Recent years have seen a dramatic rise in statistical, professional, and popular accounts disorder/' yet, unlike in case other occasions distress and madness, few have discussed broader context in which these are enacted.1 Curious about this silence, in this essay I explore bodies and politics swirling in and through representations bipolar, in particular those produced by pharmaceutical industry Through these depictions I see bipolar, at once an official disorder and also an emerging trope, as a collaborative event in United States medication, whiteness, citizenship, and nation. It is one that creates a racialized, gendered figure control and balance while simultaneously generating (detaining, deporting) a manic Other. Already considered elsewhere as a gatekeeper medicalization (Conrad 2005) I come to contemplate pharmaceutical industry as also a vital element in securitization, and thus as perhaps an example what Jasbir Puar (2007) might call a contemporary war machine. Some Theory: The Bipolar Body Overall, as per Gilles Deleuze and Felix Guattari (1987), this essay contributes to a decoding distress, madness, and use pharmaceuticals and thus moves toward what we might think as a more schizoanalytic contemplation peoples experiences as a collision bodies, technologies, histories, and power. Such an approach does not suggest that feelings fear, confusion, sadness, flatness, emptiness, loneliness, anxiousness, worthlessness, noisiness, agitation, stress, craziness, grandiosity, psychosis are not real, that any benefits one receives from pharmaceuticals are false, or that distress and madness are purely epistemologie al However, states that make up bipolar are part an embodied dialogue with world in which we live - our psyches/bodies/souls engaging in unique and dynamic ways with a maelstrom social, political, and corporate assemblages. Indeed, as public feelings that begin and end in broad circulation and the stuff that seemingly intimate lives are made of (Stewart 2007, 2), distress and madness offer valuable sites to explore fleshy negotiation sociopolitics. Through dialectical engagement, is drawn into cultural narratives that transform, modulate, and twirl it into meanings and feelings, which in turn generate subjectivity It is this process subjectivization that renders as capacity, as a conduit becoming that is both unsettling and productive (Deleuze and Guattari 1987), while body itself is an that perpetually organizes subjective experiences via a sort affective economy (Blackman 2008). Thus, although in medical discourse bipolar is meant to infer a condition with a biological substrate, it follows that it can also be understood as a verb: it is not simply that we are or have bipolar, but rather that bipolar is a doing. The bipolar-body is enacting a cultural narrative, one that harnesses and spawns subjectivities. Yet this enactment is always uniquely situated in time and space; narrative itself is socially, historically, politically, and geographically contingent and constituted, while simultaneously landing in raced, classed, and gendered bodies. Moreover, given our current regime biomedicalization (Clarke et al. 2003), bipolar-body is a technoscientific accomplishment, a convergence technologies and corporeal working together to exile mania. I therefore also conceive bipolar-bodies as assemblages in and themselves, an event all these itinerant forces, in perpetual motion as they merge, submerge, (re) emerge. This foregrounding assemblage enables attention to ontology in tandem with epistemology and affect in conjunction with representational economies (Puar 2007, 204). Consequently, to explore rise in bipolar, in what follows I examine a component technological, discursive, and political passage (Blackman 2007) in and through which weaves, via an analysis pharmaceutical advertising. …