Science has fallen in love with comedy – or maybe that should be the other way round. Whichever, geek is now chic, and being in possession of a brain is something to be laughed with, rather than at. All of which explains the popularity of Radio 4's The Infinite Monkey Cage, or Dara Ó Briain's School of Hard Sums on the Dave channel, both of which employ a large dose of comedy to discuss some terrifically complex topics.

It may not have won the Best Picture Oscar, but Gravity's sack of gongs for cinematography, sound editing, original score and more was richly deserved, while Alfonso Cuarón's acute directorial vision brought its own reward. I was amazed by Gravity on first viewing, and watching it again on disc it's even better. I've always found the notion of travelling into the infinite freezing vacuum of space a horrifying prospect, and perhaps only Kubrick's 2001 can match Gravity in its ability to evoke its incomprehensible and unfeeling emptiness.

Such is the level of confidence that the Silent Witness producers have in their new ensemble that star turn Emilia Fox barely lifted a scalpel in the latest instalment of the BBC’s long-running crime series. Either that or she needed a night or two off, and who could blame her? It's now in its 17^th series, and Fox has stuck it out for more than half of them.

Hailed in some quarters as a wily and satirical retro-classic, Andrew Bujalski's Computer Chess depends for its survival on threading its way through the eye of a tiny nostalgic needle. Bujalski's intention was to create a kind of hommage to the single-minded, possibly autistic computing pioneers of the early Eighties, often unsightly weirdos with hilarious hair and no clothes sense who nonetheless "saw this mountain and insisted on climbing it," as Bujalski puts it.

Today’s special preview of the impending 50th anniversary episode of Doctor Who finally filled in some of what happened in the gap between Paul McGann’s 1996 made-for-TV movie and the show’s 2005 televisual regeneration (Big Finish audios notwithstanding, obviously). So it was appropriate that today’s other Who-related event, a one-off tie-in documentary fronted by Professor Brian Cox, began by doing its best to bridge the gap between its presenter’s time in 90s dance-pop band D:Ream and his own unlikely regeneration as one of TV science’s most famous personalities.

There are plenty of aspects of Doctor Who worth examining through a scientific lensPersonally, I’d happily watch an hour of back-and-forth between Cox and current Doctor Matt Smith - their short scenes, interspersing the rest of the show’s lecture format, were a joy to watch - but the show had unfortunately promised Proper Science, with the usual celebrity guests, rather than a jaunt in the TARDIS. Thankfully Cox is an engaging lecturer, which seems as good an explanation as any for why the majority of those celebrity guests remained stuck to their seats throughout.

Cox began, as all good lecturers do, by setting out his thesis - by the end of his allotted hour, he wanted to demonstrate whether it was or was not possible to travel in time just like the Doctor. With all of space and time to choose from, his goal was modest - Dr Michael Faraday’s Christmas Lecture on the chemical history of the candle from 1860, given in the same building from which he was addressing his audience. Faraday’s theories popped up again throughout, as did those of Albert Einstein and Italian physicist Enrico Fermi, whose ‘Fermi Paradox’ is the apparent contradiction between the likelihood of the existence of extraterrestrial life and the fact that we on Earth have not yet seen any evidence of said life.

There are plenty of aspects of Doctor Who worth examining through a scientific lens - I for one would love to see a few of those times the Doctor saved the day armed with nothing more than his trusty sonic screwdriver debunked - so it was a bit of a shame that Cox’s lecture focused solely on the big questions: those of time travel and alien life. Though Cox and his volunteers (former Bang Goes the Theory man Dallas Campbell, Charles Dance, Professor Jim Al-Khalili and comedian Rufus Hound) were able to recreate some of the science through simple on-stage experiments, there was no chance that we were going to meet a genuine Martian by the lecture’s end or that Cox would be able to have a cup of tea with his beloved Faraday and be home in time for supper.

By 10pm we had learned that it was theoretically possible to travel into the future, if you didn’t mind a 10-year detour around outer space, that a former pop star with a considerable IQ needs to have LSD jokes explained to him and that, if you were going to throw Rufus Hound out of the universe through a black hole - or at least a convincing picture of one - you’d never actually see him disappear. Whether the rather complex science had stuck was another matter - but it was certainly an interesting, and fun, place to start.

• Doctor Who: The Return of Doctor Mysterio reviewed on theartsdesk

Overleaf: watch the latest trailer for Dr Who 50th Anniversary celebrations on Saturday 23rd November

As a director, Alfonso Cuarón is a stickler. In his renowned Children of Men, he sought to dismantle cinema, to break down the glass wall between audience and content by making the film more like a live event. To a great extent, he succeeded, opening with a 17 minute continuous take and, later, using the expertise of Oscar-winning cinematographer Emmanuel Lubezski (known as Chivo), he would fashion takes of stunning length and complexity. No wonder that his next film, Gravity, took over four years to make: he needed to top his last one.

As good as many films are, few have the “wow” factor that leaves you elated, high as a kite. Gravity is one of those. Alfonso Cuarón’s space drama is a cinematic tour-de-force, after which it takes quite a while to come back to Earth.

While the main gallery is closed for renovation, the Wellcome Collection has taken the opportunity to mount a fascinating upstairs show exploring the way choreographer Wayne McGregor collaborates with scientists.

When Leonardo da Vinci went for a job in Milan, he wrote ahead mentioning his bridge-building skills and then turned up at court with a lyre he had made in the shape of a horse’s skull. But had he finished compiling his illustrated treatise on the human body - said Alastair Sooke in this Edinburgh Culture Show special - it would have been as a scientist, rather than as an artist, that he would have been remembered for centuries.

Teamwork, as the song once said, makes the dream work. Homo sapiens knows this, if not quite by nature, then at least by nurture. Turns out that there are some chimpanzees in Leipzig which are all over the team thing too. Offered the chance to pull together on a simple mechanism to retrieve a nut – one each – two chimps will work in tandem to make it happen.