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THIS is the moment Justin Timberlake is put in cuffs as the body cam footage of his arrest for drink driving is released.

The pop star, 45, was arrested in Sag Harbor, New York, in June 2024 after he failed to stop at a stop sign and could not stay in his lane.

Shortly after leaving The American Hotel following a night out with friends, the singer was pulled over while traveling southbound on Madison Street, a public highway in the Hamptons village.

Cops, often stationed nearby, noticed Justin swerving on the road and blowing through a stop sign.

They later smelled alcohol on his breath and noted that he was unsteady on his feet and also had slowed speech and glassy eyes.

The body cam footage of his arrest was released on Friday after the star’s legal team reportedly tried to previously prevent its release.

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In the video, an officer can be seen shining a flashlight in Timberlake’s face at the roadside before the star performs poorly on sobriety tests.

He is asked to walk in a straight line but has difficulty with the instructions, appearing confused.

Timberlake tells them: “Guys, I’m just following my friends back to my house. I’m not doing anything.”

While attempting the sobriety test, he stumbles before apologising and saying ” I’m a little nervous”.

When asked to do the next test, the officers are forced to explain multiple times before Timberlake says “sorry, my heart is racing” while clutching his chest.

Looking unsteady on his feet, the singer is then heard saying: “By the way, these are like, really hard tests.”

After failing the roadside tests, an officer is then seen asking Timberlake “turn around for me please”.

Saying nothing and looking resigned, he slowly turns before he’s put in handcuffs.

A friend appears and is shocked when police tell her Justin is going with them, saying: “You’re arresting Justin Timberlake? Stop it. What?”

She pleads with the officers to speak with him and give him his phone before she takes his car home.

She begs: “Can you guys please do me a favour because you loved Bye Bye Bye or Sexy Back, do me one favour. This is insane.”

At the end of the footage, the 10-time Grammy winner can be seen in the back of a cop car behind bars.

He was taken into custody that night and arraigned in Sag Harbor Village Justice Court the following morning.

He was released without bail on his recognizance and was also charged with one count of DWI due to his refusal of the breathalyzer, according to Justin’s lawyer.

Timberlake’s lawyers previously sued the Village of Sag Harbor to prevent the release as it showed him “in an accutely vulnerable state”, reports CBS.

It was later agreed it would be released with redactions.

That September, Timberblake reached a plea deal to bring the case to an end.

The judge sentenced Justin to a $500 fine with a $260 surcharge, and 25 hours of community service at the nonprofit of his choosing.

After the sentencing, Justin said: “Even if you’ve had one drink, don’t get behind the wheel of a car.

“There are so many alternatives. You can call a friend [or] take an Uber.”

He added: “This is a mistake that I made, but I’m hoping that whoever is watching and listening right now can learn from this mistake. I know that I certainly have.”

During the proceedings the star remained standing throughout and gave a statement in which he expressed remorse for his actions.

D4vd is the “target” of a Los Angeles County criminal jury investigation into the death of a teenage girl. The singer’s star was on the rise, with a global tour in his future, before the discovery of the girl’s remains in the front trunk of his Tesla.

The singer, whose real name is David Burke, has been the subject of the probe since November, months after the dismembered body of 14-year-old Celeste Rivas Hernandez was found in the car after it was towed off a street in Hollywood.

According to a grand jury subpoena seeking to have Burke’s father, mother and brother testify in L.A., the musician is described as “Target David Burke,” who may have committed a criminal offense in California, “to wit: One count of Murder.”

The document was part of a legal challenge to the subpoenas filed by the singer’s family in Texas. The newly unsealed documents reveal that, when Los Angeles police opened up the Tesla trunk, they found “a black cadaver bag covered with insects and a strong odor of decay” inside. Investigators had been granted a search warrant to look in the vehicle Sept. 8 after a tow yard worker noticed a rotting smell emanating from the vehicle.

According to the document, detectives partially unzipped the bag and found “a decomposed head and torso.”

Criminalists and medical examiners then processed the body.

