This presentation will explore the new trend in Hollywood cinema to cast African American actors to play, and thus embody, the agents of the Security State fighting against so-called terrorism on the screens of American popular cinema since the late nineties, and more extensively after 9/11. I will look at films such as The Siege (1998), Rules of Engagement (2000), Unthinkable (2010), Olympus Has Fallen (2013), and London Has Fallen (2016). While the vilification and racist representation of people from the MENA region is nothing new in the US media, a new genre of Terrorist Films has been actively casting African Americans and women as their protagonists who enact violence on Central and South Asians, Arabs, Persians, and Others. The US government readily invites, incorporates, and enlists marginalized subjects into its imperial and security state apparatus to act as agents of violence against other marginalized people in and outside the US. With promises of honor and respect as well as education and employment, Uncle Sam predicates certain types of rights and privileges of citizenship, long denied to people of color, women, LGBTQ people, and immigrants, on those who become a part of the security state. In tandem with the Military Industrial Complex, Hollywood casts African Americans in the service of the security state against other brown and black bodies. I will characterize the new subgenre in the overall terrorist film genre as staging encounters between various men of color from within and outside the US imperial project while highlighting the imperial agenda setting embedded in them. Particularly, I will analyze the cinematized interactions between Central and South Asian, Arab, and Persian men crafted as “terrorists” and the African American agents of the Security State as they are foregrounded in the films.