We're at a moment of change in games – new consoles, new ideas, new ways of playing. And what better game to usher out one era and in a new one than BioShock Infinite?

This first-person shooter is still wedded to the core mechanics of traditional big-budget console gaming, but layered on top of a core of classic run-and-gun is a series of innovations in terms of character, script, gameplay and scope of theme that point to exciting potential future directions for the next generation of games.

How can you not love a show that opens with Robert Plant singing "Satan, your kingdom must come down" on the soundtrack? The song is aptly chosen, since Boss is the story of Chicago mayor Tom Kane, a bully, a tyrant and a master of the black arts of political fixing and gloves-off deal-making. But his days are numbered.

If you want a jolting snapshot of how British pop culture has changed in the last three decades, take a look at the clip below of Billy Bragg singing "Between The Wars" on Top of the Pops in 1985. Even if the old Savile-anchored singles showcase was still around, can one imagine a contemporary singer having a mainstream hit with such a political song today? It makes you want to despair.

Over 30 years, Bon Jovi has remained one of the more cartoonish fixtures in soft rock. With characteristic lack of irony, the boys from New Jersey have perfected the art of singing nonsense - my favourite example is "someday you tell the day / by the bottle that you drink" - with straight faces. Now, they’re getting more ambitious. What About Now is being touted as a “big rock record full of social commentary". Its subject is Obama’s America. How odd then that half of it sounds a bit like the Stereophonics.

Catching rabies from a corgi, living on a council estate, becoming an uncommon book addict, painting the town red, incognito on VE Day, parachuting into East London on a date with James Bond... what a strange fantasy life our Queen has led.*

In one of the great US sitcoms, Seinfeld, the mantra of the show's producers was "no hugging, no learning". Well, Parks and Recreation - which may end up occupying a similarly lofty place in comedy history - takes the opposite tack. Warm and wonderfully witty with characters and relationships that actually evolve, Greg Daniels and Michael Schur's sitcom also features TV's finest comedy ensemble. This perky, award-winning comedy has taken an absolute age to reach us, considering it debuted in the US in 2009 (where the fifth season has already aired).

After the nightmarish vision of justice system turned spectator sport that was last week’s Black Mirror, you’d be forgiven for feeling a little disappointed that writer Charlie Brooker hadn’t ramped up the horror at the start of the final episode of this all-too-short second series. There were many adjectives one could consider throwing at Waldo, the inexplicably popular blue cartoon bear at the centre of the action, but “horrific” probably wasn’t one of them.

Is this the most poetic title in London theatre today? Anders Lustgarten’s new play joins a ragged march of work, from David Hare’s The Power of Yes (2009) to Clare Duffy’s Money: The Gameshow (currently at the Bush Theatre), which attempts to tackle the global financial meltdown. Unlike these other shows, however, it’s USP lies in its claim to offer a solution to the pains and penalties of economic austerity.

There’s an episode in the first season of Mad Men in which the ad execs of Sterling Cooper brainstorm a campaign for Richard Nixon, just prior to the 1960 presidential election. Dramatic irony being what it is, it’s a rare opportunity to watch our anti-heroes working on a pitch (based chiefly around smear tactics) that is predestined to fail. By contrast, Pablo Larraín’s No chronicles how a team of ad men in 1980s Chile, led by Gael Garcia Bernal’s maverick René, put together a campaign to topple a dictator that we know will succeed against all odds.

After last week's spectacularly unconvincing foray into saving Africa (usually the last refuge of a doomed statesperson), Birgitte Nyborg returned to the centre of Denmark's political life for the concluding pair of episodes in series two. Back amid themes of political infighting, media skulduggery and personal relationships under pressure, Borgen had, amid sighs of relief, come home to where it belonged.