Lacock village in Wiltshire is steeped in history and has been used as a filming location for Harry Potter, Downton Abbey, Pride and Prejudice and Wolf Hall, making visitors feel like they’re living in a period drama
08:00, 16 Dec 2025Updated 08:13, 16 Dec 2025
Visitors in the Cloisters at the Abbey(Image: Shared Content Unit)
Its Wiltshire timber-framed buildings and magnificent cloisters have drawn numerous productions beyond Austen’s tale to its grounds. Lacock’s famous medieval Cloister, dating back to around 1450, also houses a verdant Cloister Garth. This striking architectural feature appeared in countless Downton Abbey scenes, and doubled as sections of the castle in the original Harry Potter films. It also featured in the BBC’s Wolf Hall adaptation. One TripAdvisor reviewer awarded the destination five stars, saying: “An absolute must if you are in the area! A beautiful village, which you can visit by parking just across the road in the National Trust car park.
“The village is a pleasure to walk around, totally untouched throughout history and is quintessentially English! From the rows of tiny cottages, the church, the tiny bakery, the village pub and a hotel, it has everything and all these are open and running. We stayed for a couple of hours and then had a wander around the Abbey which is also impressive.”, reports Gloucestershire Live. Another reviewer described the village as “frozen in time”, with Explore the Cotswolds concurring that the location “looks a lot like it would have done 200 years ago.”
Lacock’s magnificent abbey began life as an Augustinian nunnery, shuttered during Henry VIII’s dissolution of the monasteries. Subsequently, John Ivory Talbot constructed the mock-Gothic hall – both are now in the care of the National Trust and available for afternoon exploration. A stone’s throw away stands St Cyriac’s Church. Initially believed to be a Saxon worship site, it later became Norman-controlled. The Church was erected near the close of the 11th century by Edward of Salisbury and William of Eu. The dedication to St Cyriac honours a beloved Norman saint.
The church houses numerous later memorials to the Baynards, Bonhams, Crokes, Sharingtons, Talbots and Awdreys. Yet for Harry Potter enthusiasts, the cloisters steal the show. For one devotee, exploring the cloisters topped her agenda upon arriving in Britain. She wrote: “Harry Potter fans NEED to do this! We’re from Canada. As soon as we landed in London, this was the very first thing we did. We did the Harry Potter Tour of London for Private Groups by Black Taxi. “Our guide was Richard and we can’t say enough good things about him! He was absolutely incredible! Ask him how he knows so much about this…such an interesting person, so knowledgeable and passionate about it all.”
New Delhi, India – A newly released Bollywood spy thriller is winning praise and raising eyebrows in equal measure in India and Pakistan, over its retelling of bitter tensions between the South Asian neighbours.
Sunk in a sepia tone, Dhurandhar, which was released in cinemas last week, is a 3.5-hour-long cross-border political spy drama that takes cinemagoers on a violent and bloody journey through a world of gangsters and intelligence agents set against the backdrop of India-Pakistan tensions. It comes just months after hostilities broke out between the two countries in May, following a rebel attack on a popular tourist spot in Pahalgam, in Indian-administered Kashmir, which India blamed Pakistan for. Islamabad has denied role in the attack.
The film stars the popular actor Ranveer Singh, who plays an Indian spy who infiltrates networks of “gangsters and terrorists” in Karachi, Pakistan. Critics of the film argue that its storyline is laced with ultra-nationalist political tropes and that it misrepresents history, an emerging trend in Bollywood, they say.
A still from the trailer of Dhurandhar [Jio Studios/Al Jazeera]
What is the latest Bollywood blockbuster about?
Directed by Aditya Dhar, the film dramatises a covert chapter from the annals of Indian intelligence. The narrative centres on a high-stakes, cross-border mission carried out by India’s Research and Analysis Wing (R&AW), and focuses on one operative who conducts operations on enemy soil to neutralise threats to Indian national security.
The film features a heavyweight ensemble cast led by Singh, who plays the gritty field agent tasked with dismantling a “terror” network from the inside. He is pitted against a formidable antagonist played by Sanjay Dutt, representing the Pakistani establishment, and gangsters such as one portrayed by Akshaye Khanna, while actors including R Madhavan portray key intelligence officers and strategists who orchestrate complex geopolitical manoeuvering from New Delhi.
