 We have heard cases come to a verdict, come to an end, and we're going to talk a little bit about that. Greg Roach tells us about the video we're going to watch. Yeah, we're going to watch a couple of minutes of this video from the verdict. We're not going to watch the entire 42 questions being read. It's more of the same. We'll cover what we see here and tie that back to the entire case. Is this the verdict of the jury? Yes, ma'am. All right. Is it unanimous? Yes, ma'am. Thank you, sir. Do you find that Mr. Depp has proven all the elements of defamation? Answer, yes. Has Mr. Depp proven, by a greater weight of the evidence, that question the statement was made or published by Ms. Heard? Answer, yes. The question, the statement was about Mr. Depp. Answer, yes. Question, the statement was false. Answer, yes. Question, the statement has a defamatory implication about Mr. Depp. Answer, yes. Question, the defamatory implication was designed and intended by Ms. Heard. Answer, yes. Do you find that Mr. Depp has proven, by clear and convincing evidence, that Ms. Heard acted with actual malice? Answer, yes. Do you find that Mr. Depp has proven, by clear and convincing evidence, that Ms. Heard acted with actual malice? Answer, yes. As against Amber Heard, we the jury award compensatory damages in the amount of $10 million. As against Amber Heard, we the jury award punitive damages in the amount of $5 million. Do you find that Ms. Heard has proven all the elements of defamation? Answer, no. Do you find that Ms. Heard has proven all the elements of defamation? Answer, yes. Do you find that Ms. Heard has proven all the elements of defamation? Answer, no. As against John C. Depp II, we the jury award compensatory damages in the amount of $2 million. As against John C. Depp II, we the jury award punitive damages in the amount of $0. Members of the jury, if this is your verdict, please answer yes. If this is not your verdict, please answer no. Jura number six. Jura number ten. Jura number fifteen. Jura number sixteen. Jura number twenty-two. Jura number twenty-seven. Jura number twenty-nine. Do you find that the jury's verdict is unanimous? Greg, what do you got? Yeah, the first thing we're going to hear from everyone is these are actors. Yes, they are actors, but they still have the same biological systems you do, fight, flight. I'll abbreviate it as fight-or-flight, impacts them the same way it does. When we watch her here, we're going to see some of that happening. You see her blink rate increase. You see her cast her eyes down into the right as she is drawing an emotion. What's interesting for me here is I also, if you watch that little necklace, you'll see some breathing happening and it's a little erratic, like she's emotional. This emotion is believable, unlike what she's done for the past two weeks on the stand. This is more, I've watched more of her than I ever want to remember and more of Johnny Depp than I ever want to remember and I like him. So what I see here is her, throughout this trial, her choices of diction, what she says, pitch, tone and cadence were not believable. Her social response, how she dealt with the attorneys was difficult and she showed two faces, one to the attorney and one to the jury as she mugged for or cheesed for the jury. You also saw some outright avoidance and resistance to the question that brings up the interrogator in me and made me wanted to crawl all over her. And in these places, I saw her more emotional about disrespect. Go watch the videos. I saw more disrespect emotion than injury emotion, which made it hard for me to believe and she swung for the fence when she talked about the things he had done to her. That makes it hard to really believe her. And then when he was deceptive, his deception was mostly around things he had said or things he had written. That ties back to the disrespect thing. So when all things are said and equal and you're looking at a he said, she said story and somebody swung for the fence. It's a little tough when she's not believable. Scott, what do you got? All right. Well, at the beginning when they start reading the the verdict or reading the damages and stuff, we see her eyes shift back and forth really quickly. She's, I think, getting a grip on what's happening. I'm not sure what's in front of her. I don't know if there's a sheet of paper, if there's something she's reading or what, but briefly you can see her eyes go back and forth. Her breathing rate, like you're seeing Greg saying, Greg, it does go. It's kind of odd at some some points. It speeds up some points. It slows down. And I agree that that might show some true emotion because the hammers fall on her right now. And that's going to be an emotional event for you if you're in a mess like this, the expression she has is pretty blank. A lot of people say, oh, it's a stoke expression, which I agree it is. At the same time, it's just it's it's almost. I think she's I don't know who she's playing to at that point, but she just looks really, really, really sad as she should. Her head goes down just for a second and then it comes back up. I think what she realizes, she has one look like she's been defeated. And when she gets a grip on that and then at the very end, her mouth pulls back almost into a grimace. These little parts back here. And I figured it would be when they read the part about how she gets nothing from him, how, you know, that she gets the compensated or is it was compensatory? How do you say that correctly? Damages, whatever it is. Yeah, it's zero. Then you see her lips go back almost in a grimace, but I was expecting more of a lip purse there when they said, oh, we're going to see a lip purse, but we didn't, which, which would signal or indicate that she doesn't agree with what's happening or doesn't like it. But the grimaces as this is just as much at that point. And her blink rate when the at the end of these things, they start reading the money part of it, quite often should do a double blink, not a whole lot of blinking going on. And her rate is fairly steady throughout. And there's, there's a space in between. She'll do a quick flutter and then she'll do a one blink. There's a space and a quick flutter and one blink. It's a little bit odd, but then again, that's an odd situation to be in. So I'm sure she's feeling a little bit, a little bit out of place at that point. Chase, what do you got? So let's Greg, you brought that necklace kind of moving. There's two places we can really breathe from. If you're watching this, you can try it out right now. And we can breathe from our chest up here where you can see the chest rise and fall or you could breathe through your abdomen, which I'm doing right now and you can't really see that. So when we're more relaxed, we're more likely to breathe into our abdomens. And you see that throughout this trial, she's been using her abdomen to breathe. And you can see it finally. The stress is high enough to where she's doing chest breathing. You can see the breathing rate go up and you see the location go upwards as well. So it's going from