“Upon removing the cadaver bag from the front storage compartment, it was discovered the arms and legs had been severed from the body,” the subpoenas noted. “A second black bag was discovered underneath the cadaver bag. Upon opening the second bag, the dismembered body parts were discovered.”

Los Angeles County Deputy Dist. Atty. Beth Silverman issued the subpoenas on Jan. 15, with Superior Court judge Craig Richman approving them.

The First Court of Appeals in Texas on Feb. 9 denied petitions from the three Burke family members to ignore the subpoenas.

Months have passed since the gruesome discovery of the remains of Celeste Rivas Hernandez. Although the LAPD has publicly declined to characterize the girl’s death as a homicide, an LAPD detective referred to the case as a murder investigation in a court filing.

In November, prosecutors began presenting evidence to a grand jury, described at the time as an investigative grand jury, according to a source who spoke on the condition of anonymity because they were not authorized to discuss the case with the media.

Since then, numerous witnesses have been called in to testify, among those, one of the musician’s managers. A friend of D4vd, Neo Langston, was arrested in Montana after ignoring a subpoena and was recently forced to return to L.A. to testify.

In a Texas appeals court footnote, the court refers specifically to the singer’s true name. The court states that the “underlying case” is “The People of the State of California v. David Burke,” pending in the 506th District Court of Waller County, Texas, with Judge Gary W. Chaney presiding. There is no public case with that name, but grand jury proceedings are confidential.

The singer’s father, Dawud, mother, Colleen, and brother, Caleb, reside in Texas, according to court records. Lawyers for the trio could not be reached for comment.

Detectives have spent months investigating the circumstances surrounding the girl’s death, as well as her relationship with D4vd.

His Tesla sat abandoned on a street in the Hollywood Hills for several weeks — potentially months — before its removal.

Authorities uncovered Celeste’s body the day after her 15th birthday. Her family had previously reported her missing.

L.A. Police Capt. Scot Williams, who leads the Robbery-Homicide Division, said the girl had been “dead for at least several weeks.” Williams said the body had not been decapitated or frozen, as some news outlets have reported.

Detectives determined that the Tesla had been parked on Bluebird Avenue since late July — around the time D4vd began a national tour. The tour was canceled soon after the death investigation drew worldwide media attention.

KELLY Osbourne has clapped back at cruel trolls who have attacked her over her weight loss amid grieving her dad Ozzy.

The reality TV star was spotted front row at London Fashion Week on Sunday and her attendance sparked some awful abuse.

Kelly, 41,has denied the use of weight loss jabs, but has become the target of a slew of online abuse.

The singer and TV star has now called out the vicious online trolls for subjecting her to the string of vile comments.

Posting an unsavoury comment to her social media where a cyber bully claimed she “looked like a dead body”, Kelly responded: “Literally can’t believe how disgusting some human beings are! No one deserves this sort of abuse!”

Alongside her statement, she posted a collection of fans comments sticking up for the star and slamming the awful message.

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Kelly continued sticking up for herself as she posted yet another comment dissecting her weight loss and appearance.

She said: “This too shall pass, but like, holy f**k.”

The TV legend has bee forced to fend off a torrent of online abuse since the tragic passing of her dad Ozzy Osbourne.

But, things escalated when snaps of Kelly at the Royal Ascot Millinery Collective at Claridge’s emerged.

Kelly has often been candid about struggling with her weight, telling fans her insecurity developed in her teen years – while starring on the hit reality show The Osbournes.

Talking on The Osbournes podcast last year, Kelly said: “I got pulled into the head of the agency’s office and he … gave me a whole speech about how I was too fat for TV and I needed to lose weight, and that if I lost weight, I would look better.

“And he was just saying, ‘You’re not a movie star, but you could be one if you lost weight.’”

Kelly recently penned an emotional message about grief seven months after 76-year-old Ozzy’s death.

She said: “Some grief doesn’t end. It changes shape. It becomes a weight you learn to carry, the ache woven it your day. Making it through doesn’t mean leaving it behind.

