Richard Taylor, former deputy registrar at the University of Leicester, has spoken about his legal victory following his depiction in The Lost King, the 2022 film centred on the discovery of King Richard III’s remains beneath a Leicester car park. Taylor, who played a central role in the real excavation, initially assumed he would not feature in the drama after seeing no reference to a character representing him during production. However, ahead of the film’s release, a journalist informed him that he had been portrayed as the story’s antagonist – a revelation that left him anxious about his professional reputation. After previewing the film, Taylor said he was “shellshocked” by what he described as an inaccurate and damaging characterisation.
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In the film, Taylor’s character is depicted as dismissive and obstructive towards Philippa Langley, the amateur historian who championed the search for Richard III. The portrayal shows him sidelining Langley and taking undue credit for the discovery on behalf of the university – a version of events Taylor insists is untrue. Attempts to contact the film’s co-writer and star, Steve Coogan, were unsuccessful, prompting Taylor to pursue legal action. He said he felt compelled to act to protect his integrity, despite the daunting nature of challenging a prominent actor and production companies backing the film.
Following nearly three years of legal proceedings, Taylor has secured “substantial damages”, along with legal costs, in what his solicitor described as a “David and Goliath moment”. Production companies involved in the film, including Coogan’s Baby Cow, have now agreed to add a prominent disclaimer stating that Taylor’s depiction is fictional and does not reflect his conduct. Taylor argued that the situation could have been avoided if the filmmakers had used a fictional name or avoided positioning the drama so strongly as a true account. He also expressed disappointment that no fact-checking had been undertaken with him prior to release.
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Despite the outcome, Coogan has continued to defend the film and Langley’s central role in the archaeological success. Taylor, meanwhile, hopes the case serves as a reminder of the responsibilities associated with dramatising real events and individuals, stressing that creative licence must be balanced against fairness and accuracy. He believes the ruling could help others who feel misrepresented in factual dramas seek recourse. With the dispute now settled, Taylor says he is relieved his professional reputation has been upheld – and can finally focus on everyday life again, joking that his wife already has plans for a new kitchen.
