In the concluding sequences of X-Men, Magneto’s associate Mystique sabotages the device, which Xavier uses to enhance and project his telepathic skills; when the professor neat uses it, he’s almost killed. Wolverine joins the “X-Men” – the band of mutants comprising Cyclops, Storm and Grey dedicated to using their powers for the greater good. They fly to the Statue of Liberty, where Magneto is about to operate his machine initiating his trans-genic scheme. The "X-Men" defeat Magneto, who is subsequently imprisoned in a plastic cell.

The film's mis-en-scene is perhaps a composite of Tim Burton, David Lynch and David Cronenberg. Where Burton specializes in the visual pun, Cronenberg is the master of visceral eroticism and aestheticism. In Dead Ringers (1988) Cronenberg has the character Elliot Mantle, one of he twin gynaecologists, remark that "there should be standards of beauty for the insides of bodies as well as the outsides. You know best Kidney, most perfectly developed spleen." As Foucault noted, the "sensible truth (of the medicalized body) is now open, not so much to the senses themselves, as to a fine sensibility"; and the body’s interiors are open to an aesthetic, with its prescriptions, rules, skills and tastes.

X-Men is about transcendence of the body through the body – through "alien/mutant" biotechnology or what Cronenberg calls the "New Flesh".

In Cronenberg's "New Flesh" and Foucaults "Clinic" the body has an alien life/processes of its own. The clinical perspective transgresses boundaries, relativizes life and death, bringing the latter "down from that absolute in which it appeared as an indivisible, decisive, irrecoverable event, . . . volatilised it, distributed it throughout life in the form of separate, partial, progressive deaths, deaths that are so slow in occurring that they extend even beyond death itself." (Foucault).

While self-alienating, the complexion produced by the clinical perspective is anything but demystifying. It promises that the body can be manipulated, its processes, reversed or suspended. Now in X-Men, following Mary Shelley's Frankenstein the body armed with technology has replaced the soul and is presently displacing the psyche. Viewed as primordial organ, bio-power, or cyborg, the body does not die; it reverts or converts, mutates or regenerates. Cyborgs and mutants in particular are "suspicious" of reproduction – for example for salamanders, regeneration after injury, such as the loss of a limb involves regrowth with the constant possibility of twinning or alternative different topographical productions at the site of former injury. The regrown limb can be "monstrous"/potent. Injury requires regeneration not rebirth. This is a dream of utopian hope for a monstrous world beyond gender, sex or death.

The "X-Men" appear to possess the essential genetic information to create an alien human hybrid – a new mutant. Not only is a new truth contained in this information, the alien is bodily/genetically contained in the "X-Men". In the discourses of the body throughout the film, the potential exists that we apparently are the "real" X-Men.

Prof. Charles Xavier: Mutation. It is the key to our evolution. It has enabled us to evolve from a single-celled organism into the dominant species on the planet. This process is slow and normally taking thousands and thousands of years. But every few hundred millennia, evolution leaps forward.