Stream It Or Skip It: ‘Tom Jones’ On PBS, A Romance-Focused Adaptation Of Henry Fielding’s Novel

It feels like the success of Bridgerton has led to all sorts of period dramas, whether they’re adaptations of works from their respective time periods or newer works with historical figures as characters, being rethought as romantic and sexy romps. It’s not a bad thought; focusing on a central couple has always led to success with such dramas. A new adaptation of Henry Fielding’s 1749 novel about a man who was dropped on a rich squire’s doorstep as a baby follows this formula.

TOM JONES: STREAM IT OR SKIP IT?

Opening Shot: We see butterflies flying around in a meadow. An narrator says, “Once upon a time in merry England, there lived an old gentleman who was as happy as the summer days were long. He was kind and wise and generous. And did I mention rich? Very rich.”

The Gist: The narrator is Sophia Western (Sophie Wilde), and she’s starting to describe her romance with Tom Jones (Solly McLeod), a foundling who was raised by Squire Allworthy (James Fleet), who was not only rich, but the local magistrate.

Allworthy found baby Tom in his bedroom, and it doesn’t take much time for him to find the baby’s mother: a local girl named Jenny Jones (Isobelle Molloy), who refuses to say who the father is, and thinks Tom will have a better life with Allworthy. As we see Tom growing up, doted on by Allworthy but basically shunned and considered a bastard by everyone else. In the meantime, Sophia has sailed from Jamaica to live with her grandfather, Squire Western (Alun Armstrong). Her father, Western’s son, passed away; her mother, an enslaved person, died at childbirth. She and Tom become fast friends.

Tom grew into a strapping young man, loyal to Allworthy but definitely wilder and more adventurous than his cousin, William Blifil (James Wilbraham), who will be the heir to Allworthy’s estate. He learned to shoot from a local hunter, Black George Seagrim (Dean Lennox Kelly), and vigorously defends George when William contends that he should be put on trial for poaching pheasants from Western’s land. While he considers George a friend, he’s also motivated by his dalliances with his daughter Molly (Lucy Fallon).

A grown up Sophia comes back to the Weston estate after living with her aunt in the city for years, with her attendant Honour Newton (Pearl Mackie) in tow. When Tom comes by the estate (he lives next door), their attraction to each other is immediate.

But Tom has other entanglements: Molly is pregnant and claims the baby is his. He vows to take care of the child, but Allworthy wants him to distance herself from her. As he tries to do that, though, he asks Sophia to appeal to her grandfather to come to a compromise on Black George.

As they get to know each other more — especially when he stays at the Weston estate after injuring his arm catching Sophia after her horse throws her — they fall for each other. But an arrangement has been made: Sophia is to marry William and join the two houses.

What Shows Will It Remind You Of? Despite the time period difference, this version of Tom Jones gives off strong Bridgerton vibes.

Our Take: Adapted from Henry Fielding’s novel by Gwyneth Hughes (Vanity Fair), this version of Tom Jones boils Fielding’s extensive novel down to the romance between Tom and Sophia, and that’s just fine with us. It’s such a sprawling story, albeit one with a light comedic tone, that putting the focus on the unlikely couple makes it into something contemporary.

It helps that there’s off-the-charts chemistry between Wilde and McLeod. You can feel it when they share scenes, and you can see that the chemistry isn’t just sexual; it’s two old friends reconnecting and finding what drew them to each other when they were kids. When that draw happens in adulthood, that’s when romance blossoms.

Obviously there will be complications, not the least of which is the old period-drama saw is that Sophia doesn’t really have any agency over whom she marries. It’s set up from the beginning that William is pretty much an overprivileged fop, while Tom is down-to-earth and knows that, as a foundling, he’s led a very blessed life. So, as things go along, she’s going to seek to get out of William’s clutches and back together with Tom.

What’s interesting is how Hughes changes the dynamic between Jones and Sophia by making her Weston’s granddaughter and the child of an enslaved mother. Yes, like many other recent costume dramas that take place in the 18th or 19th century, the cast is much more diverse than the time period would have dictated. But at least here that diversification is baked into the story, and makes the class differences between Sophia and Tom a little less stark. While Squire Weston treats his granddaughter like the apple of his eye and the heir she deserves to be, there are small doubts given her lineage. It’s still a story about forbidden love, but at least it’s a story where both people in the romance bring their own family baggage into the relationship.

Sex and Skin: There is sexy times in the first episode, but we doubt we’ll see any bodice-ripping to the degree that we’ve seen it on Bridgerton or shows of that nature.

Parting Shot: Tom tells William “She doesn’t want you” after the marriage between Sophia and William is arranged. He looks up at her, looking down from her bedroom window. “I know what I want,” she says in voiceover.

Sleeper Star: Hannah Waddingham has yet to show up, but we’re looking forward to seeing her playing Lady Bellaston, whom Sophia runs to when her marriage to William becomes untenable.

Most Pilot-y Line: When they first reconnect, Sophia and Tom call each other “Mr. Jones” and “Miss Weston” out of societal politeness, but we know that even when they first meet as adults, they’re way beyond using honorifics.

Our Call: STREAM IT. Tom Jones presents Fielding’s sprawling narrative in a modern way that’s funny and well-paced. The cast is stellar, but its the chemistry between its leads that will carry the limited series.

Joel Keller (@joelkeller) writes about food, entertainment, parenting and tech, but he doesn’t kid himself: he’s a TV junkie. His writing has appeared in the New York Times, Slate, Salon, RollingStone.com, VanityFair.com, Fast Company and elsewhere.