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The White World in Collapse:
A Review of Logan

1,480 words

Directed by James Mangold
Starring Hugh Jackman, Patrick Stewart, & Richard E. Grant

Logan, a film named after its main character, also known as Wolverine of the superhero team, the X-Men, is simply more Hollywood propaganda for perverts who fantasize about killing off white people, on one level at least. Perhaps unintentionally, it is also a warning concerning the decline of Western society. The message is that the white man is either old and dying, or simply evil and deserving of death, while the non-whites are poor, yet brave and fighting against oppression by whites.

At a time in the near future when mutants endowed with extraordinary powers have appeared, including the superheroes known as the X-Men, but are now believed to be going extinct, a corporation called Transigen has artificially created numerous mutant children in a lab, holding them in confinement and planning to use them as soldiers. The children, objecting to this plan to the point where at least one of them commits suicide, are rescued with the help of Gabriela, a brave Mexican nurse employed by the corporation. In line with the typical narrative of the misunderstood victim, Gabriela states that “they thought we [the nurses involved with the escape] were too poor and stupid” to understand their plot, and that “we are poor, but not stupid.”

The depiction of the all-white Transigen is a comically extreme demonization of white men. The evil corporation’s leader, Zander Rice, explicitly states at one point that the mutant children are to be seen as things, not children, and this lack of compassion for others is consistent throughout the film. Near the end of the film, he confesses to having created a virus which has killed most of the mutants on Earth. At this point, Logan kills Rice with no provocation beyond his unethical activities with Transigen, and it is implied that this is justified.

The head of the company’s security forces is a blond psychopath named Donald, who has the flag of the hanged pirate captain Calico Jack tattooed on his throat. Not only does he torture a mutant in order to convince him to betray his own kind, but near the end of the film, he happily threatens to “kill the children,” referring to the recently captured mutants. The company also employs a young clone of Wolverine, an even more brutal white man deliberately created “without a soul,” whom they cannot restrain from wanton killing.

The character of Laura, an escaped mutant child whom Logan grudgingly cares for after Gabriela’s death, is perhaps intended to be a bold Latina heroine, but she is so savage that viewers might wish for her to be killed in place of the white superheroes. Although she is often screaming, she refuses to speak throughout most of the film, apparently out of contempt for others. This antisocial attitude is further shown not only in her willingness to commit both petty and grand larceny, but in her constant willingness to kill whites; her murderous rage is apparent even given the minor provocation of being caught shoplifting. At one point she punches Wolverine in the face as he refuses to further risk his life for her sake.

Although Laura was created in a lab, this was accomplished using Wolverine’s genetic material, making him her father. Despite this family connection and his obvious suffering, she shows no sympathy for him until he is mortally wounded near the end of the film. Professor Charles Xavier, founder of the school which educated the X-Men, shows sympathy for and interest in her, but unsurprisingly she seems aloof from him as well.

Xavier is depicted as a nonagenarian who is becoming senile as a result of a degenerative brain disease. His condition causes him to have seizures, which activate his mutant abilities in such a way as to paralyze almost everyone around him. One such attack even killed several of his own X-Men several years earlier. This condition is somewhat controlled by medication, but Wolverine struggles to get him to take his pills on a regular basis.

The title character, Logan, both in his personal behavior and his interactions with others, represents the decrepit and self-destructive white man whose society is falling apart. He is obviously in poor health from the moment of his first appearance onscreen. He works in an unsatisfying job as a limousine driver and drinks heavily, even engaging in self-mutilation. Later in the film, he admits to contemplating suicide by using a special bullet he has saved for this purpose.

Logan’s interactions with Xavier are one expression of the decaying social fabric depicted throughout the film. The two are constantly in conflict, with the cynical Logan displaying very little concern for anyone, while the more idealistic old man still hopes to assist Laura, having faith in a rumored “Eden” where she will be reunited with other young mutants. Although Logan has accepted the position of caretaker for the old man, the lack of respect between the pair is striking.

A character called Caliban, who has been helping Logan in caring for Xavier, reinforces the image of the white man as weak and dysfunctional. Caliban is an albino who cannot be exposed to sunlight without being severely burned. In other words, his whiteness is a serious weakness, and indeed it is exploited by Donald in order to torture him into cooperating with Transigen against his fellow mutants.

In his interactions with Logan, Caliban expresses the frustrated desire to help the aging superhero, who is unwilling to discuss his personal problems. He observes that there is “something inside you that’s poisoning you,” but Wolverine refuses to discuss these things and storms out. Again, white men in the film do not have healthy relationships, nor are they physically healthy.

