This chapter argues that George Brant’s play, Grounded (2013), works to dramatise the atmosphere of terror inflicted by the US military on civilians through its use of drone technology: a terror that stems from a circumscription of liveable space and an invisiblisation of the violence unleashed on surveilled communities. The play depicts how, under neoliberalism, this atmosphere of terror operates in inverse proportion to the atmosphere of security that the same technology produces in the societies that it is ostensibly protecting. Through the Pilot’s gradual psychological deterioration, the play complicates the common assumption that the drone’s technology of mediation makes violence seem less real, or indeed more like a video game, for its operator. Instead, it shows that the Pilot has already been thinking in fictive terms long before initially taking position at her screen: that is, through an unquestioning adherence to the imaginative geographies of good vs evil, and us vs them, invoked in the name of human rights by proponents of the ‘war on terror’ following 9/11.