Structurally, the screenplay follows a classic cat-and-mouse trajectory.
Beneath its high-octane set pieces, the film has sparked an angry debate among critics and audiences over the interpretation of historical events and some key figures.
A scene shown in the trailer of the new Bollywood film, Dhurandhar [Jio Studios/Al Jazeera]
Why is the film so controversial in Pakistan?
Despite the longstanding geopolitical tensions between the two countries, India’s Bollywood films remain popular in Pakistan.
Depicting Pakistan as the ultimate enemy of India has been a popular theme retold for years, in different ways, especially in Bollywood’s spy thrillers, however. In this case, the portrayal of Pakistan’s major coastal city, Karachi, and particularly one of its oldest and most densely populated neighbourhoods, Lyari, has drawn strong criticism.
“The representation in the film is completely based on fantasy. It doesn’t look like Karachi. It does not represent the city accurately at all,” Nida Kirmani, an associate professor of sociology at Lahore University of Management Sciences, told Al Jazeera.
Kirmani, who has produced a documentary on the impact of gang violence in Lyari of her own, said that like other megacities in the world, “Karachi had periods of violence that have been particularly intense.”
However, “reducing the city to violence is one of the major problems in the film, along with the fact the film gets everything about Karachi – from its infrastructure, culture, and language – wrong”, she added.
Meanwhile, a member of the Pakistan People’s Party (PPP) has taken legal action in a Karachi court alleging the unauthorised use of images of the late former prime minister, Benazir Bhutto, who was assassinated in 2007, and protesting against the film’s portrayal of the party’s leaders as supporters of “terrorists”.
Critics, including Kirmani, say the film also bizarrely casts gangs from Lyari into geopolitical tensions with India, when they have only ever operated locally.
Kirmani said the makers of the movie have cherry-picked historical figures and used them completely out of context, “trying to frame them within this very Indian nationalistic narrative”.
Mayank Shekhar, a film critic based in Mumbai, pointed out that the film “has been performed, written, directed by those who haven’t ever stepped foot in Karachi, and perhaps never will”.
“So, never mind this dust bowl for a city that, by and large, seems wholly bereft of a single modern building, and looks mostly bombed-out, between multiple ghettos,” Shekhar said.
He added that this is also in line with how Hollywood “shows the brown Third World in action with a certain sepia tone, like with Extraction, set in Dhaka, Bangladesh”.
Bollywood actor Ranveer Singh (centre) performs during the music launch of his upcoming Indian Hindi-language film Dhurandhar in Mumbai on December 1, 2025 [Sujit Jaiswal/AFP]
How has the film been received in India?
Dhurandhar has been a huge commercial success in India and among the Indian diaspora. However, it has not escaped criticism entirely.
The family of a decorated Indian Army officer, Major Mohit Sharma, filed a petition in Delhi High Court to stop the release of the film, which, they claim, has exploited his life and work without their consent.
The makers of the film deny this and claim it is entirely a work of fiction.
Nonetheless, the film’s storyline is accompanied by real-time intercepted audio recordings of attacks on Indian soil and news footage, film critics and analysts say.
People linger outside a movie theatre that is screening The Kashmir Files, in Kolkata, India, on March 17, 2022 [Debarchan Chatterjee/NurPhoto via Getty Images]
Is this an emerging pattern in Bollywood films?
Shekhar told Al Jazeera that focusing on a deliberately loud, seemingly over-the-top, hyper-masculine hero’s journey is not a new genre in Bollywood. “There’s a tendency to intellectualise the trend, as we did with the ‘angry young man’ movies of the 1970s,” he said, referring to the formative years of Bollywood.
In recent years, mainstream production houses in India have, however, favoured storylines that portray minorities in negative light and align with the policies of the Hindu nationalist government of Prime Minister Narendra Modi.
Kirmani told Al Jazeera that this frequently means “reducing Muslims across India’s borders and within as ‘terrorists’, which further marginalises Muslims in India culturally”.
“Unfortunately, people gravitate towards these kinds of hypernationalistic narratives, and the director is cashing in on this,” she told Al Jazeera.
Modi himself lavished praise on a recent film called Article 370, for what he said was its “correct information” about the removal of the constitutional provision that granted special autonomous status to the state of Jammu and Kashmir in 2019. Critics, however, called the film “propaganda” and said the film had distorted facts.
