#Jodie Domergue

[travistee34]

It's the end of the year, so let's have some nitpicks roasting on an open fire, looking at the most festive of subjects: a Tarantino movie!

Read, share and enjoy :D

[pedroam-bang]

The Hateful Eight (2015)

[hungry-hobbits-art]

i was gonna do the full tarantino meme fill but i don’t think i have the energy for it so have the sketches i’m really pleased with - colonel hans landa, jody domergue, django, and broomhilda :DDD

thank u to those that submitted suggestions and apologies if yours isnt here ;w;”

[ DO NOT REPOST/EDIT ]

[ily-honey-bunny]

Daisy: I can't believe I'm stuck in a cabin with nine guys

John: Nine?!? There's eight of us?!?

Daisy:

Daisy: Shit

Joe: Shit

Oswaldo: Shit

Jody, under the floor boards: Shit

[henrylevesconte]

Pete Hicox putting on the performance of a lifetime, double limp wrist and extremely posh, going to make cocktails while Jody Domergue sits in the rat infested basement, Grouch Douglas gets harassed constantly, and Marco busts ass in the cold: follow moi~ 🍸

[siouxsiebannion]

The Hateful Eight (2015)

[locke-writes]

Hello Love! HC for being Pete Hicox's little sister and dating Jody? (Hateful Eight) :) thank you.

I don’t think Pete would be happy at first

He’d probably try and convince you that dating Jody was a bad idea

Tell you all the things Jody has done

List a bunch of reasons why he thinks you shouldn’t be with him

But you counter all of his reasons anyway

You also list all the things that you and Pete have both done

Because sure Jody has done some bad things but Pete and you have too

Pete probably sulks about it for a bit

Glares at Jody whenever he sees you with him

He’d definitely be the brother to ask Jody what his intentions with you were

And threaten to kill Jody if he ever upsets you

Jody knows this is a serious threat

Knows that Pete could and would kill him if you were harmed in anyway

Jody and you are definitely a power couple though

Everyone fears the gang of course but they know to fear you when it’s just you and Jody

He teaches you how to shoot

And you show him a few tricks too

Jody tries to make you laugh and smile as often as he can

You steal his scarf so much that he says he’ll buy a new one and gives you his

Jody always teases you but you tease him right back

This is one way to always make him smile

The both of you are stubborn though which might not always be good

But Jody also knows that whatever you set your mind to will be done

Always saying I love you to one another before heading out

Mainly because it’s true but also because you know that there might be some trouble and something could happen

[spdermen]

about to delete some saved urls

niallsrohan (1D, niall horan)

belamyblakeaf (the 100, bellamy blake)

baellamyaf (the 100, bellamy blake)

hollandsrodenaf (holland roden)

magunastarks (mcu, morgan stark)

cxloemorningstar (lucifer, chloe decker)

jody-domergue (the hateful eight)

dylanobirne (dylan o’brien)

stewartkrsten (kristen stewart)

noahcentineoaf (noah centineo)

[titleleaf]

🔥🔥 Tarantino films

🔥  kill bill isn’t that good

🔥  his defense of his depiction of gendered violence in The Hateful Eight was disingenuous and immature as shit, HOWEVER, if you only have objections to violence against women in Tarantino’s filmography with respect to The Hateful Eight, I respectfully ask what the hell movie you were watching for the rest of his work

🔥   why’s he so obsessed with sexual violence toward men, come on (I KNOW WHO’S SAYING THIS BUT i know what’s wrong with me, what’s wrong with qt)

🔥  daisy and jody domergue were in love

[supremetyrantino]

Daisy Domergue & John Ruth

(A two-for-one! Thank you!)John "The Hangman" RuthDo I like them?: Yes5 good qualities: a little emphatic, honest, reliable, strong-willed, and strategic3 bad qualities: stubborn, tendency to underestimate, and lets emotions get in the wayFavorite scene: When John Ruth and Marquis Warren metOTP: John Ruth x Marquis Warren, John Ruth x Daisy DomergueBROTP: John Ruth and Marquis WarrenOT3: noneNOTP: noneFavorite quote: "You only need to hang mean bastards, but mean bastards you need to hang."Headcanon: John Ruth is a father of 3 children and served in the Union Army as a corporal. After the war was over, he returned to being a bounty hunter and sends his reward to his family for support. Also, he only became a bounty hunter for justice, especially after the untimely death of his loved ones.Daisy "The Prisoner" DomergueDo I like them?: Not really5 good qualities: resourceful, kinda smart, witty, tough, and excellent troll3 bad qualities: manipulative, annoying, and overconfidentFavorite scene: When Daisy's plans falls and got executedOTP: Daisy Domergue x John RuthBROTP: Daisy and Jody DomergueOT3: noneNOTP: Daisy Domergue and Marquis WarrenFavorite quote: "When you get to hell, John. Tell em Daisy sent ya."Headcanon: Daisy and Jody Domergue are half siblings and their parents were killed by Union soldiers in the Civil War. They had to fend to themselves through robbery and a life of crime. Growing up, they started the Domergue gang and became one of the most notorious gangs in Wyoming.

