Blomkamp explains that while District 9 was a reflection of the racial stratification he witnessed in South Africa, Elysium was a direct response to wealth discrepancy. He views the existence of billionaires as a form of "biological programming," comparing modern wealth accumulation to a caveman hoarding food to survive the winter and protect his family.
The most memorable moment of the episode is Blomkamp’s story from 2005. While directing a Nike commercial in San Diego, he and a producer visited Tijuana and were violently arrested by Federales for drinking beer on the street. They were subjected to a "shakedown," where the producer had to pass $100 bills through the police car's partition until the officers finally released them in a remote, dangerous area.
The visual impact of that night—walking through "shanty towns" with feral dogs while seeing U.S. Border Patrol Black Hawks and floodlights just across the fence—created the "two worlds" imagery that defines Elysium. He realized how striking it was to see the world's "hyperpower" on the literal doorstep of extreme poverty.
Socio-Economic Stratification: The episode highlights the recurring theme in Blomkamp’s work regarding the vast, often violent gap between the "haves" and the "have-nots."
Proximity and Contrast: A major theme is the psychological effect of seeing extreme luxury and extreme poverty side-by-side, whether in South Africa, Brazil, or at the U.S.-Mexico border.
Real-World Dystopia: Blomkamp suggests that his "dystopian" films are not purely imaginative futures, but rather heightened reflections of current environments he has personally navigated.
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