“It means finding strength to live and love and keep going even with forever resting heavily on your heart…”

The Black Sabbath singer died at home with wife Sharon, 73, and his kids by his side, back in July 2025.

Ozzy passed away weeks after he took to the stage one final time with his bandmates at Villa Park in Birmingham.

Kelly has previously told how she has been struggling since her dad died, and confessed to fans she’s been sleeping in her late father’s bed along with her mum Sharon.

“If I love you, I have to make you conscious of the things you don’t see.”

James Baldwin’s quote about the artist’s role in society is emblazoned on billboards across Los Angeles this winter. Created by artist Patrick Martinez, the purpose of the signage is two-fold: to promote Frieze Los Angeles and, in the case of neon signs at the art fair’s entrance, to stand as a discrete work of art on its own.

Martinez, an East Los Angeles-based artist, has long translated protest language into storefront-style neon, a strategy he now extends into a broader campaign tied to Frieze, which runs Feb. 26 through March 1 at the Santa Monica Airport and features more than 100 galleries.

This year, however, some of the fair’s most compelling work may be happening outside the tent. Frieze Projects’ “Body & Soul” features eight installations staged across Santa Monica’s Airport Park and beyond. The initiative is intended, organizers say, to broaden the fair’s reach beyond its art world audience — positioning Frieze as a civic platform rather than a purely commercial event.

In addition to Martinez’s creations, “Body & Soul” brings together site-specific works including Amanda Ross-Ho’s durational performance rolling a 16-foot inflatable Earth around the perimeter of a nearby soccer field; Cosmas & Damian Brown’s interactive fountain installation incorporating ceramic heads, incense and water; and Shana Hoehn’s first large-scale public sculpture, fabricated from a fallen tree sourced through Santa Monica’s Urban Forest program. Off campus, Kelly Wall extends the program to a former Westwood Village newsstand, where glass “magazines” will be displayed — 136 in all, priced at $300, with 15 given away.

Martinez’s billboards bearing 2024’s “If I Love You (James Baldwin)” serve as the most highly visible part of the fair’s public outreach. His neon installations respond to ICE raids and immigrant rights, placing protest at the literal threshold of one of Los Angeles’ most visible art events.

L.A. artist Patrick Martinez’s work is featured on billboards around the city, as well as at the entrance to Frieze Los Angeles.

(David Butow / For The Times)

The public art program acts as “a way that we can bring in people who may not be just the ticket goers or the VIP,” said Christine Messineo, Frieze’s director of Americas.

It also serves to amplify the city’s cultural temperature.

“Our job is to represent what’s happening in our community,” Messineo said, adding that immigration and social impact are not anomalies at the fair but part of its foundation.

Some of Martinez’s neon entrance signs — including “Abolish ICE” (2018), “No Body Is Illegal” (2021) and “Then They Came for Me 2” (2025) — predate the current political moment. Instead, they emerge from years of observation and protest.

The artist credits Messineo with approaching him last summer to utilize what he calls his “urgent warning signs” as the face of the fair. Demonstrators also carried signs bearing Martinez’s imagery last June during protests against ongoing federal immigration crackdowns in downtown Los Angeles.

Those events, Martinez says, are not experienced evenly across the city — particularly by the well-heeled audience that attends Frieze and spends $85 to $106 for weekend general admission tickets.

Patrick Martinez, “If I Love You (James Baldwin),” 2024.

(artwork Patrick Martinez / photo Paul Salveson)

Martinez wants his signs to unsettle viewers who are insulated from the city’s unrest.

“The Westside people aren’t even going to see any of that, right? So it’s bringing that kind of mindfulness to that space.”

“It felt prescient then,” Messineo said of engaging Martinez last year, “and I think even more so now.”

Frieze has integrated public art into its Los Angeles fair since its 2019 debut. But the works in “Body & Soul,” produced with the nonprofit Art Production Fund, lean into the particular conditions of public space.

