Jury's Duty in Depp-Heard Trial Doesn't Track Public Debate

This combination of two separate photos shows divorced actors Johnny Depp, left, and Amber Heard in the courtroom at the Fairfax County Circuit Court in Fairfax, Va., Tuesday May 3, 2022. (Jim Watson/Pool photos via AP)
This combination of two separate photos shows divorced actors Johnny Depp, left, and Amber Heard in the courtroom at the Fairfax County Circuit Court in Fairfax, Va., Tuesday May 3, 2022. (Jim Watson/Pool photos via AP)
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Jury's Duty in Depp-Heard Trial Doesn't Track Public Debate

This combination of two separate photos shows divorced actors Johnny Depp, left, and Amber Heard in the courtroom at the Fairfax County Circuit Court in Fairfax, Va., Tuesday May 3, 2022. (Jim Watson/Pool photos via AP)
This combination of two separate photos shows divorced actors Johnny Depp, left, and Amber Heard in the courtroom at the Fairfax County Circuit Court in Fairfax, Va., Tuesday May 3, 2022. (Jim Watson/Pool photos via AP)

A seven-person civil jury in Virginia will resume deliberations Tuesday in Johnny Depp's libel trial against Amber Heard. What the jury considers will be very different from the public debate that has engulfed the high-profile proceedings.

For six weeks, testimony focused on details of alleged abuse that Heard says she suffered at the hands of Depp. Heard has outlined more than a dozen specific instances where she says she was assaulted by Depp, The Associated Press said.

Depp has denied any physical or sexual abuse, and says Heard concocted the claims to destroy Depp's reputation. Depp's legions of online fans have focused on their belief that Heard has been untruthful, and that that will determine the outcome.

But the case itself is a defamation claim. Depp sued Heard for libel — for $50 million — in Fairfax County Circuit Court over a December 2018 op-ed she wrote in The Washington Post describing herself as “a public figure representing domestic abuse.”

That article never even mentions Depp by name, but his lawyers say he was defamed nonetheless. Most of the article discusses public policy as it relates to domestic violence, and Heard's lawyers say she has a First Amendment right to weigh in.

In closing arguments, though, Depp lawyer Camille Vasquez argued that Heard's free-speech rights have limits.

“The First Amendment doesn't protect lies that hurt and defame people,” she said.

Depp's lawyers point to two passages in the article that they say clearly refer to Depp.

In the first passage, Heard writes that “two years ago, I became a public figure representing domestic abuse, and I felt the full force of our culture’s wrath.” Depp’s lawyers call it a clear reference to Depp, given that Heard publicly accused Depp of domestic violence in 2016 — two years before she wrote the article.

In a second passage, she states, “I had the rare vantage point of seeing, in real time, how institutions protect men accused of abuse.” (Depp's lawyers are also seeking damages over a headline that appeared above the online version of the article, even though Heard didn't write it.)

The jury, which has to come to a unanimous decision for a verdict, must decide whether those passages in the Post are defamatory. And the verdict form gives them step-by-step instructions on how to determine that.

Heard's lawyers say they have presented a mountain of evidence that Heard was abused. But they say that even if the jury were somehow to believe that she was never abused even a single time, she should still prevail in the lawsuit.

That's because libel law spells out several factors that must be considered. First, the alleged defamatory statements have to be about the plaintiff. Heard's lawyers said the article is not about Depp at all. He's not mentioned, and they say the focus is on Heard's experience about the aftermath of speaking out. Those statements remain objectively true even if she wasn't in fact abused, her lawyers contend.

Depp's lawyers, though, say the two passages are clear references to Depp, given the publicity that surrounded their 2016 divorce proceedings.

In addition, because Depp is a public figure, Heard can only be found guilty of libel if the jury decides that Heard acted with “actual malice,” which requires clear and convincing evidence that she either knew what she was writing was false or that she acted with reckless disregard for the truth.

Heard lawyer J. Benjamin Rottenborn said during Friday's closing arguments that Heard carefully reviewed drafts of the article — the first draft was written not by her, but by the American Civil Liberties Union — with her lawyers to make sure that what was written passed legal muster. Rottenborn said that fact alone is sufficient proof that she didn't act with actual malice.

As for the abuse itself, Depp's lawyers tried to suggest to the jury that if they think Heard is lying or embellishing any of her abuse claims, that she can't be trusted and that all of her abuse claims must be dismissed as untrustworthy.

“You either believe all of it, or none of it,” Vasquez said. “Either she is a victim of ugly, horrible abuse, or she is a woman who is willing to say absolutely anything.”

In Heard’s closing, Rottenborn said the nitpicking over Heard’s evidence of abuse ignores the fact there’s overwhelming evidence on her behalf and sends a dangerous message to domestic-violence victims.

“If you didn’t take pictures, it didn’t happen,” Rottenborn said. “If you did take pictures, they’re fake. If you didn’t tell your friends, they’re lying. If you did tell your friends, they’re part of the hoax.”

And he rejected Vasquez’s suggestion that if the jury thinks Heard might be embellishing on a single act of abuse that they have to disregard everything she says. He said Depp’s libel claim must fail if Heard suffered even a single incident of abuse.

“They’re trying to trick you into thinking Amber has to be perfect to win,” Rottenborn said.



Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.