| Variable | Value |
|---|
Edit count of the user (user_editcount) | 0 |
Name of the user account (user_name) | 'TeodoroMonk9' |
Groups (including implicit) the user is in (user_groups) | [
0 => '*',
1 => 'user'
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Rights that the user has (user_rights) | [
0 => 'pollny-vote',
1 => 'comment',
2 => 'autocreateaccount',
3 => 'createaccount',
4 => 'edit',
5 => 'createpage',
6 => 'createtalk',
7 => 'writeapi',
8 => 'viewmywatchlist',
9 => 'editmywatchlist',
10 => 'viewmyprivateinfo',
11 => 'editmyprivateinfo',
12 => 'editmyoptions',
13 => 'abusefilter-log',
14 => 'abusefilter-log-detail',
15 => 'abusefilter-view',
16 => 'centralauth-merge',
17 => 'oathauth-enable',
18 => '',
19 => 'read',
20 => 'voteny',
21 => 'createblogpost',
22 => 'move',
23 => 'move-subpages',
24 => 'move-rootuserpages',
25 => 'move-categorypages',
26 => 'movefile',
27 => 'upload',
28 => 'reupload',
29 => 'reupload-shared',
30 => 'minoredit',
31 => 'editmyusercss',
32 => 'editmyuserjson',
33 => 'editmyuserjs',
34 => 'purge',
35 => 'sendemail',
36 => 'applychangetags',
37 => 'changetags',
38 => 'editcontentmodel',
39 => 'user',
40 => 'mwoauthmanagemygrants',
41 => 'torunblocked'
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Whether or not a user is editing through the mobile interface (user_mobile) | false |
Page ID (page_id) | 0 |
Page namespace (page_namespace) | 0 |
Page title (without namespace) (page_title) | 'Django Is Free' |
Full page title (page_prefixedtitle) | 'Django Is Free' |
Action (action) | 'edit' |
Edit summary/reason (summary) | '' |
Old content model (old_content_model) | '' |
New content model (new_content_model) | 'wikitext' |
Old page wikitext, before the edit (old_wikitext) | '' |
New page wikitext, after the edit (new_wikitext) | 'Quentin Tarantino's films continue to be not the second coming or the following end of the entire world, but nevertheless they don't turn out normally as many movie connoisseurs would like, because they certainly were so eager to understand the story of a slave from the changing times of slave-owning America. Generally speaking, Quentin put plenty of effort into developing creative fantasies on the theme of revenge from seductive women, Jews, and in Django it came to the explosive theme of the slave exploitation of African Americans. At the same time frame, the fascinating violence of "Kill Bill", "Death Proof" and "Inglourious Basterds" was replaced by the often ugly massacre from the slave-owning South of the United States, and it should be admitted that Tarantino was not afraid to detail the delicate topic.<br><br>The film begins in 1858 somewhere in Texas, when the German bounty hunter King Schultz (Christoph Waltz) acquired the slave Django (Jamie Foxx) under unusual conditions to greatly help King in his business. They soon become equal partners. Django is married and his wife Brumgilda (Carrie Washington) was bought by sadistic planter Calvin Candy (Leonardo DiCaprio). After Django's acquaintance with the German legend in regards to the captive Brumgild, yesterday's slave with the appropriate psychology realizes himself Siegfried, and is preparing to kill the dragon - her master in order to become truly free.<br><br>Here alarmingly tense white population, as seen "nigger" on a horse - a negative omen of the approaching chaos, but there is also a dentist from Germany with no medical practice, but with guns trained Django craft of killing, while other white occupied niggers other interesting things: fighting to the death , self-harm and sunbathing. Yes, Tarantino found a fresh suitable channel for splashing out aggressive provocations, tirelessly confessing love to evil.<br><br>Additionally, please tell me who, in addition to the Hollywood prodigy, may have looked at mixing the American slave system, bounty hunters, German legends, the far-right Ku Klux Klan organization, a versatile soundtrack from the compositions of Ennio Morricone James Brown, Rick Ross and others, and to use spaghetti westerns as an area dish? Tarantino considered it, and [https://www.123movies.builders/ 123movies] arrived on the scene an intercultural dish with the typical pampering in the shape of shooting, violence and rivers of blood, delicious, by the way. True, the recipe for the medial side dish was suggested to him by Sergio Corbucci together with his 1966 Django, to which Quentin confessed in the very first seconds of his film.<br><br>The film is also characterized by humor and irony, in the context of the plot it's not at all times possible to fully capture and correctly evaluate them, but a scene with the participation of representatives of the Ku Klux Klan stumbling over bags on the heads will surely inflate the overall atmosphere.<br><br>Christoph Waltz, after Inglourious Basterds, plays a nice guy and brings cute warmth to his role, and Leonardo DiCaprio is strong as a dapper scoundrel whose vile traits include boyish enthusiasm. It is by using great pleasure that Samuel Jackson plays his role in whose old slave, obsequiousness and insight are combined, which makes him a striking character. The weak link of the film was Django and Jamie Foxx, who plays him. The transformation of the hero from an unkempt slave right into a respected person, by and large, happened on a visual level, the disclosure of his character was reduced to looks and rare witticisms.