What fun it must have been to attend any of the St Petersburg Free Music School concerts during the second half of the 19th century. Balakirev, idiosyncratic mentor of the group briefly together as the "Mighty Handful", and his acolytes – Borodin, Musorgsky, Rimsky-Korsakov and the one we usually don't mention, César Cui – would have had orchestral works and sometimes the odd aria from an opera-in-progress on the programme, often alongside music by their western idols Berlioz, Liszt and Schumann.

After the roaring success of Daredevil this year, Marvel brings us the next instalment in the TV rendering of their universe – or part of it at least. Jessica Jones, created by writer Brian Michael Bendis and artist Michael Gaydos in 2001, is a failed superhero and volatile PI who copes with her demons by drinking so heavily that at least one of her superpowers seems to reside in her liver. Super strength, near-flight and a fine line in withering sarcasm make up the rest.

Since Crossy Road took mobile devices by storm, every developer seems intent on copying its success. Largely by copying its cute isometric retro visual approach and grafting it onto other genres. Even Crossy Road's makers are at it – Shooty Skies applies the same visual style to a "bullet hell" shoot-em-up arcade game. With BlockQuest, as with The Quest Keeper, the genre is dungeon-bashing RPG. And again, this turns out to be a fairly good, if derivative move.

Ask opera-lovers to name their favourite one-acter and chances are the choice will be L’enfant et les sortilèges. Colette’s typically off-kilter fable of a destructive kid confronted with the objects and animals he’s damaged is set by Maurice Ravel to music of a depth which must have taken even that unshockable author by surprise. Ravel’s earlier L’heure espagnole, on the other hand, is much less likely to be top of the list.

Kafka and Jones, the names above this little shop of horrors, would be a marriage made in off-kilter theatreland had the Czech genius written any plays. He didn’t, so Nick Gill has made a well-shaped drama out of the assembled fragments of which The Trial consists.

Finally reaching its concluding 22nd episode, delayed further by the "mid-season break" fashionable with American shows, Gotham [****] stands tall as a distinctive contribution to the seemingly inexhaustible superhero universe. Instead of relying on gargantuan cartoon characters and a hurricane of computerised effects in Marvel Avengers style, Gotham has used the scope afforded by a prolonged TV series to develop a specific world populated by rounded characters which evolve and move convincingly through time.

In short, Game Of Thrones the videogame. The Witcher 3 sees this epic role-playing fantasy series truly rival its key competitor, the Elder Scrolls series. The Witcher 3 particularly scores on delivering a huge, credible and complex world with incredible granularity – it's real go anywhere, do loads of things stuff.

Joss Whedon’s Avengers sequel loses much of the original’s exhilarating freshness. It begins in the middle, doesn’t really end, and regularly makes you wonder just how long the Marvel box-office bonanza can continue. The moment when its Cinema Universe’s exponentially growing complexity slams into entropic reverse, as happened to Stan Lee and Jack Kirby’s original comic-book vision, is plainly visible on the horizon.

Now that opera houses mostly lack either the will or the funds to stage the more fantastical/exotic pageants among 19^th century operas – the Royal Opera production of Meyerbeer’s mostly third-rate Robert le Diable was an unhappy exception – it’s left to valiant concert-performance companies like Chelsea Opera Group to try and trail clouds of kitschy glory. Which, thanks to the usual astute casting of world-class voices for the solo roles and a remarkable semi-professional orchestra under Royal Opera chorus master Renato Balsadonna, they did last night.

Telltale Games has pioneered the 'box set' model of gaming with their hit episodic adventures based in the Walking Dead universe as well as The Wolf Among Us, set in the modern fairytale world of the Fables comics. Telltale's long-awaited Game of Thrones licence has now launched on multiple platforms. Does their signature blend of multiple choices and moral dilemmas lend itself to George RR Martin's brutal fantasy world?