[miss-rosen]

WHEN LOUIS VUITTON MET GRANDMASTER FLASH: THE ECCENTRIC ‘90S CAMPAIGN THAT SHOOK HIGH FASHION Miss Rosen for Document Journal

When Tom Ford joined Gucci in 1990, a new era was born: one that brought luxury goods to the forefront of popular culture. As the return of the double Gs took the globe by storm, in 1997, LVMH’s Bernard Arnault appointed Marc Jacobs as Creative Director of Louis Vuitton to design the company’s first ready-to-wear clothing line.

To prime the public for this pivotal moment in the esteemed fashion house’s 143-year history, Vuitton’s French advertising agency, Euro RSCG Paris, hired Guzman, the American husband-and-wife photography team of Russell Peacock and Constance Hansen, to shoot the 1996 campaign for the Louis Vuitton Centennial Collection—a celebration of the iconic Monogram Canvas print featuring original clothing designs by Vivienne Westwood, Manolo Blahnik, Azzedine Alaïa, Helmut Lang, Romeo Gigli, Isaac Mizrahi, and Sybilla.

“Vuitton’s past campaigns were focused on travel. This was a big departure for them,” Peacock says. “They were conservative and traditional. Wealthy people would buy Vuitton but it wasn’t a fashion statement. They wanted to be hip.”

By the mid-90s, Guzman had achieved recognition creating unconventional advertising campaigns for companies like KOOKAÏ and Tag Heuer as well as shooting album covers artists like Janet Jackson, Jody Watley, and Total. But, as Hansen explains, “We were outside the fashion box. We weren’t reverential. We didn’t understand the respect of the couture. We were working in hip hop culture, and went with what we knew.”

Read the Full Story at Document Journal

Photo: Guzman. Louis Vuitton Centennial Collection. Helmut Lang Record Album Case. Grandmaster Flash styled by Basia Zamorska. Hair Danilo Dixo. Make Up Mathu Andersen. Art Direction Maurice Betite at Euro RSCG Paris. Art Buyer Catherine Mahe. French Photo Agent Veronique Peres Domergue.

[movievillaindeaths]

Jody Domergue - The Hateful Eight (2015)

Jody is shot in the back of the head by Major Marquis Warren just as he’s about to surrender, spraying his sister Daisy with blood in the process.

[feilongfan]

Those bad boys Channing Tatum played in the last couple of years

[folayams]

The Hateful Eight and Django Unchained 

This was my first time watching The Hateful Eight for some reason, though I like Tarantino, nothing about the film drew me in while it was in theaters. To be honest I found it difficult to stay engaged throughout the film and frequently found myself wondering why they had presumably spent so much money on horses, just to add window dressing to a series of conversations inside a wood cabin. Unlike Django which I had seen before, and which was action packed from the beginning, The (nearly three hour long) Hateful Eight was all talk until the final showdown. I suppose the casual and wonton abuse of the female captive, a murderer named Domergue, was meant to offer a steady diet of action throughout the film. But something about her psycho-bitch appetite for abuse left me wondering if she wasn’t just a half baked vehicle for a bit of acceptable anti-lady violence, considering her wholly unnecessary lack of lines. My suspicion about Tarantino’s disdain for this female character was reinforced by her inability to stand up after cutting herself free from the now dead bounty hunter she is chained to. Nothing about the prior scuffle indicated that she could no longer walk, and her appetite for abuse up until this point suggested that she would have the sheer will to stand, once physically free from his lifeless body. Instead she stumbles, staggers and sputters her way over to the gun, missing her opportunity to save herself. Now you may think that because I’m writing this while on my period, my uterus may have jumped out of my body and taken over my keyboard, directing the line of this inquiry toward wholly unnecessary feminist nitpicking. And while I do physically feel like my uterus is trying to escape from my body, you would be mistaken in that thought. I am talking about the critical moment. The climax of the film when all of the tensions come to a head. Domergue realizes she is not going to earn the allegiance of the white sheriff (who then faints) and she goes for the gun. Samuel L. Jackson has been castrated by rifle and is defenseless (I’ll come back to that part, don’t worry.) But this woman, who has for two hours been full to the brim with vinegar, and who has taken fist after elbow to the face without losing her cheeky grin, stumbles and sputters her way through the opportunity she has spent the entire movie waiting for, giving the sheriff just enough time to regain consciousness, shoot, and hang her, watching nostalgically from the comfort of Samuel L. Jackson’s lap (having somehow overcome his lifetime of racism) as the life drains from her body.  I am not judging Tarantino’s relationship to female characters at this point; after all he did give us Kill Bill. I resist the impulse to draw some conspiratorial allegory about allegiance between Black and White men vs all women. But I will say that the inconsistency in Domergue’s character which allowed for the sputtering climax was only made possible by the gloss of misogyny which has prepped audiences to believe that at any time, any woman (even a career murderer with unrivaled blood thirst) may simply feel too faint to stand.

