#perioddramas

[thirteen-tales]

— LUKE THOMPSON as Benedict Bridgerton in Bridgerton season 4 (2020-...) and RICHARD MADDEN as Prince Kit in Cinderella (2015)

[recycledmoviecostumes]

This necklace has been worn at least five times over the years, each time altered slightly.   It was first seen on Judy Parfitt as Queen Marie in the 1998 film 𝑬𝒗𝒆𝒓 𝑨𝒇𝒕𝒆𝒓.   It was worn in the fourth season of Showtime’s 𝑻𝒉𝒆 𝑻𝒖𝒅𝒐𝒓𝒔 on Tamzin Merchant as Katherine Howard in 2010.   Lastly, it was seen on Scarlett Cecil as Princess Mary Tudor in the 2017 𝑺𝒊𝒙 𝑾𝒊𝒗𝒆𝒔 𝒘𝒊𝒕𝒉 𝑳𝒖𝒄𝒚 𝑾𝒐𝒓𝒔𝒍𝒆𝒚.   Find out where else this piece has been seen Bit.ly/Acces119

[crisshex88]

The New Language of Period Dramas: Why Modern Costume Series Feel So Different

Today’s post isn’t a traditional episode breakdown.

Instead, it’s something a little different — a costume drama breakdown, or rather a reflection on how modern television has started to reinterpret historical series and what that means for the genre itself.

I’ll start with a small confession.

I’m not usually the biggest fan of period dramas.

It’s not that I dislike them — I simply tend to struggle with very classical storytelling styles. That’s entirely a personal limitation on my side.

The one exception has always been historical biographical productions, which I absolutely love. In Italy we produce many of them because our history spans centuries filled with fascinating historical figures. Those projects, both Italian and international, are a category of their own.

But when it comes to pure costume dramas, I normally don’t gravitate toward them.

And yet recently I realized something surprising.

I’ve watched quite a few of them — and I’ve started noticing a new way of telling these stories.

The Debate Around “Modernized” Period Series

I should mention that this style of reinterpretation is sometimes controversial.

At least in Italy, many viewers — especially fans of classical literature — criticize modern period adaptations for being too modern.

Common criticisms include:

Historical clothing that isn’t perfectly accurate

Dialogue that feels too contemporary

Social dynamics that seem modernized

A tone that doesn’t fully reflect the dramatic realities of the historical period

For many viewers, these changes feel like they distort the authenticity of the era.

Personally, though, I see it differently.

I actually love these reinterpretations.

Because in many cases they don’t erase the historical setting. The environments, social structures, etiquette, and themes often remain intact.

What changes is the storytelling language.

Bridgerton and the Power of Creative Reinterpretation

A perfect example is Bridgerton.

I only started watching it when Season 3 was released. Before that, I had completely refused to watch it.

But once I gave it a chance, I binge-watched everything — Seasons 1, 2, and 3, plus Queen Charlotte: A Bridgerton Story.

Then I ended up reading all of Julia Quinn’s novels as well.

What makes Bridgerton fascinating is how boldly modern it is while still existing inside a historical setting.

One of the clearest examples is the music.

Modern pop songs are transformed into classical violin arrangements, creating a bridge between the past and the present.

Another example is the show’s multiracial interpretation of Regency society. While controversial for some viewers, the series actually grounds this choice within its narrative through the “Great Experiment” storyline and theories surrounding the historical background of Queen Charlotte.

And personally, that contrast is one of the things I appreciate most.

Other Shows Following the Same Direction

This reinterpretation of period storytelling isn’t limited to Bridgerton.

Several other series I’ve recently been watching share the same modern sensibility:

The Artful Dodger

Young Sherlock

Zorro

Sandokan

Each of them approaches historical storytelling in slightly different ways, but they all share the same central idea:

bringing classic characters closer to modern audiences.

Sometimes that happens through music.

In Bridgerton it’s violin covers of modern songs. In other series like The Artful Dodger or Young Sherlock, the soundtrack is fully modern — something that a few decades ago would have felt completely out of place in a historical setting.

