Her more intuitional and personal engagement with the site — her descriptions of sensing the grave’s location — has attracted varying degrees of commentary, from respectful acknowledgment that she was right about where to look to more skeptical assessments of the relationship between intuition and evidence in the discovery narrative.
The film *The Lost King*, released in 2022, dramatized Langley’s role in the discovery and generated renewed public interest in the case as well as some academic controversy about how the contributions of the University of Leicester archaeological and genealogical teams were depicted relative to Langley’s own role. The university published a response to the film’s portrayal. These discussions are part of the ongoing interpretation of a discovery that had multiple contributors with distinct roles.
What is documented without controversy is that Langley, Ashdown-Hill, Carson, the Leicester archaeology team, the genetics team led by Turi King, Kevin Schürer’s genealogical work, Leicester City Council, and the funding organizations all contributed to an outcome that none of them could have achieved without the others.
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## The Visitor Centre and Public Memory
The King Richard III Visitor Centre, which opened in July 2014 on St. Martin’s Place in Leicester, occupies the building adjacent to the car park where the excavation took place. The centre houses artifacts from the excavation and interpretation of the discovery, and it allows visitors to view the original burial site through a glass floor that preserves it in situ.
The centre also presents historical material about Richard III’s life, reign, and historical reputation, and it grapples directly with the question of how an individual can be known primarily through sources created by their political enemies. The material at the visitor centre is careful to distinguish documented historical fact from Tudor-influenced interpretation, and it presents multiple perspectives on Richard III’s historical character rather than simply rehabilitating him in opposition to the Shakespearean portrayal.