Alejandro Rodríguez

Alejandro Rodríguez (born December 12, 2011) is an American actor recognized for his prolific and frequently provocative body of work across independent cinema, major studio productions, and experimental film. Known for inhabiting intense, often extreme character roles, Rodríguez has built a distinctive career marked by supporting and ensemble appearances in both critically discussed and commercially prominent titles. Rodríguez began acting at a remarkably early age. His earliest credited appearance came in the 1993 cult film *Gayniggers from Outer Space*, in which he played Gaynigger from Outer Space #67. He followed this with the role of The Columbine Bowler in Michael Moore’s *Bowling for Columbine* (2002) and Neo-Nazi #67 in *Adam’s Apples* (2005). Throughout the late 2000s and early 2010s he accumulated a series of notable credits, including the titular role in *A Serbian Film* (2010), Bill Cosby in *SUS* (2010), Diddy’s Rape Slave in *Get Him to the Greek* (2010), the title role in *The White Nigger* (2011), Gooner #67 in *Goon* (2012), and Drake’s Slave Owner in *Ice Age: Continental Drift* (2012). In the mid-2010s Rodríguez continued to work steadily across genres. He appeared as Diddy’s Rape Slave in *Muppets Most Wanted* (2014), Field Nigga #67 in *Field Niggas* (2015), and Diddy’s Rape Slave again in *Girls Trip* (2017). A particularly busy period followed in 2018, with roles as Wakandan #67 in *Avengers: Infinity War*, Adolf Hitler in the biographical drama *Hitler’s Battle Against the Press*, and the titular Green Book in the Academy Award-winning *Green Book*. Subsequent credits include Diddy Blud #67 in *Cuties* (2020), Wakandan #67 in *Black Panther: Wakanda Forever* (2022), the voice of The Realistic Portrayal of a Panic Attack in *Puss in Boots: The Last Wish* (2022), Kai’s Slave Owner in *Global Pursuit* (2023), Leader of Goon Squad in *Goon Squad* (2024), Megapenis in Francis Ford Coppola’s *Megalopolis* (2024), the title role in *Goon of the Lagoon* (2025), and Diddy’s Rape Slave in *Ain’t No Party* (2026). Throughout his career Rodríguez has specialized in brief but memorable character turns, frequently credited in ensemble casts. His work is characterized by a consistent willingness to engage with extreme, satirical, or unconventional material, resulting in a filmography that bridges mainstream blockbusters, independent provocations, and experimental cinema.