Looking The Hateful Eight in relationship to Django, the two are in some ways almost the same film, and in other ways, night and day. Much as Jodie Domergue’s love for his sister is an invisible hand shaping the first story, Django’s love for his bride Broomhilda, discussed but almost never visualized on screen, drives the second. Broomhilda is the beauty to Domergue’s beast; they are both fiery; Broomhilda in a way that earns her the nickname “Lil Troublemaker” from Django, and abuse from white slavers. Domergue in a way that earns her a black eye, a bloody nose, and a death sentence in the post Civil War west.

The films also share bounty hunter protagonists, and racism as a central point of conflict. In each there is the matter of vigilante justice v.s. making sure the Hangman gets a chance to do his job; and characters frequently pretend to be something they aren’t. Both films open with battered and hopeless men traversing desolate landscapes (a beleaguered crucifix and a lone traveller on a snowcapped mountains v.s. battered slaves marching through the desert). The travelers meet unexpected companions which set them on a collision course with destiny. The films end very differently though; in Hateful Eight the lawmen end up dead, while Django makes off with his bride, having killed the transgressors without even being shot once. There is a begrudging acceptance of death on behalf of most of the characters in The Hateful Eight, presumably due to life being so precarious in the Wild Wild West. For me this was somewhat disorienting, and I didn’t realize that I had arrived at the climax of the film until I was halfway through it. In Django however, life is much more precious, and the affront of a free black man on a horse heightened the life and death stakes, each murder being a serious and gratifying transgression of Django’s prescribed social statement. I am now eager to watch Inglorious Bastards again and consider the irony of the German being an ally to the Negro in Django, and the enemy of America in his WWII film. 

Castration: In Hateful Eight, Samuel L. Jackson is castrated by rifle, at the hands of Domergue’s brother Jodie who has been lying in wait under the floorboards. If we are talking about suspense and gratification, this castration is the gratifying payoff to the question of whether or not Sam Jackson will get away with making (everyone vividly imagine) a Confederate General’s son perform fellatio on him and subsequently murdering that General. By parallel, an overseer threatens to castrate Django but he is saved by the bell, in the form of Samuel L. Jackson’s character who arrives to inform him that he has been sentenced to a fate worse than death. One could say Sam Jackson is politically castrated in Django, but I as yet reserve my judgement as to whether or not Tarantino intends to articulate this level of allegory. These facts together however do beg the question; what is Quentin Tarantino’s relationship to black men’s genitals? 

There is much more to be said about Tarantino’s work on these two films. The camera work on Hateful Eight alone will certainly bring me back to it, although it wasn’t my favorite, and to be honest I am a bit perturbed to find myself leaving jewels of cinematic beauty and craft unexamined in favor of questioning the sociological implications of his work therefore, je vous laisse, for now. 

[nicolasdagenais8thousand-blog]

Quentin Tarantino’s The Hateful Eight: review

The Hateful Eight’s a film about a gang of outlaws attempting to free one of their members (Domergue, the sister of the gang’s leader Jody Domergue) out of the hands of bounty hunter John Ruth, said the Hangman, who’s bringing her into Wyoming’s town of Red Rock to hang and collect the 10 000$ reward on her head.

Unfortunately for them, they’ll run into an ex-black cavalry captain of the Union’s army, Major Marquis (Tarantino regular Samuel L. Jackson), also recycled into a bounty hunter, bringing 3 bodies into town and an ex-rebel of the confederate army, Chris Mannix (a colorful Walton Goggins, who looks like he’s becoming a Tarantino regular too), both saved during a blizzard by Ruth, who’ll successfully counter their plan, though they’ll pay it with their lives, not before having hung Domergue to death, in memory of John Ruth’s tradition of bringing his bounties in alive to hang lawfully after trial.

One of Tarantino’s most bizarre efforts, and a film in which none of the characters are without blame though some more than others, it’s hard to see a moral out of it that makes any sense (except maybe the collaboration of the South and the North against outlaws) and the script itself and story line is a little blurry and use what’s called deus ex machina, seemingly out of nowhere ‘god interventions’ more than once as important elements of the story. That kind of ‘mistakes’ or ‘easy tricks’ didn’t happen much in Pulp Fiction or Django.

But one leaves the nearly 3 hours of the film not with the sense of having seen a great Tarantino (a little bit like coming out of Inglourious Basterds), but a good one nonetheless, as despite story holes and some pointless dialogues, it’s tigthly directed and especially when we get to Minnie’s Haberdashery, the closed space where most of the film happens, carries with it the usual Tarantino sense of importance which is the mark of all great filmmakers, though it’s pretty hard afterwards to pinpoint what was important in what we saw, except maybe a well-made (and beautifully photographed) movie.

I think a common feature of Tarantino’s oeuvre is to set the entertainment value of a film above any other criteria such as moral or box office success, though I guess his best films are still the ones that mean anything; most of the other ones, like this one, are still pretty daring and fun to watch.

What about using someone else’s script next time or adapting a book like in Jackie Brown? You can’t come with a perfect film doing everything yourself every time, can you?

Though Tarantino year in year out still manages to come pretty close and Django, 20 years into his career, really was a beauty: I wouldn’t be surprised if he hits a home run next time once again.