"I find a lot of comedy from this period to be dated, but I never feel that way about Annie Hall. Somehow even references to psychoanalysis and Marshall McLuhan feel vital. And you’ve got to love Paul Simon as the most unlikely lothario in film history."

"We are indeed amusing ourselves to death. This started when Marshall McLuhan stated that the medium was the message. I said right away that the message was the medium. But, alas, my voice was maybe not loud enough, and/or the medium without a serious message is much more amusing to people. So the entertainers became the gods of the people, who screamed: “Keep entertaining us! We want to die being entertained!” The kings of the world wished the same, and they let their countries fall while they were entertained. This is the only book in this list that was published way back in the 1960s. I hope you can get it."

"David Cronenberg’s reflexive masterpiece of modern horror, with James Woods as a seedy purveyor of soft-core exploitation for cable TV, and Debbie Harry as his siren, brought the media-as-message theories of fellow Torontonian Marshall McLuhan to visceral life. This was one of the first movies I rented on VHS, and Videodrome is partly an exploration of the strange, clunky physical sensation attached to the idea of a feature film being available on a paperback-size plastic-and-tape cassette that is inserted into a machine . . . and our brains. A quarter century later, Cronenberg’s dazzling vision of a world where image and flesh are one—“long live the new flesh”—Videodrome’s futuristic vision is timelier than ever. And above all that, the movie is sexy, smart, funny, and fascinating, moving adeptly between its layers of reality, imagination, and that vast territory in between."