Reading two United States Department of Agriculture propaganda films, Helping the Negro Farmer (1921) and The Negro Farmer (1939) along with Maryland narrative reports, this article considers the evolution of state-sanctioned discourse around domestic science, race and diet. The films rely on themes that construct the Negro home as a foil to a whitewashed progressive domestic front. Tasked with reforming this home, Negro female home demonstration agents participated in these films and worked as interlocutors, selling the narrative of kitchens as workshops of patriotism and civility. Yet, they also negotiated a form of domestic citizenship, crafting tactics of early Black food sovereignty despite being underfunded. This important period of African American foodways urges us to consider how agents were both framed as expert and expendable in the production of a national domestic standard.The 1921 silent film, Helping the Negroes to become Better Farmers and Homemakers, tells the story of how the Collins family improved their standard of living with the aid of eastern Alabama's white county agents. 1 Reminiscent of earlier dietary reports of rural Negro families, the film begins with 'before' images of a darkened, run-down dwelling fronted by rickety steps upon which the littlest of three children, referred to as 'Etc.' happily eats watermelon. 2 Signalling tropes of pickaninnies, this will be the first of many infantilising scenes in which the Negro community eat watermelon and dance. The latter of these activities is said to be a distraction from the agents' work helping to remodel their kitchens, improve gardening practices, beautify their homes and refine canning techniques. The film itself supplemented a larger domestic science curriculum meant to attract Negro home demonstration agents such as Marion C. Bell to work in Maryland, where the United States Department of Agriculture (USDA) was headquartered, to do the work of transforming 'Etc.', her family and home. 3 Specifically, Bell and other agents like her were tasked with converting the 'primitive' kitchen into a 'progressive' one, encouraging a shift from provisioning locally to the modern practices of buying foods like beans, mayonnaise and milk. In attempting to bring the old kitchen into a modern moment, agents negotiated a form of domestic citizenship.This term draws from Amy Kaplan's notion of manifest domesticity which argues that the nineteenth-century invention of American domesticity arose as the twin project of manifest destiny. The genocidal erasure brought about by westward expansion and increased immigration resulted in anxieties around racialised difference.