Jury orders Tesla to pay more than $240 million in Florida Autopilot crash case

Dillon Angulo, who was seriously injured in a Florida crash involving Tesla's Autopilot driver assist technology, speaks to reporters outside the federal courthouse in Miami on Aug. 1, 2025. (AP)
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Updated 02 August 2025
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Jury orders Tesla to pay more than $240 million in Florida Autopilot crash case

  • Jury held that Tesla bore significant responsibility because its technology failed and that not all the blame can be put on a reckless driver
  • Decision comes as Musk seeks to convince buyers that his cars are safe enough to drive on their own as he plans to roll out a driverless taxi service

MIAMI: A Miami jury decided that Elon Musk’s car company Tesla was partly responsible for a deadly crash in Florida involving its Autopilot driver assist technology and must pay the victims more than $240 million in damages.
The federal jury held that Tesla bore significant responsibility because its technology failed and that not all the blame can be put on a reckless driver, even one who admitted he was distracted by his cellphone before hitting a young couple out gazing at the stars. The decision comes as Musk seeks to convince Americans his cars are safe enough to drive on their own as he plans to roll out a driverless taxi service in several cities in the coming months.
The decision ends a four-year long case remarkable not just in its outcome but that it even made it to trial. Many similar cases against Tesla have been dismissed and, when that didn’t happen, settled by the company to avoid the spotlight of a trial.
“This will open the floodgates,” said Miguel Custodio, a car crash lawyer not involved in the Tesla case. “It will embolden a lot of people to come to court.”




A Tesla Model S car is seen in a showroom in Santa Monica, California, on January 4, 2018. (REUTERS/File Photo)

The case also included startling charges by lawyers for the family of the deceased, 22-year-old, Naibel Benavides Leon, and for her injured boyfriend, Dillon Angulo. They claimed Tesla either hid or lost key evidence, including data and video recorded seconds before the accident. Tesla said it made a mistake after being shown the evidence and honestly hadn’t thought it was there.
“We finally learned what happened that night, that the car was actually defective,” said Benavides’ sister, Neima Benavides. “Justice was achieved.”
Tesla has previously faced criticism that it is slow to cough up crucial data by relatives of other victims in Tesla crashes, accusations that the car company has denied. In this case, the plaintiffs showed Tesla had the evidence all along, despite its repeated denials, by hiring a forensic data expert who dug it up.
“Today’s verdict is wrong,” Tesla said in a statement, “and only works to set back automotive safety and jeopardize Tesla’s and the entire industry’s efforts to develop and implement lifesaving technology,” They said the plaintiffs concocted a story ”blaming the car when the driver – from day one – admitted and accepted responsibility.”
In addition to a punitive award of $200 million, the jury said Tesla must also pay $43 million of a total $129 million in compensatory damages for the crash, bringing the total borne by the company to $243 million.
“It’s a big number that will send shock waves to others in the industry,” said financial analyst Dan Ives of Wedbush Securities. “It’s not a good day for Tesla.”
Tesla said it will appeal.
Even if that fails, the company says it will end up paying far less than what the jury decided because of a pre-trial agreement that limits punitive damages to three times Tesla’s compensatory damages. Translation: $172 million, not $243 million. But the plaintiff says their deal was based on a multiple of all compensatory damages, not just Tesla’s, and the figure the jury awarded is the one the company will have to pay.
It’s not clear how much of a hit to Tesla’s reputation for safety the verdict in the Miami case will make. Tesla has vastly improved its technology since the crash on a dark, rural road in Key Largo, Florida, in 2019.
But the issue of trust generally in the company came up several times in the case, including in closing arguments Thursday. The plaintiffs’ lead lawyer, Brett Schreiber, said Tesla’s decision to even use the term Autopilot showed it was willing to mislead people and take big risks with their lives because the system only helps drivers with lane changes, slowing a car and other tasks, falling far short of driving the car itself.
Schreiber said other automakers use terms like “driver assist” and “copilot” to make sure drivers don’t rely too much on the technology.
“Words matter,” Schreiber said. “And if someone is playing fast and lose with words, they’re playing fast and lose with information and facts.”
Schreiber acknowledged that the driver, George McGee, was negligent when he blew through flashing lights, a stop sign and a T-intersection at 62 miles an hour before slamming into a Chevrolet Tahoe that the couple had parked to get a look at the stars.
The Tahoe spun around so hard it was able to launch Benavides 75 feet through the air into nearby woods where her body was later found. It also left Angulo, who walked into the courtroom Friday with a limp and cushion to sit on, with broken bones and a traumatic brain injury.
But Schreiber said Tesla was at fault nonetheless. He said Tesla allowed drivers to act recklessly by not disengaging the Autopilot as soon as they begin to show signs of distraction and by allowing them to use the system on smaller roads that it was not designed for, like the one McGee was driving on.
“I trusted the technology too much,” said McGee at one point in his testimony. “I believed that if the car saw something in front of it, it would provide a warning and apply the brakes.”
The lead defense lawyer in the Miami case, Joel Smith, countered that Tesla warns drivers that they must keep their eyes on the road and hands on the wheel yet McGee chose not to do that while he looked for a dropped cellphone, adding to the danger by speeding. Noting that McGee had gone through the same intersection 30 or 40 times previously and hadn’t crashed during any of those trips, Smith said that isolated the cause to one thing alone: “The cause is that he dropped his cellphone.”
The auto industry has been watching the case closely because a finding of Tesla liability despite a driver’s admission of reckless behavior would pose significant legal risks for every company as they develop cars that increasingly drive themselves.
 


