Across eras, including the Renaissance and 20th-century decades, period dramas have continuously captivated audiences. Many tune in to share their likes and dislikes about original films and adaptations set in previous centuries.Â
Viewers analyze films for historical accuracy, even if they weren’t present during that time period. They do this by comparing it to reference material: the book it was adapted from, credible online sources, or even a social media influencer breaking down the pros and cons. Makeup is one of the factors often critiqued for accuracy.
Makeup has changed throughout history, with trends, new inventions, and more. One decision viewers seem to dislike is when a drama is set in a previous era but has modern makeup.
The internet expressed its distaste for Bridgerton season three makeup when it aired, which featured a new approach from the earlier seasons: it incorporated eyelash extensions and smoky eyes. The complaints that the modern makeup approach was not historically accurate to the Regency era were taken into account; many were pleased when season four returned to the natural style of seasons one and two.
Jane Austen is an author whose books have many screen adaptations. Austen’s books were published in the early 19th century and take place in the Regency and Georgian eras. Her books have had many adaptations over the years; some have drawn criticism for their makeup, such as Pride & Prejudice (2005).
In a 2014 interview with Stylist UK, Fae Hammond, a makeup artist on Pride & Prejudice, stated that no makeup was used other than to cover blemishes, which has come to be a topic of debate on the present-day internet. I’ve seen many argue on TikTok that they can spot mascara or other makeup.
A recent 2026 adaptation of Austen’s Sense and Sensibility was directed by Georgia Oakley and released in United States theaters on October 16th. An October Vogue article noted that Oakley had a strict no-makeup rule for the film. Daisy Edgar-Jones (Elinor Dashwood) said she and her co-star, EsmĂ© Creed-Miles (Marianne Dashwood), attempted to sneak ChapStick, but they did not get away with it.
I have yet to see any online discourse about the makeup in this film, but the movie is fresh, so if the Pride & Prejudice pattern continues, conversations about the “no-makeup” statement might arise.
Social media creates space for these conversations, and makeup is one of many elements analyzed for accuracy. The conversations will presumably continue as online platforms expand and the audiences grow, all the while filmmakers will continue to choose the stylistic approach that fits their vision best.