The exhibition brings together Los Angeles artists exploring ideas of memory, community and collective experience — often in quieter ways than Martinez’s overt messaging.

Additional participants include Dan John Anderson, Polly Borland and Kohshin Finley.

Casey Fremont, Art Production Fund’s executive director, said most of the works are newly commissioned.

The program is designed to prioritize innovation over sales. “It isn’t transactional. It’s really just about experimenting and giving the public the opportunity to experience art like they’ve never experienced before.”

Artists scale up — and slow down

“Body & Soul” marks several participants’ first ventures into public work, including Hollywood artist Finley, whose “The Piano Player” will be installed near the corner of Airport Avenue and Donald Douglas Loop. Finley’s piece arranges ceramic vessels inside shadow-box shelving that the artist describes as containers for memory — some “you love to take out and peek into,” others that “should just stay shut forever.”

Kohshin Finley’s “The Piano Player” arranges ceramic vessels inside shadow-box shelving that the artist describes as containers for memory.

(Micaiah Carter)

The title references the film “Casablanca,” and its piano player, Sam, whose music stirs up memories of the central love story.

Finley said the public setting creates an unusually direct encounter as he, like many of his fellow artists, will be standing with his work.

“A lot of people have never seen a living artist,” he said.

Ross-Ho takes visibility even further with her inflatable soccer ball Earth, which weighs 78 pounds. The familiar “blue marble” image will no doubt draw spectators at the Airport Park Soccer Field outside the Frieze tent.

Amanda Ross-Ho is creating a durational performance on a soccer field by Frieze Los Angeles.

(Jennelle Fong for ILY2)

Ross-Ho’s performance, “Untitled Orbit (MANUAL MODE),” functions as an endurance test that is a response to what she calls “the temporal container of the art fair” — and to the pressures of contemporary life.

“Gesture and duration are the ways that I could achieve scale rather than something that was materially constrained like a giant sculpture,” she said.

Designing for gathering

Brown’s installation, “Fountain: Sources of Light,” invites guests to congregate. Positioned between the Airport Park playground and dog park, it combines running water, ceramic vessels, incense and sound.

“I really wanted to make a fountain because I thought that [it’s] something that … people tend to gravitate to,” he said.

The work will incorporate metal plates and bowls created by participants in the youth workshop Art Sundae, taking place Feb. 28 at Airport Park.

Near Brown’s fountain, Echo Park artist Hoehn will present “Deadfall,” a massive fallen fig tree embedded with carved cheerleader legs and skirts — imagery drawn from her Texas upbringing.

Shana Hoehn with one of her carved wooden sculptures.

(Josh Cohen)

“I’ve been working with cheerleading iconography for the past few years,” she said, linking the imagery to what she calls an omnipresent football culture layered with “American patriotism and militaristic qualities.”

Hoehn acknowledged that the fair’s four-day window and limited nearby parking may keep the audience closer to fair-goers than the broader public the program aims to reach.

Beyond the airport fence

A few miles away in Westwood Village, Mar Vista artist Wall will extend the program beyond the airport campus with “Everything Must Go,” installed at a defunct newsstand and on view from 5:48 p.m. (sunset) to 8 p.m. during the fair.

Where magazines and newspapers once were, glass stand-ins bearing skyline imagery will occupy illuminated lightbox shelves. As the glass “magazines” are removed, glowing silhouettes mark their absence.

Kelly Wall, ‘Everything Must Go’.

(Kelly Wall)

Wall’s related project will appear on the Frieze campus with found newspaper boxes transformed into lightbox displays for her glass publication.

“In things coming to an end, there is no real end … there’s transformation,” she said. “How you might see [the piece] may differ depending on different times — or where you’re personally at in your life.”

Italian cricket is in crisis days after the country’s T20 World Cup debut, as it emerged that a senior national governing body official has been investigated over a sexual assault allegation.

Federazione Cricket Italiana (FCRI) women’s cricket co-ordinator Prabath Ekneligoda, 57, was the subject of a criminal investigation relating to a claim he inappropriately touched a member of the Azzurri women’s national team.

