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Its characters are literally paint-by-number: Mr.

But Reservoir Dogs is a nihilistic cinematic exercise. Of course, you can also find many of PulpвЂ™s Gen X qualities in Reservoir Dogs, or in other badass subversive films of the movement, such as The Player (1992), The Crying Game (1992), The Living End (1992), The Bad Lieutenant (1992), and Deep Cover (1992), to name a few. (As I discuss below, African-American Xers, had a different world to worry about in the early 90s, and different cultural expressions.)

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While the movie was not the first expression of our generational personality вЂ“ for white kids at least, Seattle Grunge had articulated it, as had Daria and Beavis and Butthead on MTV, to name just a few examples вЂ“ it could be argued that it was the most complete expression. Pulp Fiction came along at the height of this indie film renaissance вЂ“ one that Quentin Tarantino himself had helped define and perpetuate with his 1992 no-budget crime flick Reservoir Dogs (1992)вЂ“ and it become the apotheosis of the movement. In this context, Gen Xers were hungry to both produce and consume an alternative cinema, which they began to do in the late 1980s and early 1990s. And needless to say, non-whites, women and GLBTG folk were beyond fed up with Hollywood representations that consistently marginalized, stereotyped and vilified them. Obviously, the conservative action pictures of Arnold Schwarzenegger failed to speak to us, but so did the upper-middle-class teen movies of John Hughes, and even the liberal demagoguery of Oliver Stone, who was way too serious. Given all this, we no longer had any use for the square, slick and earnest cinema of the 1980s on which we had grown up. BushвЂ™s vague вЂњNew World Order,вЂќ as well as an economic recession вЂ“ the fallout of the вЂ80s grotesquerie of greed and consumerism. We had no Soviet Empire to fear/hate, Vietnam War to protest, or Civil Rights movement to engage.

As the first post-Cold War generation, Xers lacked the clearly defined ideological enemy/purpose that had sustained previous generations вЂ“ as well as Hollywood in the 1980s. Secretly, we were panicked that the best opportunities had passed us by. We were as cool and as untroubled by the world around us as Pulp FictionвЂ™s Marcellus Wallace (Ving Rhames) calling for the Wolf (Harvey Keitel) to clean up poor MarvinвЂ™s brains after theyвЂ™d been accidentally blown all over the back seat of the getaway car. Our generation was not the type to freak out. We were nonchalant and never sentimental. The aggregation of knowledge by that point in history had made us hyper-aware of вЂ“ as well as cynically complacent about вЂ“the crappy socio-economic/historical/cultural hand we had been dealt, at least compared to our Boomer parents. Perhaps we could best be described as wryly knowing. Nor were we just subversive, obsessed with retro-cool, foul-mouthed, quasi-philosophical, directionless or relentlessly self-conscious, although, like the characters in the movie, we were all those things too. The media had already deemed Gen X cynical and ironic, which was true enough, though we were never only that.