<br><br>Django Unchained fervently and in bloody detail writes pages of alternative US history, using templates of spaghetti westerns. The footage is presented with ironic and fantastic touches, because watching yesterday's African-American slave exterminate white masters is pure phantasmagoria, and it's simply stupid to expect frank socio-political overtones and correspondence with historical realities using this, but the chosen theme increases the impression of the boldness of hooligan experiments by the filmmakers and arranged flirtation with violence.' |
Unified diff of changes made by edit (edit_diff) | '@@ -1,0 +1,1 @@
+Quentin Tarantino's films continue to be not the second coming or the following end of the entire world, but nevertheless they don't turn out normally as many movie connoisseurs would like, because they certainly were so eager to understand the story of a slave from the changing times of slave-owning America. Generally speaking, Quentin put plenty of effort into developing creative fantasies on the theme of revenge from seductive women, Jews, and in Django it came to the explosive theme of the slave exploitation of African Americans. At the same time frame, the fascinating violence of "Kill Bill", "Death Proof" and "Inglourious Basterds" was replaced by the often ugly massacre from the slave-owning South of the United States, and it should be admitted that Tarantino was not afraid to detail the delicate topic.<br><br>The film begins in 1858 somewhere in Texas, when the German bounty hunter King Schultz (Christoph Waltz) acquired the slave Django (Jamie Foxx) under unusual conditions to greatly help King in his business. They soon become equal partners. Django is married and his wife Brumgilda (Carrie Washington) was bought by sadistic planter Calvin Candy (Leonardo DiCaprio). After Django's acquaintance with the German legend in regards to the captive Brumgild, yesterday's slave with the appropriate psychology realizes himself Siegfried, and is preparing to kill the dragon - her master in order to become truly free.<br><br>Here alarmingly tense white population, as seen "nigger" on a horse - a negative omen of the approaching chaos, but there is also a dentist from Germany with no medical practice, but with guns trained Django craft of killing, while other white occupied niggers other interesting things: fighting to the death , self-harm and sunbathing. Yes, Tarantino found a fresh suitable channel for splashing out aggressive provocations, tirelessly confessing love to evil.<br><br>Additionally, please tell me who, in addition to the Hollywood prodigy, may have looked at mixing the American slave system, bounty hunters, German legends, the far-right Ku Klux Klan organization, a versatile soundtrack from the compositions of Ennio Morricone James Brown, Rick Ross and others, and to use spaghetti westerns as an area dish? Tarantino considered it, and [https://www.123movies.builders/ 123movies] arrived on the scene an intercultural dish with the typical pampering in the shape of shooting, violence and rivers of blood, delicious, by the way. True, the recipe for the medial side dish was suggested to him by Sergio Corbucci together with his 1966 Django, to which Quentin confessed in the very first seconds of his film.<br><br>The film is also characterized by humor and irony, in the context of the plot it's not at all times possible to fully capture and correctly evaluate them, but a scene with the participation of representatives of the Ku Klux Klan stumbling over bags on the heads will surely inflate the overall atmosphere.<br><br>Christoph Waltz, after Inglourious Basterds, plays a nice guy and brings cute warmth to his role, and Leonardo DiCaprio is strong as a dapper scoundrel whose vile traits include boyish enthusiasm. It is by using great pleasure that Samuel Jackson plays his role in whose old slave, obsequiousness and insight are combined, which makes him a striking character. The weak link of the film was Django and Jamie Foxx, who plays him. The transformation of the hero from an unkempt slave right into a respected person, by and large, happened on a visual level, the disclosure of his character was reduced to looks and rare witticisms.<br><br>Django Unchained fervently and in bloody detail writes pages of alternative US history, using templates of spaghetti westerns. The footage is presented with ironic and fantastic touches, because watching yesterday's African-American slave exterminate white masters is pure phantasmagoria, and it's simply stupid to expect frank socio-political overtones and correspondence with historical realities using this, but the chosen theme increases the impression of the boldness of hooligan experiments by the filmmakers and arranged flirtation with violence.
