“You can only find truth with logic if you have already found truth without it.” 
― G.K. Chesterton

Saw latest exercise in cinemagical sensationalism and cultural semantics by Quentin Tarantino and loathe as I am to join the foolish fray surrounding this provocative punch to the cultural solar plexus, I'm finding it "hard to resist" (in joke for those who've seen the flick) putting in my two cents.  But, in the interest of imposing some discipline on myself and with the hope that a playful approach might help in avoiding the pitfalls of a smug pedantry,  I'm putting my observations in the form of "Jeopardy" style answers and will leave it to you to intuit the possible response questions.
And if it's not obvious from the following, (despite some quibbles with how the auteur paced and structured his opus) I found it to be  profoundly affecting and effective. Ellen was tempted at times to leave the theater when she found some scenes too painful to endure, and I suspect that is precisely what Tarantino was hoping for--even while knowing in advance that he would be charged with glorifying violence.  An unjust charge in my view because I believe his intent was to magnify violence in order to glorify the act of defeating it.

Answer: Historical truth isn't the point.
Answer: Resorting to distorted stereotypes is not the same as employing universal archetypes.
Answer:  Violence that is easy to watch is the greater distortion.
Answer:  If he showed how it really was, you couldn't watch. 
Answer: Catharsis
Answer: It's not real. It's hyper-real. At times evern Surreal!
Answer:  "Art is a lie designed to make us realize the truth."
Answer: It's his movie, not yours. 

And currently appearing on the other side of the revisionist history equation...

...are the ups and downs-upstairs and downstairs- in the  victorian soap opera concerning those to the manor born and those having to bear with them.  Admit I got hooked and now I'm a goner (as is Ellen) and guess I'll stick it out to the end.  Most recent episode took the plunge into genuine tragedy, which was almost a relief after so much petty melodrama, and certainly had the power to stir heavy emotion--Ellen was shaking in grief.   But I'm beginning to see the wheels of  the formulaic mechanism at work and (like a Dickens novel) feeling played like a puppet from week to week as the multiple plot lines play out like grandfather clockwork with the  cuckoo popping out at regular intervals to keep me on my toes.  One thing that bugs me is that from watching this season, you would never know or suspect that they had all just a few years back gone through that seismic cataclysm during The Great War.  No one ever refers to it, no one acts like it changed them or their attitudes, and it kinda annoys me cause I thought that was the whole point of last season when it seemed like it would force the story (and family) into a whole new way of dealing with the the world-- transitioning from 19th century victorian era into 20th Century Age of anxiety.   Well, more or less like I said earlier, it's their show, and I gotta say it's a finely crafted piece of work and I've grown quite fond of the maids and kitchen staff. Only hope Bates gets whatever's comin to him soon, maybe gets some help from Oprah--cause he's holding everyone else up with his dilly dallying around that snake pit of a cell block.