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In this paper, I analyze the campaign “Drugs into Bodies” as expressing an ontology of the late capitalist present, a condensation of the interaction of medicine, politics, and the conflicting demands of different temporalities: the emergency time of immediate action and the precarious time of reaching for new forms to articulate what is and is not yet coming into being. I discuss two recent examples—How to Survive a Plague and Dallas Buyers Club—of screening treatment activism, in order to suggest the ways treatment activism is depicted on screen, and else these representations screen from our view.