Helen Fielding

Bridget Jones

The clues were laid out way back in May, thanks to the release of both a new title and a first cover image from Brit chick lit author Helen Fielding’s upcoming “Bridget Jones: Man About the Boy.” The cover featured not only that head-scratching title (what boy, Bridget?) but also the first of apparently many dating tips from Bridget – this one advising “Do Not Text When Drunk” and reading, “You see, this is the trouble with the modern world. If it was the days of letter-writing, I would never even have started to find his address, a pen, a piece of paper, an envelope, a stamp, and gone outside at 11.30 p.m. to find a postbox. A text is gone at the brush of a fingertip, like a nuclear bomb or Exocet missile.” For fans of Fielding’s books and the accompanying two Renee Zellweger-starring films about her goofy, doofy, hilarious, and utterly nutty heroine, the news that Jones would be mad about a “boy” and worrying about text messages was worrying indeed. We were right to worry. A new article from the UK’s Sunday Times lays it plain – Bridget is indeed texting a “boy,” because the consistent romantic heroine from both the books and the films, Mark Darcy (played by Colin Firth in the films), is dead. Hilarious. The paper doesn’t mince words, leading off the article with a firm proclamation: “Mark Darcy is dead; Bridget Jones is a widow. The long-awaited third diary of the world’s most famous singleton […]

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Not only has director Paul Feig’s latest film Bridesmaids been both a critical and financial success, it has also started a lot of talk about women’s place in the film world and how their potential to bring in big box office dollars hasn’t ever been fully exploited. Now that Bridesmaids has pulled in $189 million worldwide, will it mark the beginning of a huge trend where movies aimed at women are given the chance to be released with big budgets and huge marketing campaigns on par with the latest things-blow-up-real-loud movies? Only if Hollywood plays it right and chooses the perfect projects to put out as Bridesmaids follow-ups. And right now they’re playing the situation exactly the same way they always do; by taking a new thing and trying to shoe horn it into something they already know. What does that mean in concrete terms? It means that they are looking for a new film to aim at women, so instead of looking for original scripts that might appeal to women they’re trying to rekindle success from the past. It means they’re going to make a new Bridget Jones movie. And they’re even trying to get Paul Feig to direct it. Do you see the logic here? Bridget Jones’ Diary made a lot of money with women, Paul Feig made a lot of money with women, put them together and you get double money! Do you ever get the feeling that you could be a Hollywood executive, no problem? I […]

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