Multiple members of the Italy board are said to have resigned over this case and other governance issues, BBC Sport has been told.

The sexual assault allegation was made to police in Rome in March last year by a player who has represented the national team.

The player, whose identity is protected for legal reasons, alleged that the sexual assault occurred during a massage on a knee injury at a training session, and she had been scared to report the incident because she feared it would cost her a spot in the team.

An investigation was concluded by a Rome prosecutor in November 2025 and Ekneligoda was interviewed by police the following month.

A decision is now set to be made on whether there is sufficient evidence to bring it to trial. Ekneligoda’s lawyer said his client denies the allegations, that there are ulterior motives to the allegations, and that a witness supports his version of events.

FCRI said in a statement to BBC Sport it “noted proceedings are currently under way before the federal prosecutor’s office” and will “co-operate with the relevant authorities”.

“The Italian Cricket Federation reiterates that its conduct is guided by principles of fairness, transparency and the protection of its registered members, as well as by the ethical and civic standards that underpin the sporting system,” added the statement.

“The federation therefore defers to the competent judicial authorities for any determinations arising from the matter.”

Ekneligoda, who is originally from Sri Lanka, was suspended from his role with the FCRI in November but has remained a visible presence on the Italian cricket scene.

He is the partner of FCRI president Maria Lorena Haz Paz and accompanied her to India for the men’s T20 World Cup.

BBC Sport has seen evidence that Ekneligoda attended Italy’s matches wearing official accreditation and was permitted to sit with the rest of the FCRI party.

Ekneligoda was also seen at various events laid on for Italy’s cricket delegation, including a reception at the Italian consulate in Kolkata for officials, players and coaching staff.

The FCRI, its president Haz Paz, and safeguarding officers, had full knowledge of the seriousness of the claims made against Ekneligoda before the World Cup.

Last weekend, Il Messaggero, external and Corriere della Sera, external reported the allegations in the Italian media for the first time.

As of Monday, Ekneligoda was still listed as the women’s cricket coordinator on the FCRI website.

Sources have told BBC Sport that some members of the FCRI’s board have resigned over the matter, and other governance issues, which has placed Haz Paz’s position under greater scrutiny.

Senior officials in Italian cricket fear potential reputational damage, and the possibility of legal cases, will hamper opportunities to capitalise on their debut T20 World Cup appearance and grow the game further in the country.

Haz Paz was appointed president of the Italian cricket federation in February 2025 until 2028.

Italy’s debut at the T20 World Cup, and the stories of some of their players, had captured the imagination of the cricket world.

The Azzurri failed to make the Super 8 stage but beat Nepal in Mumbai and gave England a scare in Kolkata in their Group C fixtures.

The following article contains spoilers for Episode 7, “1:00 P.M.,” of “The Pitt” Season 2.

The education begins almost immediately. A young woman who has just experienced a sexual assault is in triage, and “The Pitt’s” Dr. Robby (Noah Wyle) enlists Dr. Al-Hashimi (Sepideh Moafi) to assist charge nurse Dana Evans (Katherine LaNasa) with the patient.

“We can call for a SANE,” another nurse suggests when Dana says she’ll be occupied.

“On a holiday? Could be hours,” responds Dana, a veteran who knows better, as the Fourth of July shift enters afternoon hours. “We’re not going to make this patient wait. And since I’m the only SANE on staff …”

A what? The quick reference sets in motion what “The Pitt” aims to shed light on: a sexual assault forensic exam, also known as a rape kit exam. The episode delves into the confidential medical procedure to collect DNA and evidence and gives one of the most detailed depictions of the process for television.

But before cameras venture into the room with the patient, Dana gives recent nursing school graduate Emma (Laëtitia Hollard) — and the audience — an overview. A SANE is a sexual assault nurse; they perform forensic exams, collect evidence and hand it over to the police, if a report is made. They also provide resources, support and may even testify in court.