Today, however, it works surprisingly well.

Expanding Classic Stories with Modern Themes

Another fascinating aspect of these adaptations is how they expand the original stories.

Take Sandokan, originally created by Emilio Salgari in the late 19th century.

The novels focus primarily on Sandokan’s adventures and heroic exploits. But modern adaptations often explore deeper themes such as colonialism, indigenous identity, and the fight for autonomy.

Similarly, modern versions of Zorro add layers of cultural and political complexity that weren’t fully explored in early 20th-century stories.

These reinterpretations transform simple adventure narratives into stories about identity, justice, and historical memory.

Reinventing Classic Characters

Other projects, such as The Artful Dodger and Young Sherlock, take a different approach.

Both reinterpret famous literary characters in ways that make them feel almost contemporary.

The Artful Dodger originates from Oliver Twist, yet the television series essentially creates an entirely new narrative around the character.

Similarly, Young Sherlock reimagines the early life of Sherlock Holmes — much like Enola Holmes did with Sherlock’s sister.

These stories maintain their historical settings, yet their characters behave in ways that feel incredibly familiar to modern audiences.

Young geniuses questioning authority.

Students navigating ambition, friendships, and rivalry.

Young adults drinking, arguing, experimenting — while still displaying extraordinary intelligence.

In many ways, they feel like modern young people living in historical environments.

Respecting History While Speaking to the Present

As someone who deeply loves history, I want to be clear about one thing.

I’m usually the first person to say that history should not be rewritten.

What happened in the past — even when uncomfortable or unjust — must be understood as it truly occurred.

Only by acknowledging history honestly can we learn from it.

But what these modern period dramas do well is something different.

They respect historical settings while using them to tell contemporary stories.

They don’t erase the past.

They reinterpret it.

And when it’s done well, the result can be incredibly compelling.

A Small Italian Note: Two Early Examples

Before finishing, I want to mention two Italian series that, in hindsight, already hinted at this modern approach.

The first is Elisa di Rivombrosa, set in 18th-century Piedmont.

It’s a beautiful story blending romance, political intrigue, and historical atmosphere. Many of the castles used in the show can still be visited today.

The second is Orgoglio, set in Italy between 1911 and 1913 during the Belle Époque.

Both series captured something very special — a balance between historical storytelling and emotional accessibility.

Unfortunately, Italian television didn’t continue developing that style in the same way other countries have.

Today, however, international productions — especially British ones — seem to be embracing it fully.

The Future of Period Drama

If this is the direction period dramas are taking, I’m honestly excited.

Because these series prove that historical storytelling doesn’t have to feel distant or inaccessible.

It can feel vibrant.

Modern.

Emotionally immediate.

And if that’s the new language of costume dramas, I might find myself watching many more of them in the future.

[queen-helaenas-pet-spider]

“Septon Cellador spoke up. “This boy Satin. It’s said you mean to make him your steward and squire, in Tollett’s place. My lord, the boy’s a whore…a…dare I say…a painted catamite from the brothels of Oldtown.”

And you are a drunk. “What he was in Oldtown is none of our concern. He’s quick to learn and very clever. The other recruits started out despising him, but he won them over and made friends of them all. He’s fearless in a fight and can even read and write after a fashion. He should be capable of fetching me my meals and saddling my horse, don’t you think?”

- Jon {A Dance With Dragons}

//

Donal Logue as Bowen Marsh

Conan Gray as Satin Flowers

Ferdia Walsh-Peelo as Jon Snow

[dowagercountess]

DOWNTON ABBEY | 1x04

[elizabethofpemberley]

When your secret admirer makes £10,000 a year, owns a large estate in Derbyshire, but has no subtlety whatsoever:

[flutterbyrevisits]

Emma (1996) and Clueless (1995).

[avintagesoul]

"Then by hook or by crook, I shall save you.”

- François Arnaud & Holliday Grainger as Lucrezia & Cesare Borgia