A perennial singleton among the smug marrieds, with a passion for Chardonnay, big knickers and emotional f***wits.
Who is Bridget Jones and why is she beloved by so many?
Created by Helen Fielding as an anonymous way to write about being a single girl in London, Bridget first came to life in a weekly column in the Independent.
Fielding didn’t think it would last six weeks. She was very wrong, and Bridget Jones is still alive and kicking nearly three decades later with four novels, four movies and a legion of fans worldwide.
First off, we have to pay homage to Jane Austen. Without Pride And Prejudice, Bridget Jones wouldn’t exist.
The entire plot line of Bridget Jones’s Diary is built around the love triangle of Elizabeth Bennett, the dashing but aloof Mr Darcy and the absolute cad Mr Wickham – but retold in1990s London with Bridget, Mark Darcy and Daniel Cleaver.
As a drinking, smoking, swearing and non-corset-wearing Elizabeth Bennett, Bridget was a big hit. Set loose in the capital in the hedonistic ’90s, there was plenty of fun to be had, and plenty to poke fun at.
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Created pre-social media, we can only imagine a world in which Bridget was documenting her weight and alcohol units on TikTok instead of in her diary…
Image: Pic: Moviestore/Shutterstock
The first movie
There was a media meltdown when American actress Renee Zellweger was cast as Bridget Jones, and the fact she put on 25lbs for the role was front-page news for months. It’s fair to say the obsession with Zellweger’s weight has pretty much continued to this day.
With life imitating art, while Bridget religiously notes her weight every day in her diary, the world became obsessed with Zellweger’s own size – very much proving the point that her character’s obsessive relationship with the scales reflected society’s obsession with female appearance.
Of course, we don’t know how tall Bridget is, so despite knowing her daily calorie intake and weight to the pound, we have no idea how big or small she actually is, just her own perception of her size.
Meanwhile, qualms over how convincing Zellweger would be at pulling off a British accent were quickly quashed when she nailed it, with the help of the same voice coach who worked with Gwyneth Paltrow on Shakespeare In Love. It’s faultless.
Image: Pic: Rex Features
Brat Bridget and feminist Marmite
Bridget was Brat long before Brat was a thing. Smoking like a chimney, with a questionable dress sense and sporting hair that – unlike pretty much 99% of films – looks messy and real, Bridget was relatable and became an instant icon to many women – particularly those over 35 – who felt largely ignored by society.
However, the character was feminist Marmite – while some loved Bridget, others hated her and everything she stood for.
Some felt her obsession with her appearance and finding a man flew in the face of what it meant to be an independent woman – and everything the first waves of the feminist movement had fought for.
Others thought that for a generation that had been told they could have it all, Bridget’s battles to try to achieve all that society told her she should, were a valiant attempt to triumph in an impossible situation.
Image: Pic: Rex Features
Principled, honest and unwaveringly kind – while Bridget may not have been perfect, in an era of heroin chic, lad mags and outrageously unrealistic beauty standards, there were plenty less wholesome role models for young women to aspire to.
Pre-MeToo world
The first books and films came to life in a pre-MeToo world and boy do you know it – there’s lots of bum-pinching, and inappropriate comments in the office and beyond. Mr Tits Pervert was not an anomaly.
Helen Fielding has since said she was shocked when rewatching to note the amount of inappropriate behaviour Bridget has to put up with.
Each film has a structure running from the end of one year, through Christmas and New Year, and looking ahead to a new start.
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Why is Bridget Jones so popular?
Nostalgic soundtracks are a staple, with lip-synced favourites a mainstay of every film. If you’ve never cried into your wine glass while singing All By Myself, you’ve never lived.
The films also have a largely returning cast – who like Bridget have been in our lives for years. Watching them grow up from movie to movie – as we do too – is part of the joy.
We also get to look forward to a ‘Mr Darcy in the lake moment’ in every film – be it in a river, an aqua aerobic pre-natal class or a pond, with the latest re-enactment courtesy of a half-naked Leo Woodall – who incidentally was born in the year the first novel was published.
The fight scenes in the first two films have also become something of a cultural touchstone, largely thanks to the fact that middle-aged men ineffectually kicking each other while hopping around is rarely portrayed on the silver screen.
