Concerns with screening embodiment have focused on the way in which cinema invites the spectator to consider a lived sense of the human body as a material subject that feels its own subjectivity. In this paper, I suspend the return of gesture to the transcendental human body. Gesture practises and produces complex and diverse bodies, bodies that do not precede their intra-actions but emerge through them. Drawing on the work of Karen Barad, I consider gesture in television that concerns archaeological (...) practices in order to ask how gesture operates in this televisual subgenre to invite new ways of thinking about the human and other-than-human. Focusing on archaeology on television, I consider entangled gestures as intra-acting, material-discursive boundary-making practices that congeal and fix what we come to know as discrete, bounded bodies. (shrink)