abdomen to chest. Another thing I think was interesting here, right when the jury is coming back into the courtroom, she adjusts her posture and and starts adjusting her hair because she knows this is a either the jury is going to need to look at me differently, even though the verdict is done. But I think there's a camera moment like this is the big moment that's going to be all over Fox and CNN and all that stuff. So that was in priority one. And when we see this eye flutter, you see a couple of blinks there. That's kind of what the brain does when we have a lot of stuff opening up worth. So all of a bunch of apps are opening at once. So she's probably opening one of the consequences of this. How is this going to work? What is this going to make me look like? What are the news repercussions of this? Maybe I can get a book deal out of this. All this like consequential stuff that she's thinking. And this is the brain trying to shut down those apps that are running in the background there competing for that person's attention or their time. And one other one there is we don't see the emotion of a victim who has been victimized a second time in the courtroom. We see shame. We see a person who's kind of lamented and reserved into taking their licks, so to speak, as we might say in the South. But we're not saying I'm not seeing if this was an innocent person who was forced into this and then lost a trial against this person. I would expect to see very, very different emotions. Mark, what do you have? Yeah, so we don't consult with each other beforehand. And it's interesting that we've all got the same idea. So I'm going to be very reiterative of what everybody said. Just like you said, they're chase preening beforehand. So there's a sense of needing to look right as this comes in. But I don't think she knows at this point which way it's going to go for her. I don't think it's a surprise for any of us here. But, you know, it's interesting that the Victorian actresses during melodrama would wear a necklace of some sort, often with a jewel. So the light would catch it and the audience could watch the breathing unconsciously and join in with that and experience these big emotions of melodrama. So it's great that she has that necklace because we can read her breathing almost exactly. So just like a melodramatic audience, breathe along with her and see what you get. At the start, I get a sense of excitement, OK, which is to be expected. The breathing is, as you say, Chase, high in the chest. OK, there's going to be some adrenaline there, I would say. And there's a sense of excitement. First, first call comes in of a yes. And I think there's a breathing shift. It shifts up. It starts going faster. Next verdict verdict comes in and there's a second shift. It goes even further than that. And in my view, if it shifted again and she went faster, she would be close to hyperventilation at that point. But why don't you test it out? Just see what it's like to breathe along with that. What happens to how stable you feel and think, well, if it shifted another gear, how stable would I be? So as verdicts come in after that, I think we see this in that the breathing doesn't go up, but we start to see these little palpitations in the breathing. I reckon that's panic. Try it along to her. She's starting to move towards this panicked breathing because my guess is she's doing the calculations in our mind of now how much is this going going to cost? And I think we also see these erratic flutter movements in the in the eyes and that headfall because at some point she is getting closer to that kind of give up collapse situation. But she pulls herself together on that and fronts it up. Yeah. So high emotions during this panic and the brain just trying to work out how she's going to deal with this. That's what I've got on that one. Back to you, Scott. I've got a quick one for Greg. Yeah, Greg. If you don't know this, Greg spent a long time teaching resistance to interrogation and all kinds of cool spy kind of stuff. But what did you make of the attorney vigorously writing down notes as if they're never going to get a copy of this? Like just like, oh, I need to I need to just continue writing. What do you think that was? Well, I'm not sure she's writing what is being said. I think she may be writing something for Amber. Don't worry. Who knows what she's writing. But if you notice, Amber's eyes dart over from her right to her left at least once, I think that's what it is. The other thing to remember is if she's feeling like, oh, now I'm in a bind, Mark, you talk about it all the time. Engage your brain, engage your brain, engage your brain. Doodle, doodle, doodle. The same thing we saw Johnny Depp doing. So I think it could be either or a great, great catch. By the way, among those things, I think, Mark, that's brilliant with the breathing piece. And Chaser is something you mentioned. I was going to let's just leave it at that. Just keep moving instead of dragging it out. Why not? Let's have it. What do you get? There's something he mentioned. There was something he mentioned up front that I was thinking was brilliant that you caught. Oh, the closing apps. Let me cover that. That were you talk about closing apps? That is the brain's natural response to, oh, I need to look out for whatever the real threat is. And I think it's beautiful to call that out that you're shutting down all these other things so that your eyes can focus on the thing. I'd love to see her pupils. They're probably going. So we've got five videos on this very subject on what we're talking about. When we go through the trial and you can see what happens of what we're talking about step by step with Johnny's body language and with Amber's body language. And you can compare what we're saying to what the turnout was in the verdict. But at the same time, it would be a good education on how to look at things as you go through situations like that through trials, through things that work, through arguments, and you can see what's happening with that. So anybody want to add anything else? Yeah, I did one thing. I did one thing for somebody who was in court. They were really nervous. I had a sheet of paper in front of them, very similar to this situation here. And they were really nervous about what was going on. And on the sheet of paper, I just had a couple of words on there that said, being comfortable will not put you in danger because that's what our brains default to. That's why our body gets ready to fight. And that's why our adrenaline pumps up, just kind of helping to remind yourself that if you're ever feeling any kind of stress like this, just pushing your body into a comfortable position is not going to make you in more danger. But where our brains are programmed to think that way to keep us safe doesn't work as well in the modern world. Yeah. All right. Well, go check out our other videos and see what you think about that and see if you can learn a little something about what we've seen so far. All right. I think there's a good infills and we'll see you next time. Deal.