Image: Pic: Rex Features
The second film
Bridget Jones: The Edge Of Reason sees Bridget continue her unbelievably lucky streak when it comes to jobs. While she started out as a PR in a publishing house (most notably promoting the highbrow read Kafka’s Motorbike) she then stumbled into TV production, which quickly and inexplicably segued into becoming a TV presenter.
In this movie she lands the dream role of a travel presenter, despite a complete lack of geographical knowledge, and it provides the basis of the plot which revolves around getting stranded in Thailand after accidentally smuggling drugs.
We can’t ignore some issues around this one, not least scenes in a Thai jail in which Bridget sings some Madonna and then hands out bras and chocolate before being freed by Mark Darcy. The movie faced criticism for perpetuating “white saviour” stereotypes, and is not Bridget’s finest moment.
Unexpected cameos punctuate the first three movies – from Salman Rushdie and Jeremy Paxman, to Paul Nicholls (aka Joe Wicks from EastEnders – a massive heartthrob at the time), to Ed Sheeran.
Image: Pic: Rex Features
The third film
Bridget Jones meets Three Men And A Baby in the third movie Bridget Jones’s Baby, with the novel actually following the film rather than vice versa. It was based on articles written by Fielding in 2005.
Spoiler alert – Hugh Grant wasn’t up for this one. Luckily, Patrick Dempsey – the man who played Dr McDreamy in Grey’s Anatomy – stepped in. It good-naturedly cracks through the challenges of having a baby as a geriatric, single-working mum and somehow picking the right guy at the end of it all. Bridget gets her fairytale wedding, her man and of course becomes a mum.
While the first couple of films contained more smoking than would be believed, this one saw the franchise ditch the habit, a reflection both of Bridget’s new responsibilities and the changing fashions of the time.
While Grant sat this one out, there was hope for fans that he would return thanks to a cheeky front-page splash at the end of the film declaring him alive and well a year after he was presumed dead following a plane crash (in the bush).
Image: Pic: Universal Pictures
The fourth film
It’s not quite a full-on reunion for the fourth film – but almost. Bridget’s life has taken some unexpected turns, and while Daniel Cleaver may have risen from the dead, there is a new and much bigger hole in her life.
You will need to take tissues into this one, unless you have a heart of stone.
While past casts have been notable for their lack of diversity, this one also looks a bit more like the multicultural capital Bridget lives in.
Bridget now has a shelf full of diaries and rye observances include a takedown of the dismissal of “women of a certain age”, a lip-filler-esque fail that pokes fun at attempts to cheat age and the baffling modern phenomenon of buttonless lifts.
Image: Pic: Rex Features
The end of an era?
Is this the end for Bridget? For now. The exploration of her life from her early 30s to her mid-50s has seen her find love, forge a career and have a family. But it’s not out of the question we could venture into the next stages of her life at some point.
Helen Fielding is still writing books, just not about Bridget. With a new legion of Gen Z fans now introduced to – and loving – Bridget, never say never.
And while Bridget may have found her happy ever after – all fans of the books will know It is a truth universally acknowledged that when one part of your life starts going okay, another falls spectacularly to pieces. So, watch this space.
Satire has long been an occupational hazard for politicians – and while it has long been cartoons or shows like Spitting Image, content created by artificial intelligence (AI) is increasingly becoming the norm.
A new page called the Crewkerne Gazette has been going viral in recent days for their videos using the new technology to satirise Rachel Reeves and other politicians around the budget.
On Sky’s Politics Hub, our presenter Darren McCaffrey spoke to one of the people behind the viral sensations, who is trying to remain anonymous.
He said: “A lot of people are drawing comparisons between us and Spitting Image, actually, and Spitting Image was great back in the day, but I kind of feel like recently they’ve not really covered a lot of what’s happening.
“So we are the new and improved Spitting Image, the much better Have I Got News For You?”
He added that those kinds of satire shows don’t seem to be engaging with younger people – but claimed his own output is “incredibly good at doing” just that.
Examples of videos from the Crewkerne Gazette includes a rapping Kemi Badenoch and Rachel Reeves advertising leaky storage containers.
