There are several ways you could go about deconstructing just the first paragraph of Inside Bay Area writer Dino-Ray Ramos’ interview with John Dunn, the costume designer for Factory Girl.
WHEN I FIRST heard the name Edie Sedgwick, I had no idea who she was. Then, a couple of months back, I heard of this movie being made by George Hickenlooper called “Factory Girl” (currently in limited release). At first, I thought it was about bra-burning Norma Rae-like women trying desperately to rid the world of sexism ï¿½ but then I realized I was totally wrong. It was a film about Andy Warhol and his muse with a blonde pixie cut, Edie.
You could point out, for instance, that the whole bra-burning myth has been debunked 4 bazillion times.
You could wonder how anyone writing about fashion and film has never heard of Edie Sedgwick and does not know the difference between the Factory and a factory. And while it’s unclear whether the Norma Rae mention is meant to refer to a.) women who work in factories or b.) “women trying desperately to rid the world of sexism,” if the writer did indeed intend choice b.), you might as well point out that the movie is in fact about unionizing a textile mill.
You could wonder why the article implies that a “muse with a blonde pixie cut” is somehow more worth knowing about than (theoretical) bra-burning feminist union organizers.
You could read on to the places where the writer refers to actress Sienna Miller as “the former Miss Jude Law” (which makes less sense the more you think about it) and defines poor Edie Sedgwick as “Paris Hilton, but with 10 times as much soul.”
Or you could go knock back another Advil and raise a glass to the spirit of Norma Rae.