The Rise of 'iPhone Face': Why Period Dramas Are Under Fire

The Great Divide: "iPhone Face" Takes Center Stage in Period Dramas

The world of period dramas has been turned on its head, as audiences and critics alike are up in arms over the phenomenon known as "iPhone face." This seemingly innocuous term refers to the proliferation of modern-day actors with sleek, camera-ready features that jar against the meticulously crafted settings of bygone eras. The latest victims of this criticism are Netflix's "House of Guinness" and the upcoming adaptation of Wuthering Heights.

At the center of the controversy is the casting decision in both productions. In "House of Guinness," a dramatized retelling of the Guinness family saga, 22-year-old Louis Partridge and 24-year-old Niamh McCormack have been accused of sporting "iPhone faces" that don't quite fit the Victorian-era setting. Their youthful, Instagram-perfect features are said to detract from the otherwise engaging story.

Meanwhile, in Wuthering Heights, Margot Robbie's casting as Catherine Earnshaw has sparked a heated debate among fans and critics alike. The 34-year-old actress is five years older than the character she portrays, which has led some to question her suitability for the role. Jacob Elordi, who plays Heathcliff, has also been called out for his "Instagram-ready" features.

But what exactly is this phenomenon of "iPhone face," and why is it causing such a stir? According to Dr. Barbara Kubica, founder of skincare clinic Clinicbe, the rise of aesthetic ideals shaped by digital culture is to blame. "We're seeing more young people opt for treatments that enhance symmetry, contouring, and skin smoothness – features that translate well under the lens of a smartphone," she explains.

This shift in beauty standards has led to a homogenization of faces, creating a look that feels decidedly "of the now" rather than timeless. When applied to period dramas, this uniformity can be jarring, as historical beauty norms were far more natural and varied.

As the debate rages on, some have taken to social media to express their discontent with the casting choices. One viewer penned: "I cannot watch 'House of Guinness' because there's too much iPhone face for me to try and look past." Another quipped: "Sorry but 'House of Guinness' is giving us the perfect example of an iPhone face."

But what about the show itself? Critics have been divided in their assessment, with some praising its opulent production values and others decrying its clichéd portrayal of Irish history. The Irish Star's Ed Power lamented that the show creator, Steven Knight, showed his "understanding of Ireland under colonialism is rudimentary." He also noted that most of the Irish characters seemed "the same" – a criticism echoed by Ann Marie Hourihane in her review for the Irish Independent.

Despite these reservations, some have defended the show's casting choices. Jack Seale, writing for The Guardian, awarded it a full five stars, praising its "smarts, heart, and serious sex appeal." James Jackson from The Times also gave it four stars, noting that it was "never dull" with "flavorings" of Downton Abbey and Succession.

However, the controversy surrounding "House of Guinness" has only just begun to heat up. Just a day after its launch, real-life family member Molly Guinness took to Twitter to express her outrage over the show's portrayal of her ancestors. She called it a "cliched" and "boring" retelling of Irish history, with terrible lines and an invented gay storyline.

The backlash has been so severe that one viewer even joked: "I don't think anyone expects 'House of Guinness' to be good, but at least it's entertaining in a car crash kind of way." This tongue-in-cheek remark speaks volumes about the widespread disappointment among audiences and critics alike.

In an interview with thescholarlynote.com, Chad Teixeira, a PR & Branding expert, weighed in on the controversy. "The conversation around 'iPhone face' is fascinating because it shows how cultural perceptions of beauty evolve alongside technology, lifestyle, and social media filters," he explained. "When audiences critique period dramas like 'House of Guinness' or Wuthering Heights for casting actors with hyper-polished, contemporary features, it signals a tension between authenticity and aspirational branding."

Teixeira continued: "Period pieces rely on transporting viewers to another time, but when characters look like they just stepped out of a glossy Instagram feed, it breaks immersion. For production companies, this becomes a branding challenge: do you cast the conventionally attractive, camera-ready faces that resonate with today's audiences, or lean into historically authentic aesthetics that preserve credibility?"

The answer to this question remains unclear, but one thing is certain – the debate over "iPhone face" has only just begun.