doctor and Craig" hour. This change, as well as the inspired casting of James Corden as Craig, has so far yielded two really funny episodes that show The Doctor excelling at (he's a natural Footballer) or missing the point (he still doesn't seem to understand human romance and sexuality) of pieces of human existence. All because some sort of disturbance has Amy trapped in the TARDIS, which happens to be just out of The Doctor's reach. This episode is a fine blend of character development, higher brow sitcom humor, and the typical Doctor Who "monster of the week" approach; while at the same time, it shows us just why he loves humanity so much. We puzzle him as much as he puzzles us.
14. The Pandorica Opens/The Big Bang (Series 5, Episodes 11 & 12 2010)
What series would be complete without a big, bold, timey wimey conclusion? (Apparently, Series 7, if Moffat's "No Two Parters" clause is still in effect.) This time, The Doctor and Amy must again team with River Song in order to prevent impending doom. The only problem is, the impending doom in this story just happens to be the non-existence of The Universe itself. Never before had the threat been so great, the scope of the players involved so voluminous, and the cliffhanger so hopeless than what had occurred at the end of The Pandorica Opens. (The climactic "Words Win Wars" scene features mentions of some species that have only made appearances in official canon novels.) This was the culmination of the first real story arc involving one omnipresent villain in the modern era. Sure, Davies ran series long arcs in his time, but they always seemed to be connected in a scattering of clues/references in several episodes. With the exception of one or two episodes, the "Crack In The Universe" is seen throughout every episode; and in the beginning of The Pandorica Opens, we're treated to an explicit throughline weaving through several key episodes. Moffat took the format Davies had revived and he'd turned it into a finely tuned machine. This is Series 5's proverbial icing on the cake.