The storyline serves a dual purpose, according to Kirsten Pierre-Geyfman, who co-wrote the episode with the show’s creator, R. Scott Gemmill. “We wanted to highlight the very important and incredible work of a SANE, especially in the department setting,” she says. “And we also wanted to see the bravery it takes for a survivor to come forward, let alone do a rape kit … It’s not an easy decision for somebody to make, and it’s not an easy process for somebody to go through.”

To help construct a realistic and sensitive portrayal of the exam process, “The Pitt’s” writing team and actors worked with a number of consultants, including the UCLA Health Rape Treatment Center and Pittsburgh Action Against Rape (PAAR).

“I wanted people to understand the extent of the exam, I think that’s a misconception among a lot of people,” said Dr. Kathleen Sekula, a SANE at Duquesne University in Pittsburgh who also consulted the show’s team.

Ilana (Tina Ivlev) arrives at the ER in Episode 7 of “The Pitt.”

(HBO)

The case in Episode 7, “1:00 P.M.,” involves a visibly shaken young woman, Ilana, played by Tina Ivlev. The writing team knew they wanted to detail the process, not the trauma, Pierre-Geyfman said, so the information about what Ilana experienced is minimal: She was at a barbecue with friends when she was assaulted by a male friend.

“The thing that struck me was the fact the other shows might focus on what happened and then dive into that,” Ivlev said. “What I loved about this, the minute she starts talking about it, they cut [away]. There’s so much underneath it. I wanted it to be similar to real life when you have a traumatic situation happen — sometimes you can be hyperfocused on certain details, then other things are cloudy. Her head is spinning. She’s in shock.”

As with many of “The Pitt’s” cases, the story serves to bolster the emotional arc of the show’s healthcare providers, in this case Dana, who assists with the exam from start to finish as the department’s certified SANE nurse. Last season, she was brutally punched in the face by a disgruntled patient while taking a smoke break. That violent attack left her rattled and contemplating an exit from the job, but after taking a few weeks off, she ultimately returned to work — though the assault’s lingering impact has sharpened her edges.

“With Dana’s arc and her own assault last season, she’s definitely calcified a little this season,” Pierre-Geyfman said. “She’s trying to create a little bit of distance between her and her patients, and is really trying to prioritize her nurse’s safety. You see her struggle a little bit with that with this patient. She’s wanting to do more for her.”

On screen, the assessment begins with Dr. Al-Hashimi checking to see if Ilana has any injuries that need immediate attention and getting an intake of prescription medications and any known allergies to medications. Securing two triage rooms to complete the exam as a way to ensure privacy in the busy emergency department, Dana, with help from Emma, begins the evidence collection while carefully outlining the process to Ilana. For starters, once Dana opens the kit, Ilana cannot leave the room but is free to take a break as needed.

To avoid contamination, Dana puts on a face shield and opens the kit, which is a rectangle-shaped box that contains items like paper bags to store evidence and swabs for collecting biological samples. The first step requires Ilana to change into a robe, undressing on top of pads placed on the floor so each item of clothing can be packaged into separate bags and collected as evidence. She’ll be given new clothes, Dana assures her. Dana raises a large piece of cloth to give Ilana privacy as she completes the process.

Eventually Dr. Al-Hashimi returns to examine Ilana, checking for any pain on her body or need for X-rays or imaging — she notes two areas of bruising to be documented by Dana with photos. Dana seals the camera’s memory card in an evidence envelope. Next, with the lights off, Dana runs a black light over Ilana’s body. Dana relays that if there’s a part of Ilana’s skin that glows, she’ll swab it with a wet, then dry, cotton swab. Dana next swabs Ilana’s mouth — the inside of her cheek and along the gum line — and her finger nails. At various points, Dana is careful to assess Ilana’s comfort with each step and uses statements like “This will not define you,” while Ilana shows signs of stress about the length of the process.

Emma (Laëtitia Hollard) assists Dana (Katherine LaNasa), who leads the exam as the SANE (sexual assault nurse) on duty.

