The appropriation: (just for example) Black or Jewish or female identity/culture/history as depicted in his films.
Punching down: Depictions of the above that could be recieved as negative, or use of the above at the expense of the above.
Such as:
The routine use of racial language and casual use of black iconography and history. Like with the slurs in Resevoir Dogs, True Romance's Sicilians, or Django's everything. (see not mine but Spike Lee's criticisms amongst many others)
Or Jewish barbarity in IB and the reducing of Jewish suffering to alternative history (see not mine but Jonathan Rosenbaum's criticisms).
Or The way women are often portrayed and treated in his films. (See not mine but everybody's criticisms)
And all this "in light of OUATIH" because it feels to me like he objectifies the character of Tate and not just through a lecherous male lens (lingering shot of her ass and legs and later feet). He goes on to situate her adjacent to sadistic violence that plays as an inversion of what she suffered. And for what? To gratify Tarantino's vengeance and by extension the audience's? To reduce real world tragedy to a sanitised fairytale. Because it was bad ass? I'm not sure but It seems it is Tarantino's want to recontextualise history through puerile fantasy and fetishization. Whether that be the Jewish holocaust seen through eyes of an all Jewish death squad, or African slavery retold as heroic Western. And (just perhaps) why even the actions of a predatory, rapist film director buggering a drugged 13 year old can be revised by Quentin Tarantino as her being "down with it".
I don't even want him cancelled, or to smear him as some decadent corrupter of our youth. I don't think he does it because him bad man, he does it because he's Quentin Tarantino - a reflextion of our depravity not the cause. And he is still as talented behind the camera as they come, for whatever that's worth.
I just happen to be over his jizzy adolescent contributions.
Not the fecking Mansons (although Boots Riley had something interesting to say about the depiction of them in the film). And not Bruce Lee either: Although, actually it kind of fits - I certainly wouldn't call buffoonish Bruce a loving depiction of Asian-action's tentpole star. Yes it possibly is an example of Tarantino's flippant appropriation of that which he professes to be devoted to.
