"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."

"It's the same era, yeah. If anything, it demonstrates my eclectic nature, and also it illustrates an amazing period in music history. This album is still my favourite Bjork record, though I love a lot of things she does and I don't want to limit her to this one. It really illustrated the zeitgeist, especially if you were gay. There was a sophistication [to the gay scene] that wasn't being defined by the dance music scene – though maybe a little bit with the Pet Shop Boys. Bjork really brought the whole dance world, the clubbing world, up to this other more introspective level, and dealt with this strange life that everybody seemed to be living: on one hand it was really great and beautiful and passionate, but also very frightening, drug-induced and AIDS-related. She just became this kind of phantom for what everybody was really feeling."