What happens if we interpret representations of policing as ashared cinematic universe? What continuities emerge betweenstories of the formal institution of the police, vigilantism, andsettler and imperial force? What contradictions become evidentwithin logics of policing, and how are these contradictionsresolved, cementing the role of police in political order? Acinematic universe suggests a different aesthetic relation than theidea of a genre. The aim is not to establish a common narrativestructure, but to detail a condition of order that holds togetherdespite its tangents and tensions. Policefilms hold together inmuch the same way, attempting to reconcile the production ofracial capitalism with liberal imaginaries. By framing policefilmsas a cinematic universe, I demonstrate how attachments topolicing work not only through ideology but also throughenchantment. Appeals to police as guarantors of safety, despitemounting evidence to the contrary, rely on immersion in a worldin which force and pacification are subsumed by police stories ofdramatic tension, humor, and moral triumph. The ideology thatsustains policing today works through a process of world-building, whereby sprawling elements of a cinematic universereveal new details and intrigues of enforcing imperial, capitalistorder.