In a landmark ruling that has sent ripples through the British film and academic communities, Richard Taylor, the former deputy registrar at the University of Leicester, has secured a substantial payout after a court found that his portrayal in the film The Lost King was defamatory. The legal battle, which concluded with a settlement announced on October 27, 2025, shines a spotlight on the responsibilities filmmakers bear when dramatizing real-life events and individuals—and the real consequences that can follow when those responsibilities are neglected.
The Lost King, co-written by and starring Steve Coogan, sought to tell the story of historian Philippa Langley’s quest to find the remains of King Richard III beneath a Leicester council car park in 2012. While the film was lauded for its narrative and performances, it drew sharp criticism for its depiction of Taylor, who was not only a key university figure during the discovery but also, as it turns out, the subject of a legal battle that would test the boundaries of creative license in film.
According to BBC News, Taylor’s lawsuit targeted Coogan, Baby Cow Productions, and Pathe Productions. Taylor argued that the film made him appear “misogynistic” and “weasel-like,” and, more damagingly, as someone who “knowingly misrepresented facts to the media and the public” regarding the discovery. In June 2024, Judge Jaron Lewis ruled that the film’s portrayal of Taylor as “smug, unduly dismissive and patronising” was indeed defamatory—a decision that set the stage for the eventual settlement.
Speaking outside the Royal Courts of Justice, Taylor did not mince words: “I’m really pleased that we have finally established that the film is a defamatory portrayal of me—baseless in its depiction of me and a distortion of the search for Richard III,” he told BBC News. Yet, Taylor was careful to separate his feelings about the film from the collaborative spirit of the actual archaeological project. “I don’t let that detract from what was a fantastic piece of teamwork, a collaborative experience where university academics and amateurs came together to search for Richard III. But it’s fantastic now, that we have established in court that The Lost King is a misleading, defamatory, untrue portrayal of what happened in Leicester back in 2012.”
As part of the settlement, the film’s producers will add a prominent message at the beginning of the film in England and Wales, clarifying that the character of Richard Taylor is a fictionalized version and does not represent the real Taylor’s actions. The card will read: “Whilst in this film there is a character called Richard Taylor who is shown to be an employee of the University of Leicester, the portrayal of him is fictional and does not represent the actions of the real Mr Taylor, who was employed by the University of Leicester as its deputy registrar, and acted with integrity during the events portrayed.” Notably, no edits or cuts will be made to the film itself.
For Taylor, now Chief Operating Officer at Loughborough University, the outcome is a vindication not just of his personal reputation, but also of the collaborative efforts behind the original search. In a statement after the hearing, he remarked, “Whilst it is clear to me that the defendants were misled as to the events of the discovery, they made a deliberate choice to accept those accounts, failing to speak or check basic facts. Our work is twisted into a false caricature of university elitism, ivory towers and self-interest.”
Taylor did not shy away from acknowledging Philippa Langley’s role in the project. “Ms Langley’s initiation of the project and driving confidence had made it possible for Richard III to be found. Hers was a remarkable contribution. But it did not extend to leading the archaeological search or scientific analysis, for which she was neither qualified nor experienced to lead. I could have dropped Philippa’s approach for help into the waste bin when it arrived in 2011, and there have been days over the last three years when I wished that I had. But I didn’t, and my decision to deploy the resources and expertise of the university enabled this search to happen.”
Steve Coogan, meanwhile, stood by his creative choices, stating, “The Lost King was the story I wanted to tell, and I am happy I did.” He emphasized that the film is primarily Philippa Langley’s story, noting, “Philippa Langley instigated the search for Richard III. Philippa Langley insisted on the dig in the northern area of the social services car park where the remains were found. Philippa Langley raised the majority of the money for his exhumation. If it wasn’t for Philippa Langley, Richard III would still be lying under a car park in Leicester.” Coogan added that the only alteration to the film would be the addition of the clarification card, which would follow the existing card stating the film is a true story based on Langley’s perspective.
Daniel Jennings, the defamation partner at Shakespeare Martineau who represented Taylor, described the case as a “defamation David and Goliath moment.” He told BBC News, “Individuals often feel unable to speak up against large corporations and well-known personalities, but this win demonstrates that there is recourse when wrongs have been committed.” Jennings also highlighted the growing trend of films and television productions being labeled as “true accounts” to generate buzz, warning, “The law is very clear and there are defined routes to compensation for individuals who find themselves misrepresented.”
The case has sparked a broader conversation about the ethics of storytelling in film. As Newshub UK reported, Taylor’s victory may serve as a precedent for future cases, urging filmmakers to approach dramatizations of historical events with greater care and integrity. Jennings noted, “We are entering an era where audiences expect not only entertainment but also integrity in storytelling.”
Pathe Productions, Baby Cow Productions, and Steve Coogan issued a joint statement expressing pride in the film and emphasizing their commitment to authenticity: “As a distributor and producer recognised for bringing complex, real-life stories to audiences, we are deeply aware of the responsibility that comes with such portrayals and approach each project with care, integrity, and a commitment to authenticity. We remain incredibly proud of this film and are pleased this matter has now been settled. As part of the agreement, no material editorial changes will be made to the film beyond an onscreen clarification at the beginning of the film.”
As the dust settles on this legal battle, the case of Richard Taylor versus The Lost King stands as a cautionary tale for storytellers everywhere. The demand for truth and accuracy in media is only growing louder, and this outcome makes clear that creative liberties must never come at the expense of real people’s reputations.