Oxford exhibition explores Islam’s sacred journey through contemporary art

Updated 6 sec ago
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Oxford exhibition explores Islam’s sacred journey through contemporary art

OXFORD, UK: The Oxford Centre for Islamic Studies has launched a landmark exhibition titled “The Ultimate Journey,” inviting visitors to reflect on Islam’s holiest sites and their enduring legacy.

Launched in collaboration with the Saudi-based Layan Cultural Foundation, the Oxford presentation is the latest iteration of the exhibition, which has previously been shown in other formats and venues internationally.

The exhibition also marks the 40th anniversary of the Oxford Centre for Islamic Studies as well as just over 20 years since Makkah was designated the first capital of Islamic culture by the Islamic Educational, Scientific and Cultural Organization in 2005.

“The Ultimate Journey” brings together 36 artists from Saudi Arabia, Lebanon, Indonesia, Australia, the UK and beyond.

Their works span different styles and techniques — from calligraphy to abstract art — ultimately representing and honoring Islam’s three sacred sites: the Grand Mosque in Makkah, the Prophet’s Mosque in Madinah and the Al-Aqsa Mosque in Jerusalem.

The collection includes works by both Muslim and non-Muslim artists including Dia Aziz Dia, Peter Gould, Nassar Mansour, Ahmed Mater, Bill West, Abdullah Al-Shalti and Reem Nazir.

 

“The idea was simple but deeply personal,” Ghada Al-Tobaishi, managing director of the Layan Cultural Foundation, told Arab News. “Artists from around the world were asked one question: How do you feel about the three holy mosques? They were invited to translate faith, memory and pilgrimage into their own visual language.”

Founded in 1985, the Oxford Centre for Islamic Studies was established to promote the multidisciplinary academic study of Islam and contemporary Muslim societies. Its founder and director, Dr. Farhan Ahmad Nizami, said cultural engagement has always been central to the center’s mission.

“From day one, the study of art, culture and civilization was very much part of the center’s remit,” Nizami told Arab News. “Inter-civilizational understanding rests on sound academic engagement with history, culture and people, and from that emerges a more accurate understanding of the Muslim world.”

Nizami said that presenting Islam’s holy sites through contemporary art enables audiences — Muslim and non-Muslim alike — to engage with their spiritual significance beyond text or ritual.

The exhibition is drawn from a growing collection developed by Layan Culture, a not-for-profit cultural institution founded in 2007 by Prince Faisal bin Abdullah bin Mohammad Al-Saud.

Describing itself as a “custodian of cultural legacy,” the foundation preserves Islamic heritage through research, knowledge gathering and public exhibitions, showcasing the transformative power of the arts.

The institution is dedicated to safeguarding Saudi Arabian heritage, Islamic arts and Arab culture through curated collections, educational publications and cultural initiatives.

Exhibition consultant and catalogue producer Richard Wilding said the exhibition’s works explore not only religious devotion, but also the historical and human dimensions of the sacred cities. “Makkah, Madinah and Jerusalem are holy spaces, but they are also ancient cities,” he said. “You see pilgrims, historic settings and personal moments — artists responding emotionally to places that carry deep meaning.”

Wilding, who is non-Muslim and has worked extensively in Saudi Arabia, added that the exhibition speaks to broad audiences. “You don’t have to be Muslim to respect or revere these places,” he said. “This exhibition offers an opportunity — especially for UK audiences — to encounter these sacred cities through art, sometimes for the first time.”

The exhibition also honors Prince Khalid Al-Faisal, governor of the Makkah Region, Oxford alumnus, poet and artist, whose vision has long championed the intersection of culture, faith and artistic expression.

Housed within the Oxford Centre for Islamic Studies’ purpose-built home, which blends classical Islamic architecture with traditional Oxford design, “The Ultimate Journey” positions art as a bridge between scholarship and spirituality, history and lived experience.

It welcomes visitors to reconsider the contemporary significance and enduring legacy of Islam’s most sacred spaces.