 Writing in The New Yorker , William Jelani Cobb observed that Tarantino 's occasional historical elasticity sometimes worked to the film 's advantage . " There are moments , " Cobb wrote , " where this convex history works brilliantly , like when Tarantino depicts the Ku Klux Klan a decade prior to its actual formation in order to thoroughly ridicule its members ' veiled racism . " The marauding masked group depicted in the film were known as " The Regulators " and were depicted as spiritual forebears of the later post @-@ civil war KKK and not as the actual KKK . 