Another Bollywood film Kerala Story released in 2023 was accused of falsifying facts. Prime Minister Modi praised the film, but critics said it tried to vilify Muslims and demonise the southern Kerala state known for its progressive politics.
In the case of Dhurandhar, some critics have faced online harassment.
One review by The Hollywood Reporter’s India YouTube channel, by critic Anupama Chopra, was taken down after outrage from fans of the film.
Went looking for Anupama Chopra’s Dhurandhar review? It’s gone. The Hollywood Reporter India quietly made the video private.
For context, The Hollywood Reporter India was launched by RPSG Lifestyle Media, part of the RP-Sanjiv Goenka Group, which also owns Saregama –…
India’s Film Critics Guild has condemned “coordinated abuse, personal attacks on individual critics, and organised attempts to discredit their professional integrity”, in a statement.
“More concerningly, there have been attempts to tamper with existing reviews, influence editorial positions, and persuade publications to alter or dilute their stance,” the group noted.
Months before his slaying, Rob Reiner talked about the power of forgiveness after the “horrific” assassination of conservative influencer Charlie Kirk.
“Horror. An absolute horror,” the director, actor and political activist said when asked about the shooting in a TV interview with Piers Morgan. “I unfortunately saw the video of it and it’s beyond belief what happened to him, and that should never happen to anybody. I don’t care what your political beliefs are. That’s not acceptable.”
“Rob Reiner, a tortured and struggling, but once very talented movie director and comedy star, has passed away, together with his wife, Michele, reportedly due to the anger he caused others through his massive, unyielding, and incurable affliction with a mind crippling disease known as TRUMP DERANGEMENT SYNDROME, sometimes referred to as TDS,” Trump said in a social media post.
“He was known to have driven people CRAZY by his raging obsession of President Donald J. Trump, with his obvious paranoia reaching new heights as the Trump Administration surpassed all goals and expectations of greatness, and with the Golden Age of America upon us, perhaps like never before. May Rob and Michele rest in peace!”
How is that anyone’s initial reaction to a tragic slaying, let alone an official comment from a sitting U.S. president? That’s a rhetorical question, of course. It’s just another Monday at Trump’s White House.
I’d be screaming into the void if I were to use the rest of this column to argue that the president is not only off his rocker but also has tumbled down the stairs and is in the foyer, mumbling something about speedboats, piggies and ballrooms. In his race to the bottom, he’s broken through the floor. Now we’re in the Trump Upside Down, where empathy and decency are negative attributes.
Even Republican lawmakers were compelled to speak out against their feared leader. “This is a family tragedy, not about politics or political enemies,” said Georgia Rep. Marjorie Taylor Greene in response to Trump’s post.
Rep. Mike Lawler (R-N.Y.) wrote on X, “Regardless of one’s political views, no one should be subjected to violence, let alone at the hands of their own son. It’s a horrible tragedy that should engender sympathy and compassion from everyone in our country, period.”
Don Bacon (R-Neb.) said it short and sweet to CNN’s Jake Tapper: “I’d expect to hear something like this from a drunk guy at a bar, not the President of the United States. Can the President be presidential?”
No, he cannot. When given the chance on Monday to appear leader-like during a White House news conference, Trump doubled down on his dislike for Reiner, saying he “wasn’t a fan” and that the director “was a deranged person.”
Translation: Reiner was a Trump critic and the president has skin so thin it’s practically rice paper at this point. But the filmmaker’s social conscience was evident in everything he did, starting with his role as “All in the Family’s” liberal, hippie son-in law to conservative crank Archie Bunker. It was the 1970s, and Meathead (a.k.a. Michael) consistently called out Archie’s racism, bigotry and sexism on the weekly sitcom. Archie’s rants are now the ugly stuff embraced by feckless politicians and attention-seeking influencers, but back then, his tirades against “queers” and “coloreds” represented old prejudices that needed to be shed if the country were to move forward. Show creator Norman Lear made the ugliness funny by using Meathead to expose Archie’s ignorance. Even back then, Reiner was poking the bear.