Ultimately, both Logan and Caliban knowingly cause their own deaths, although they do so in furtherance of the battle against Transigen. Caliban ends his life in the white equivalent of a suicide bombing while being held prisoner in a Transigen van. Logan injects himself with a dose of a drug which he knows will soon kill him in order to briefly make himself less vulnerable to bullets fired by Transigen’s soldiers.

At one point, Wolverine, Xavier, and Laura are run off the road in an accident which also leaves another vehicle briefly disabled. In a far-fetched bit of multiculturalist messaging, the other vehicle’s occupants are a two-parent black family who generously offer to feed and house the pair for the night. Being black, they must be victims of injustice, so in this case they are in conflict with armed white men who shut off their water without legitimate cause. Despite this, in their interaction with the mutants, this family provides the only example in the entire film of the kind of social interaction one might expect in a high-trust society.

All this may be a Third Worldist fantasy about the collapse of white society, but it is in line with the real-life failing social trust that has been most famously studied by Professor Robert Putnam of Harvard. Something similar can be said about Wolverine’s self-destructive tendencies; although it may indeed be pleasing to anti-white elements to see any type of harm done to whites, the spirit of the Western world has largely become one of self-harm.

Other than Logan and Xavier, the mutants depicted in the film are mostly non-white. When reunited with Laura in “Eden” near the end of the film, we see them laughing and smiling, in contrast to the old, dying, or dead whites we see otherwise. It is implied at various points in the story that both the mutants and Gabriela are hoping to surreptitiously cross national borders; the film casts illegal Third World immigrants as heroes.

Despite the effort made to present these multiracial heroes in a positive light, the implication that they represent the future can only be encouraging to those with the basest affirmative action mindset. Laura, as already described, is a monster with whom only sadists could identify. Her co-heroes are pre-pubescent children like her, but several of them are already seriously overweight. They express the spirit of an “adult” who still dwells upon the fantasy of being able to harm others with his thoughts alone, rather than on improving himself.

While leaving the theater, I overheard a degenerate describing how pleased he was to have been able to see people impaled by Wolverine’s claws directly, in contrast to the other X-Men films, in which the violence had not been quite as graphic. There is indeed a great deal of violence in the film, and it does appeal to the prurient interests of perverts. But, along with the depiction of the decaying fabric of society, it is also a warning of what is to come for Western man if he continues along his present course of elevating the brutal Third World above himself.

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  1. R_Moreland
    Posted March 8, 2017 at 1:27 am | Permalink

    When a movie like this comes along my response is to pull out the DVD of Zulu, The Dogs of War or Blackhawk Down and get a dose of reality. Even Lord of War will do in a pinch.

    We have seen non-White third worlders inherit much of the planet in the last several decades, and the results are not exactly edenic. There’s not much laughing or smiling in Congo, Liberia, Zimbabwe, Haiti, Selma, Detroit, Malmo, Mosul or Calais, is there? And these used to be such nice places, at least when they were ruled by Whites. This is a point which even the putative inheritors of the Earth recognize as they flee the cities and countries which they have trashed to seek sanctuary as “refugees” and “immigrants” in the remaining White lands.

    The other day, I happened to catch a radio talk program discussing this movie, the host an apparent liberal. Even for him, the storyline was so blatant that it was difficult to stomach. People are seeing through the ideological delusion pushed in movies like this. Now to get them to see through that same fraud in the realworld.

  2. Proofreader
    Posted March 8, 2017 at 4:10 am | Permalink

    A recent article in the Jewish Chronicle has a couple of revealing comments on the Jewish identity and agenda of the principals of the X-Men franchise, from Stan Lee (Stanley Martin Lieber) and Jack Kirby (Jacob Kurtzberg) to Bryan Singer and Robert Mangold.

    Singer’s comment, “I could think of no better place [than the first two X-Men films] to spill out one’s own personal problems and foist them on to the world,” suggests a revision of Friedrich Nietzsche’s remark: “Sick are they always; they vomit their bile and call it a movie.”

  3. Posted March 8, 2017 at 4:18 am | Permalink

    Nice review. This was pretty much my reading of the film as well. Note also the scene at the beginning with the drunken white men shouting “U.S.A.! U.S.A.!” from a passing vehicle at the Mexican border – an obvious knock on Trump supporters.

