The dystopian vision in Elysium is decidedly Eurocentric. The film juxtaposes an Earth-based, somewhat multi-racial Latino underclass in 2154 Los Angeles (that evokes American projections of the growing Latino population) with a predominantly European ruling class on the orbiting artificial landscape called Elysium. Elysium is a play on Greek mythology’s Elysian Fields. Put simply, the Elysian Fields are a exclusionary locale of eternal and ideal happiness sometimes depicted on Earth or within Hades, the land of the dead, accessible according to human or immortal virtue. Writer/director Neil Blomkamp, a thirty-three year-old white man, born and raised middle-class in apartheid South Africa before emigrating to Canada at eighteen, is a 3-D technology wunderkind of sorts. By age 25, Blomkamp was tapped by Peter Jackson to helm the now defunct film franchise for the Microsoft videogame Halo. When the complex coalition behind the mega-production fell through, Blomkamp began work on the cult and financial hit District 9. Blomkamp’s wife Terri Tatchell co-wrote District 9 and Jackson produced. Like District 9, in Elysium I’m struck by Blomkamp’s constant reference to Johannesburg, SA’s distinct and pervasive structural inequality. And yet, he hardly features multi-dimensional black or African characters. In this way, though I find the filmmaker’s creative, heavily technological, harsh and contemplative renditions of human folly—especially in “othering” the other (or rather, brother)—of interest, it always ends up reinfocing white superiority in one way or another. For Blomkamp black people remain on the periphery of revolutionary change while their proxies, be they aliens or the "underclass", are saved by a single white man (turned alien or automaton), via his own destruction, which is pure science fiction.