In a significant legal development, renowned comedian and actor Steve Coogan has reached a settlement with academic Richard Taylor, making a substantial payment to resolve a defamation claim related to the 2022 film 'The Lost King'.
The Controversial Portrayal
The dispute centred around Mr Taylor's portrayal in the movie, which dramatises the remarkable discovery of King Richard III's remains beneath a Leicester car park. The academic, formerly of the University of Leicester, claimed the film depicted him in a false and damaging light, suggesting he attempted to undermine the efforts of Philippa Langley in her quest to locate the monarch's lost grave.
Substantial Settlement Reached
While the exact figure remains confidential, legal representatives have confirmed that Mr Coogan's production company, Baby Cow, has made a significant financial payment to Mr Taylor. The settlement brings to a close what could have been a protracted and costly legal battle between the parties.
'The settlement is substantial and I'm delighted this matter is now resolved,' Mr Taylor stated through his legal team. He emphasised that his primary concern had always been the restoration of his professional reputation.
Film's Historical Context
'The Lost King' tells the extraordinary true story of Philippa Langley's decade-long campaign to find Richard III's remains, culminating in their 2012 discovery. Sally Hawkins stars as Langley, with Steve Coogan – who also co-wrote the screenplay – playing her supportive husband.
The film received mixed reviews but was praised for bringing this fascinating piece of British history to wider public attention. However, several University of Leicester figures expressed concerns about their characterisations in the dramatic retelling.
Moving Forward
Representatives for Mr Coogan and Baby Cow have confirmed the settlement while maintaining that the film was always intended as a dramatic interpretation rather than a documentary. They expressed satisfaction that the matter has been resolved amicably.
This case highlights the ongoing tension between artistic licence and factual accuracy in historical filmmaking, particularly when depicting living individuals and recent events.
