Margot Robbie has an “iPhone face”? Controversy over casting a modern-looking actor in a historical film

When Margot Robbie was announced as the lead in the upcoming film adaptation of Wuthering Heights, it should have been celebrated as yet another career milestone for the actress and producer who has, by now, become one of Hollywood’s most versatile and powerful figures. Instead, the internet had something else to say — and it wasn’t about her acting chops.

The criticism? She looks too modern for the role.

More specifically, some fans and critics claim that Robbie’s features represent what’s now being called the “iPhone face” — a term that’s been floating around online discussions of period dramas, historical casting, and cinematic aesthetics. Her casting, alongside heartthrob Jacob Elordi, has stirred debate about whether certain actors are simply too “present-day” to convincingly play characters from centuries past.

But what exactly is the “iPhone face,” and why is it sparking such fierce reactions?

What Is the “iPhone Face”?

The term “iPhone face” has nothing to do with Apple’s tech products directly — rather, it refers to a hyper-modern aesthetic that’s evolved in the age of social media, high-definition photography, and cosmetic enhancements. Think:

• Flawless skin

• Symmetrical, well-defined features

• Glossy lips

• Laminated brows

• Plumped cheeks or lips via filler

• Ultra-straight teeth from veneers

• Botox-smooth foreheads

It’s the Instagram-friendly, photo-ready look that dominates red carpets, influencer feeds, and now, increasingly, Hollywood casting lists. And while it may work wonders in fashion campaigns or blockbuster action movies, critics argue it doesn’t always translate well to historical or period dramas that require a sense of rawness, imperfection, or even natural aging.

Why Margot Robbie and Jacob Elordi Are Under Scrutiny

In the upcoming Wuthering Heights, set to be released on Valentine’s Day 2026 and directed by Emerald Fennell (Saltburn, Promising Young Woman), Margot Robbie is set to play Catherine Earnshaw, while Jacob Elordi will take on the role of Heathcliff.

The novel, written by Emily Brontë in 1847, is set in the rugged moors of Northern England in the late 1700s. Its characters are described as wild, earthy, conflicted, and in many ways, weathered by life, class, and environment.

So when two of the most conventionally attractive, polished actors of our time are cast in these tortured, storm-swept roles, it naturally raises eyebrows. Online forums, Twitter threads, and even think pieces have emerged questioning the authenticity of such casting. Do Robbie and Elordi look too much like magazine covers to feel believable in a world of corsets, candlelight, and countryside grit?

Some fans have noted that Margot Robbie’s face, while stunning, carries an unmistakably 21st-century look. Her symmetrical features, glossy complexion, and overall “camera-ready” vibe make it hard for some viewers to suspend disbelief. The same applies to Jacob Elordi, whose fashion-model looks and perfect jawline feel more red carpet than windswept English moor.

Is It About Beauty — Or Authenticity?

To be clear, no one is suggesting that attractive people can’t act in period pieces. Hollywood has a long history of casting beautiful leads in everything from Pride and Prejudice to The Tudors.

But the “iPhone face” debate goes beyond conventional beauty. It’s about a specific aesthetic that seems engineered for the now, not the then. It’s about appearances that feel too curated, too smooth, too filtered — like they belong in a luxury ad campaign instead of an 18th-century farmhouse.

There’s a reason actors like Kate Winslet, Saoirse Ronan, or Florence Pugh are often praised for their ability to vanish into historical roles: their appearance, natural or styled, doesn’t distract from the period setting. They don’t look “done.” They look lived in.

In contrast, some argue that Margot Robbie, through no fault of her own, simply looks like the modern day — no matter what costume you put her in.

The Role of Cosmetic Procedures in the “iPhone Face”

Another layer to this debate is the influence of modern cosmetic procedures — both surgical and non-surgical — that have become nearly invisible in their execution, yet highly visible in their aesthetic.

Procedures like veneers, microblading, cheek fillers, lip flips, and Botox have created a new Hollywood standard. And while there’s nothing wrong with actors choosing to tweak their appearance, the cumulative effect is an industry saturated with faces that look similar — and very modern.

Margot Robbie, to be clear, has never confirmed any cosmetic enhancements, and many argue her beauty is largely natural. Still, her face — thanks to lighting, styling, makeup, and yes, possibly subtle procedures — has become a template of sorts for contemporary beauty. And that template clashes, for some, with the dirt-under-the-nails world of Wuthering Heights.

Emerald Fennell’s Vision: Is This Casting a Statement?

Let’s not forget that Emerald Fennell is not a traditional filmmaker. Her previous works, like Promising Young Woman and Saltburn, have taken familiar archetypes and twisted them into provocative, visually lush, and socially charged statements.

Could it be that casting Margot Robbie and Jacob Elordi — two undeniably “iPhone face” actors — is an intentional subversion? Maybe Fennell isn’t trying to recreate the past in a historically accurate sense, but instead, she’s exploring how we view timeless emotions — love, grief, revenge — through a modern lens.

If that’s the case, then maybe the casting isn’t a misstep, but a bold reinterpretation of Brontë’s themes in a 2020s context.

Is the Criticism Fair?

While the conversation about the “iPhone face” is relevant, it’s also worth asking: Are we being too judgmental?

Margot Robbie is an actress of considerable talent, proven range, and powerful presence. Her performances in I, Tonya, Once Upon a Time in Hollywood, and Babylon show she’s more than just a pretty face. Dismissing her based on appearance may risk reinforcing harmful beauty standards — that certain looks can’t be versatile, or that too much beauty somehow disqualifies you from serious roles.

Moreover, the focus on appearance also risks overshadowing the deeper aspects of storytelling: performance, direction, emotional resonance. If Robbie can convincingly portray Cathy’s emotional instability and destructive passion, does it really matter if her cheekbones are too sharp?

Final Thoughts: Between Beauty and Believability

The “iPhone face” debate surrounding Margot Robbie and Wuthering Heights is about more than just casting. It reflects a broader cultural tension between modern aesthetics and timeless storytelling, between what looks good on Instagram and what feels authentic on screen.

Whether or not Robbie “fits” the role may come down to execution — not appearance. If Emerald Fennell’s vision is strong enough, and if Robbie brings the emotional chaos that Cathy demands, then perhaps we’ll stop seeing her as an anachronism and start seeing her as a revelation.

Until then, the conversation about “iPhone faces” in period dramas isn’t going anywhere — and neither is Margot Robbie.