I'd rather say you're arbitrarily splitting one idea into two.

It doesn't matter how weird something is in relation to the real world. What interests me is whether part of it's weird in relation to the rest of itself. Does everything neatly form a harmonious whole? Or is there an energy, a frisson, that comes from different parts clashing?

Things falling through plotholes would be weird in the real world, but are commonplace in the PPC. You took something incongruous and potentially weird, and explained it in terms of something commonplace for that type of story.

That's what I was trying to get at with the clashing of different genres in RTD's stories. Story ideas that shouldn't belong together, being forced together anyway, and the wonderful weirdness it generates.

After all, in metatextual terms, space-time machine like the TARDIS is really a machine for mixing genres. RTD instinctively understood that; Moffat doesn't.

For the sake of fairness, I won't compare the first episodes each writer did - RTD might not have gotten into the swing of things - nor the last - epic finales, etc. Instead, I will look at the stories they wrote in each of their second series'. (That puts Moffat at a disadvantage, because I really like Doomsday, but we'll see) Conveniently, that's four each. Let's take a look at those endings:

RTD

-New Earth: They cure the zombies by pouring IV medicines over them and telling them to cuddle. They fix the Cassandra problem by... letting her get out of dying, and then she chooses to anyway. I'm not sure either of those follow from the episode, and I'm positive the second doesn't.

-Tooth & Claw: The house is a werewolf trap (despite not being in any way werewolf-proof) and the Koh-i-Noor diamond is used to focus moonlight on it and kill it. Did we see the diamond or the telescope - or any hint that the house was a trap - before the finale? I can't remember.

-Love & Monsters In the interests of fairness (since we've acknowledged no-one liked it) I'll swap this out for Gridlock from Series 3: A nurse teleports the Doctor out, reveals that the Motorway was sealed because of disease, and then the Face of Boe demonstrates that 'life energy' == electricity enough to open the giant doors. Was any of that foreshadowed? Were Novice Hame and the Face even in the rest of the episode?

-Army of Ghosts/Doomsday: Part One - the ghosts are Cybermen walking between dimensions. That's foreshadowed by the rest of the series. The Sphere is Dalek, which isn't foreshadowed but is awesome. Part Two - the Genesis Ark is a prison with a massive army of Daleks in, and then one Cyberman resists the irresistable programming and cries oil, then the Doctor opens the breach which now has a vacuum on the far side (despite the Cybermen walking out of it earlier), and it pulls both armies in from all over the world despite being preeeeetty small. I'm... not convinced that comes out of the episode, either.

Moffat

-The Impossible Astronaut/Day of the Moon: Part One - There are Silent, like, everywhere, and the little girl is inside the spacesuit that was coming for her. Part Two - 'You should kill us all on sight'. I can't remember to what extent the idea of the Silent planting instructions is in these episodes, though the other factors - not remembering them, that they're everywhere - certainly are.

-A Good Man Goes To War: The baby is Flesh, just like Amy previously was. The baby is River, which comes out of the Gamma Forest girl writing her name; that's foreshadowed by 'the only water in the forest is the river'.

-Let's Kill Hitler: River saves the Doctor by giving up her remaining regenerations. The healing power of regeneration energy is established - in this very story, even - but the actual 'get out of death free card' has no buildup.

-The Wedding of River Song: Letting River kill the Doctor fixes the timeline, which was brought up as soon as they came close together. The Doctor doesn't die because he was inside the Teselecta; we'd seen him talk to it at the beginning of the episode, but we'd also seen his body burnt on a pyre, so that's a bit iffy.

Conclusions

I'm not going to do a 'score' - it's way too subjective for that - but it seems from this sample that a lot more of Moffat's endings come out of the episode than RTD's. Thinking about it, though, what you might be noticing is the tendency for Moffat to give the Doctor a situation he can only fix by dying - 'The Big Bang', 'Let's Kill Hitler', and 'The Wedding of River Song' all jump to mind - and then having him come up with a clever way out. RTD was more inclined to give him a situation he couldn't fix at all - Dalek invasion in 'Parting of the Ways', the cage you mentioned in 'Last of the Time Lords' - and then having him come up with a clever way out. Or, sometimes, having someone else come up with a clever way out - the two examples (the two season finales) I named both rely on the Doctor's companion to work, though the latter was at least the Doctor's plan. Apparently.

hS