    I got a similar feeling from Creed, the Rocky spin-off last year. The character of Rocky Balboa is shown as old and decrepit, and his only value now is in helping the young black fighter take his place.

    • Harry Heller
      Posted March 28, 2017 at 2:40 am | Permalink

      This is a little tendentious. In Creed, I don’t think Stallone was going for that kind of symbolism at all. He had established in the previous franchise film that his own son was more nerd than fighter, so he needed someone for this “legacy” part. The idea of Apollo Creed’s son fit in with the Rocky mythos. The fact that young Creed was initially portrayed as some kind of financial whiz (or at least hard working and competent white-collar financial services employee) was of course pure PC minority self-esteem building (I do not know what the internet culture term for this behavior is: not “virtue-signalling”, but maybe just “positive messaging”?).

      Stallone is not know for being especially leftist or PC. He does want to make money, however, and stay in film.

  4. Colonel Gunter Brumm
    Posted March 8, 2017 at 4:41 am | Permalink

    Please someone cut and paste this whole article onto the Amazon reviews of the Bluray!


  5. Oleron
    Posted March 8, 2017 at 7:33 am | Permalink

    White extinction is a popular theme among the Jews and their fellow travelers. Two of the most notable films in recent history are “2012” and “Kingsmen: The Secret Service.” In “2012” (((John Cusack))) through a series of improbable happenstances manages to get his family to China in time to board an ark. In “2012” we see the British royal family downed in helicopters by an ice storm, all the western nations are submerged in ice, and all the surviving whites are driven into non-white countries to survive. I especially liked the touch of Africa being raised up by the movement of the tectonic plates so that it survives intact. The most laughable part of this film were the numinous black male, and black female whom saved the world’s great art masterpieces by replacing them with fakes.
    In “Kingsmen,” we see a brilliant black scientist with a funny hat create cellphones with software designed to hypnotize people into attacking, and killing the person next to them. The amazing thing is that the movie only depicts white people killing other white people. The most laughable part of this film was when Samuel Jackson stated that he had made his first billion before he was sixteen.
    These films, and others like them will be the classic movies for the new demographics in the future. These films are not made to entertain white people; they are solely designed to entertain non-whites.

    • Harry Heller
      Posted March 28, 2017 at 2:31 am | Permalink

      I don’t think the filmmakers are that “committed”. Whites are cast as villains in contemporary films for the same reason we are the villains in contemporary political mythology: our gene/environment-determined ethnomasochism prevents us from asserting our racial interests, in this case, our interest in positive depictions of our race. We are the only race which delights in self-criticism, especially from nonwhites. I still recall, decades ago, seeing a Jim Jarmusch movie (“Dead Man”, I think) in San Francisco’s Haight district, at the now defunct Red Vic theater. At one point, an Indian (“native American”) character references the main character (Johnny Depp) with the words “stupid fucking White man”. The decidedly non-multiracial audience of obvious San Francisco beta males (mostly not homosexuals, if memory serves) and their “womyn” dates erupted in what I could only characterize as joyous laughter, with a few people spontaneously clapping.

      I recall virtually nothing about that weird film except that little episode of White ethnomasochism, which I will never forget.

      • Harry Heller
        Posted March 28, 2017 at 2:49 am | Permalink

        I forgot to say, the worst part about Kingsmen was not the ludicrous implausibility of anyone like the Samuel Jackson character actually possessing his scientific talents (of course the same criticism could be made, and I think was, about obviously Aryan “Thor” playing a genius computer hacker in Blackhat) – and this not just because of his Negroid genetics, but his ghetto speech and mannerisms – but the presumed normalcy of showing black “British” characters at all, rather like the fetching Negress Moneypenny in the Daniel Craig Bond films. No notice is ever taken that she is black, as though it is perfectly normal in British society for there to be blacks in important jobs in a (or any) European nation.

  6. thomas bell
    Posted March 8, 2017 at 5:47 pm | Permalink

    Interesting. The Laura/X-23 character is played by a White actress (Dafne Keen). Her father is British and her mother is Spanish.

    It seems that Mestizos are simply too boring for Hollywood.

    • Chiron
      Posted March 9, 2017 at 7:04 pm | Permalink

      Steve Sailer has been pointing for a long time now that there isn’t any Mexican-American mestizo star in Hollywood.

  7. Posted March 20, 2017 at 7:49 pm | Permalink

    A very enlightening review. Thanks for putting yourself through the torture of viewing it, so that the rest of us don’t have to waste our time and money.

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