The forthcoming fourth installment of the Bridget Jones franchise, “Mad About the Boy,” finds itself embroiled in controversy even before its release, facing accusations of succumbing to “woke” ideology and potentially alienating its core audience. Renee Zellweger reprises her iconic role as Bridget, now a widowed mother navigating the complexities of middle age, career, and romance. However, the film’s apparent embrace of politically correct sensibilities has sparked debate among fans and critics, with some expressing concern that the beloved character has lost her relatable, flawed charm in favor of a more sanitized and didactic portrayal. The changes are evident in various scenes, from Bridget’s rejection of compliments on her appearance to her lecture by a seemingly overly sensitive nanny.
One of the primary criticisms revolves around Bridget’s interactions with her nanny, who appears to embody the stereotype of the hyper-vigilant, politically correct millennial. When Bridget introduces her son, Billy, as a “science genius,” the nanny immediately rebukes her for “pigeonholing” the child. Similarly, when Bridget proudly mentions Billy’s straight-A grades, the nanny dismisses the achievement, emphasizing the importance of the “journey” over the “result.” These exchanges, while potentially intended to inject humor into the narrative, have been interpreted by some as heavy-handed and preachy, suggesting a departure from the franchise’s previous lighthearted and self-deprecating tone.
Bridget’s romantic life also takes a turn for the contemporary, with her new love interest, the much younger Roxster, epitomizing the cautious and consent-focused approach of modern dating. Before initiating a kiss, Roxster explicitly asks Bridget for permission, a gesture that she notes with amusement as a characteristic of his generation. This scene, while reflective of evolving social norms, has further fueled the debate about the film’s perceived “wokeness.” Some argue that it reinforces the stereotype of overly sensitive millennials, while others appreciate its acknowledgement of the importance of consent in relationships.
Further illustrating the film’s apparent shift towards political correctness is Bridget’s response to a compliment from her boss. When he remarks on her appearance, describing her as “hot,” Bridget retorts that such language is “outmoded” in the workplace. This exchange, while seemingly aligned with contemporary workplace etiquette, has been criticized for stripping Bridget of her characteristic clumsiness and social awkwardness, traits that have long endeared her to audiences.
The perceived “wokeness” of “Mad About the Boy” extends beyond Bridget’s interactions with others and into her own self-perception. Her conscious rejection of compliments and her adherence to politically correct language suggest a character transformation that some find jarring and inconsistent with her established persona. While the film retains some of Bridget’s classic flaws, such as her penchant for wine, the overall impression is one of a character who has been sanitized and molded to fit contemporary sensibilities.
This perceived shift in tone and characterization has sparked a preemptive backlash against the film, with some critics and fans expressing concern that the beloved franchise has lost its way. The question remains whether “Mad About the Boy” will successfully navigate these potentially treacherous waters, balancing its updated portrayal of Bridget with the core elements that have made her such an enduring and relatable figure. Only time, and box office receipts, will tell if this new iteration of Bridget Jones resonates with audiences or if it marks a misstep for the franchise.