(HBO)

At one juncture, an advocate from Pittsburgh Action Against Rape, otherwise known as PAAR, arrives to further detail the resources and assistance they can offer, a service that’s available regardless of whether a patient decides not to complete the rape kit exam. Throughout the process, Ilana is assured that she can complete the exam even if she’s vacillating on whether to file a police report — that decision can be made at a later time and none of it goes on her permanent medical record. But when the exam pivots to external and internal vaginal collection, Ilana panics once she’s instructed to place her feet in stirrups to get into position. Dana suggests a break.

“I don’t want a break, I want to stop,” Ilana proclaims. “He’s my friend. He knows all my friends. It was just a dumb — he was drunk. He didn’t mean — it didn’t mean anything.”

It brings a pause to the process, which will carry over into Episode 8. In trying to show the scope of the exam, the medical drama takes liberties in its completion time. Sekula said it’s rare for an exam to be completed in under three to four hours.

Not all nurses are certified to be a SANE, and certification requirements vary by state, according to Sekula. It’s a role that requires extreme attention to detail and thoroughness, as their work bridges the healthcare and legal systems. While preparing for the episode, Hollard said she marveled at the precise protocols involved and the support that’s provided.

“On a technical level, it’s so meticulous,” Hollard said. “There’s so many parts, so many envelopes. You have to take these swabs and they can’t touch each other. And the legality of it all — the way this kit is happening is how they would do it with PAAR in Pittsburgh, but that’s not the same way they do it in California, or [the way] they do it in different states.”

While “The Pitt” is frequently recognized for its hyperrealistic medical procedures, the episode’s director, Uta Briesewitz, knew she wanted to film the exam in a way that mirrored the sensitivity healthcare professionals strive to exhibit, with shots that weren’t invasive or fixated on Ilana’s body. For example, when Ilana is undressing, the camera is fixed on Dana being mindful to give her privacy even in their close proximity — an out of focus glimpse of Ilana’s bare backside comes only when getting a reaction of Emma taking in the weight of the moment. Later, when the blue light is being run down Ilana’s body, her hospital gown is carefully place to avoid exposure. In addition to a SANE consultant being on set to assist with queries about the process, there was also an intimacy coordinator to help with the comfort level of filming the scenes.

“On a technical level, it’s so meticulous,” said Laëtitia Hollard of the process. “There’s so many parts, so many envelopes. You have to take these swabs and they can’t touch each other.”

(HBO)

“It was a very sensitive line because women can get re-traumatized,” Briesewitz said. “I remember one of our more detailed conversations with our SANE nurse was about when Dana had to look with the black light for bodily fluid. How do we make sure she would not miss anything but, at the same time, give the victim the feeling that they’re still protected? It was super helpful to have our SANE advisor on set to say the way she would do it. ‘One arm comes out of the sleeve, then I hold up her gown this way, and I would do it like that …’”

LaNasa found her time at the UCLA Health Rape Treatment Center crucial to chart both her character’s ease in the room and her sensitivity to the task at hand: “I went back a second time because I knew I was going to have to use the kit … I wanted it to look like I had used the kit many times and I knew what I was doing.”

Reflecting on the case as a mirror to her character’s journey, LaNasa pointed out that Dana never pressed charges against Doug Driscoll, the man who assaulted her.

“It’s different in this situation,” LaNasa acknowledged. “I thought it was great information that we got out of this, which is that you can go and do a rape kit, you can have the evidence collected, and you don’t have to decide on that day when you’re traumatized if you want to press charges or not. I think that part of Dana’s hypervigilance is probably because there was no justice for her. I think why she’s cracked this season is because she didn’t take care of herself. She’s reeling from that. She let him beat her up. At the same time, she doesn’t want Tina’s character to feel any pressure, but I think she wants it for her. She wants her to have the ability to change her mind later.”

“We’re going to hear Dana, later in the season, refer back to this process that these people have to go through, in defense of a sexual assault victim,” LaNasa teased. “It’s big on her mind. She’s been doing it quite a while.”