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They even satirised our political editor Beth Rigby’s interview with the prime minister on Thursday, when he defended measures in the budget and insisted they did not break their manifesto pledge by raising taxes.
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The creator of an AI actress has told Sky News that synthetic performers will get more actors working, rather than steal jobs.
AI production studio Particle6 has ruffled feathers in Hollywood by unveiling Tilly Norwood – a 20-something actress created by artificial intelligence.
Speaking to Sky News’ Dominic Waghorn, actor and comedian Eline Van der Velden – who founded Particle6 – insisted Norwood is “not meant to take jobs in the traditional film”.
AI entertainment is “developing as a completely separate genre”, she said, adding: “And that’s where Tilly is meant to stay. She’s meant to stay in the AI genre and be a star in that.”
“I don’t want her to take real actors’ jobs,” she continued. “I wanted to have her own creative path.”
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Norwood has been labelled “really, really scary” by Mary Poppins Returns star Emily Blunt, while the US actors’ union SAG-AFTRA said in a statement: “Tilly Norwood is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers – without permission or compensation.”
Responding to the criticism, Ms Van der Velden argued that Hollywood is “going to have to learn how to work with [AI] going forward”.
“We can’t stop it,” she said. “If we put our head in the sand, then our jobs will be gone. However, instead, if we learn how to use these tools, if we use it going forward, especially in Britain, we can be that creative powerhouse.”
Image: Eline Van der Velden said she wanted the character to ‘have her own creative path’
Ms Van der Velden said her studio has already helped a number of projects that were struggling due to budget constraints.
“Some productions get stuck, not able to find the last 30% of their budget, and so they don’t go into production,” she said. “Now with AI, by replacing some of the shots […] we can actually get that production going and working. So as a result, we get more jobs, we get more actors working, so that’s all really, really positive news.”
Irish author Sally Rooney has told the High Court she may not be able to publish new books in the UK, and may have to withdraw previous titles from sale, because of the ban on Palestine Action.
The group’s co-founder Huda Ammori is taking legal action against the Home Office over the decision to proscribe Palestine Action under anti-terror laws in July.
The ban made being a member of, or supporting, Palestine Action a criminal offence punishable by up to 14 years in prison.
Rooney was in August warned that she risked committing a terrorist offence after saying she would donate earnings from her books, and the TV adaptations of Normal People and Conversations With Friends, to support Palestine Action.
In a witness statement made public on Thursday, Rooney said the producer of the BBC dramas said they had been advised that they could not send money to her agent if the funds could be used to fund the group, as that would be a crime under anti-terror laws.
Rooney added that it was “unclear” whether any UK company can pay her, stating that if she is prevented from profiting from her work, her income would be “enormously restricted”.
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Why was Palestine Action proscribed?
She added: “If I were to write another screenplay, television show or similar creative work, I would not be able to have it produced or distributed by a company based in England and Wales without, expressly or tacitly, accepting that I would not be paid.”
Rooney described how the publication of her books is based on royalties on sales, and that non-payment of royalties would mean she can terminate her contract.
“If, therefore, Faber and Faber Limited are legally prohibited from paying me the royalties I am owed, my existing works may have to be withdrawn from sale and would therefore no longer be available to readers in the UK,” Rooney added, saying this would be “a truly extreme incursion by the state into the realm of artistic expression”.
Rooney added that it is “almost certain” that she cannot publish or produce new work in the UK while the Palestine Action ban remains in force.
She said: “If Palestine Action is still proscribed by the time my next book is due for publication, then that book will be available to readers all over the world and in dozens of languages, but will be unavailable to readers in the United Kingdom simply because no one will be permitted to publish it, unless I am content to give it away for free.”
Sir James Eadie KC, barrister for the Home Office, said in a written submission that the ban’s aim is “stifling organisations concerned in terrorism and for members of the public to face criminal liability for joining or supporting such organisations”.
“That serves to ensure proscribed organisations are deprived of the oxygen of publicity as well as both vocal and financial support,” he continued.
The High Court hearing is due to conclude on 2 December, with a decision expected in writing at a later date.