Reiner was a staunch critic of Trump and other leaders and movements that sought to curtail the freedoms that were previously believed to be enshrined in the Constitution — until MAGA began shredding them one by one. The comedian was an advocate for democratic ideals, Democratic candidates, same-sex marriage, early childhood education, and government transparency, spearheading California’s Proposition 10 (First 5) to fund early development programs via tobacco taxes. He also helped overturn Proposition 8, California’s brief ban on gay marriage.
Reiner’s understanding that it takes all kinds was evident in his work. He was a director with range, as they say in the industry, helming a string of films that became cultural touchstones, starting with 1984’s groundbreaking mockumentary “This Is Spinal Tap,” a satire that forever changed the language around heavy-metal decibel levels (“Crank it to 11!”). Then came 1986’s coming-of-age drama “Stand by Me,” 1989’s seminal romantic comedy “When Harry Met Sally…,” and the terrifying, psychological horror-thriller, 1990’s “Misery,” about an injured novelist held captive by his biggest fan.
Some of his films directly addressed the inequity and violence that Reiner fought so hard to correct in his lifetime. “Ghosts of Mississippi” explored the 1994 trial of Byron De La Beckwith, a white supremacist accused of the 1963 assassination of civil rights activist Medgar Evers. And Reiner’s 2017 drama “Shock and Awe” told the true story of a team of reporters who countered the Bush administration’s justification for invading Iraq in 2003 when they found evidence of falsified intelligence about weapons of mass destruction.
Though it was already acceptable to speak out against that Middle Eastern war, in the same week of the film’s release, he caught flak for signing a petition led by Palestinian director Annemarie Jacir condemning Trump’s 2017 decision formally recognizing Jerusalem as the capital of Israel. Reiner, who was Jewish, told the National that Trump had “no concept of geopolitical events or how things are interconnected. There was no consideration that went into this decision, no outreach to allies in the Arab world, or even the non-Arab world to see what the impact of something like this is.”
Reiner saw tragedy and sadness in the death of Kirk because he was able to empathize with the loss of life, no matter the difference of opinion.
Rob Reiner was a movie director who began as an actor who wanted to direct movies. The bridge between these careers was “This Is Spinal Tap” in 1984, his first proper film, in which he also acted. His original inclination, based on the music documentaries he had studied, had been not to appear onscreen, but he decided there was practical value in greeting the audience with a face familiar from eight seasons of “All in the Family” as Archie Bunker’s left-wing son-in-law, Michael “Meathead” Stivic.
Reiner’s television career began at 21, partnered with Steve Martin, writing for “The Smothers Brothers Comedy Hour.” As an actor, his early years were characterized by the small parts and guest shots that describe the early career of many performers we come to know well. He played multiple characters on episodes of “That Girl” and “Gomer Pyle, USMC,” a delivery boy on “Batman,” and appeared on “The Andy Griffith Show” and “Room 222.” His last such role, in 1971, the same year “All in the Family” premiered, was on “The Partridge Family” as a tender-hearted, poetry-writing, tattooed biker who becomes attached to Susan Dey‘s character and somewhat improbably takes her to a school dance. It’s a performance that prefigures the tenderness and humanity that would become a signature of his work as a writer, director and performer — and, seemingly, a person.
On “All in the Family,” in his jeans and work shirt, with a drooping mustache that seemed to accentuate a note of sadness, Reiner largely played the straight man, an irritant to Carroll O’Connor’s Archie Bunker, teeing up the issue-oriented dialectic. Once in a while he’d be given a broad comic meal to chew, as when wife Gloria (Sally Struthers) goes into labor while they’re out for dinner, and he accelerates into classic expectant-father sitcom panic. But minus the “Meathead” material, “All in the Family” is as much a social drama as it is a comedy, with Mike and Gloria struggling with money, living with her parents, new parenthood, and a relationship that blows hot and cold until it finally blows out for good. He’s not a Comic Creation, like Archie or Edith with their malaprops and mispronunciations, or even Gloria, but his importance to the storytelling was certified by two supporting actor Emmys.
Rob Reiner, Sally Struthers, Caroll O’Connor and Jean Stapleton in a scene from Norman Lear’s television series “All in the Family.”