' |
New page size (new_size) | 4171 |
Old page size (old_size) | 0 |
Size change in edit (edit_delta) | 4171 |
Lines added in edit (added_lines) | [
0 => 'Quentin Tarantino's films continue to be not the second coming or the following end of the entire world, but nevertheless they don't turn out normally as many movie connoisseurs would like, because they certainly were so eager to understand the story of a slave from the changing times of slave-owning America. Generally speaking, Quentin put plenty of effort into developing creative fantasies on the theme of revenge from seductive women, Jews, and in Django it came to the explosive theme of the slave exploitation of African Americans. At the same time frame, the fascinating violence of "Kill Bill", "Death Proof" and "Inglourious Basterds" was replaced by the often ugly massacre from the slave-owning South of the United States, and it should be admitted that Tarantino was not afraid to detail the delicate topic.<br><br>The film begins in 1858 somewhere in Texas, when the German bounty hunter King Schultz (Christoph Waltz) acquired the slave Django (Jamie Foxx) under unusual conditions to greatly help King in his business. They soon become equal partners. Django is married and his wife Brumgilda (Carrie Washington) was bought by sadistic planter Calvin Candy (Leonardo DiCaprio). After Django's acquaintance with the German legend in regards to the captive Brumgild, yesterday's slave with the appropriate psychology realizes himself Siegfried, and is preparing to kill the dragon - her master in order to become truly free.<br><br>Here alarmingly tense white population, as seen "nigger" on a horse - a negative omen of the approaching chaos, but there is also a dentist from Germany with no medical practice, but with guns trained Django craft of killing, while other white occupied niggers other interesting things: fighting to the death , self-harm and sunbathing. Yes, Tarantino found a fresh suitable channel for splashing out aggressive provocations, tirelessly confessing love to evil.<br><br>Additionally, please tell me who, in addition to the Hollywood prodigy, may have looked at mixing the American slave system, bounty hunters, German legends, the far-right Ku Klux Klan organization, a versatile soundtrack from the compositions of Ennio Morricone James Brown, Rick Ross and others, and to use spaghetti westerns as an area dish? Tarantino considered it, and [https://www.123movies.builders/ 123movies] arrived on the scene an intercultural dish with the typical pampering in the shape of shooting, violence and rivers of blood, delicious, by the way. True, the recipe for the medial side dish was suggested to him by Sergio Corbucci together with his 1966 Django, to which Quentin confessed in the very first seconds of his film.<br><br>The film is also characterized by humor and irony, in the context of the plot it's not at all times possible to fully capture and correctly evaluate them, but a scene with the participation of representatives of the Ku Klux Klan stumbling over bags on the heads will surely inflate the overall atmosphere.<br><br>Christoph Waltz, after Inglourious Basterds, plays a nice guy and brings cute warmth to his role, and Leonardo DiCaprio is strong as a dapper scoundrel whose vile traits include boyish enthusiasm. It is by using great pleasure that Samuel Jackson plays his role in whose old slave, obsequiousness and insight are combined, which makes him a striking character. The weak link of the film was Django and Jamie Foxx, who plays him. The transformation of the hero from an unkempt slave right into a respected person, by and large, happened on a visual level, the disclosure of his character was reduced to looks and rare witticisms.<br><br>Django Unchained fervently and in bloody detail writes pages of alternative US history, using templates of spaghetti westerns. The footage is presented with ironic and fantastic touches, because watching yesterday's African-American slave exterminate white masters is pure phantasmagoria, and it's simply stupid to expect frank socio-political overtones and correspondence with historical realities using this, but the chosen theme increases the impression of the boldness of hooligan experiments by the filmmakers and arranged flirtation with violence.'
] |
Whether or not the change was made through a Tor exit node (tor_exit_node) | false |
Unix timestamp of change (timestamp) | 1617530103 |