(Bettmann Archive via Getty Image)
What Reiner carried from “Family” into his later appearances was a sort of bigness. He could seem loud — and loudness is something Norman Lear’s shows reveled in — even when he’s speaking quietly. Physically he occupied a lot of space, more as time went on, and beginning perhaps with “Spinal Tap,” in which he played director Marty DiBergi, he transformed tonally into a sort of gentle Jewish Buddha. In the 2020 miniseries “Hollywood,” Ryan Murphy’s alternate history of the 1930s picture business, the studio head he plays is not the desk-banger of cliche, but he is a man with an appetite. (“Get me some brisket and some of those cheesy potatoes and a lemon meringue pie,” he tells a commissary waiter — against doctor’s orders, having just emerged from a heart attack-induced coma. “One meal’s not going to kill me.”) He’s the boss, but, in a scene as lovely as it is historically unlikely, he allows his wife (Patti LuPone), who has been running things during his absence, to also be the boss.
Reiner left “All in the Family” in 1978, after its eighth season to explore life outside Michael Stivic. (In 1976, while still starring on “Family,” he tested those waters, appearing on an episode of “The Rockford Files” as a narcissistic third-rate football player.) “Free Country,” which he co-created with frequent writing partner Phil Mishkin, about a family of Lithuanian immigrants in the early 1900s, aired five episodes that summer. The same year, ABC broadcast the Reiner-Mishkin-penned TV movie “More Than Friends” (available on Apple TV) in which Reiner co-starred with then-wife Penny Marshall. Directed by James Burrows, whose dance card would fill up with “Taxi,” “Cheers” and “3rd Rock From the Sun,” it’s in some respects a dry run for Reiner’s “When Harry Met Sally…,” tracking a not-quite-romantic but ultimately destined relationship across time.
Future Spinal Tap lead singer Michael McKean appears there as a protest singer, while the 1982 CBS TV movie “Million Dollar Infield,” written again with Mishkin, features Reiner alongside future Spinal Tap lead guitarist Christopher Guest and bassist Harry Shearer; it’s a story of baseball, families and therapy. Co-star Bruno Kirby the year before had co-written and starred in Reiner’s directorial debut, “Tommy Rispoli: A Man and His Music,” a short film that aired on the long-gone subscription service On TV as part of the “Likely Stories” anthology. Kirby’s character, a Frank Sinatra-loving limo driver (driving Reiner as himself), found its way into “This Is Spinal Tap,” though here he is the center of a Reineresque love story.
After “Spinal Tap,” as Reiner’s directing career went from strength to strength, he continued to act in other people’s pictures (“Sleepless in Seattle,” “Primary Colors,” “Bullets Over Broadway” and “The Wolf of Wall Street,” to name but a few) and some of his his own, up to this year’s “Spinal Tap II: The End Continues.” On television, he mostly played himself, which is to say versions of himself, on shows including “It’s Garry Shandling’s Show,” “Curb Your Enthusiasm” and, of all things, “Hannah Montana,” with a few notable exceptions.
Rob Reiner and Jamie Lee Curtis play the divorced parents of Jess (Zooey Deschanel) in Fox’s “New Girl.”
(Ray Mickshaw / Fox)
The most notable of these, to my mind, is “New Girl,” in which Reiner appeared in 10 episodes threaded through five of the series’ seven seasons, as Bob Day, the father of Zooey Deschanel’s Jess. Jamie Lee Curtis, married to Guest in the real world, played his ex-wife, Joan, with Kaitlin Olson as his new, much younger partner, Ashley, who had been in high school with Jess. He’s positively delightful here, whether being overprotective of Deschanel or suffering her ministrations, dancing around Curtis, or fencing with Jake Johnson’s Nick. Improvisational rhythms characterize his performance, whether he’s sticking to the script or not. Most recently, he recurred in the fourth season of “The Bear,” which has also featured Curtis, mentoring sandwich genius Ebraheim (Edwin Lee Gibson); their scenes feel very much like what taking a meeting with Reiner might be like.
Coincidentally, I have had Reiner in my ear over the past couple of weeks, listening to the audiobook version of “A Fine Line: Between Stupid and Clever,” which he narrates with contributions from McKean, Shearer and Guest. A story of friendship and creativity and ridiculousness, all around a wonderful thing that grew bigger over the years, Reiner’s happy reading throws this tragedy into sharper relief. I have a DVD on the way, though I don’t know when I’ll be up to watching it. I only know I will.
