Towards the end of the 20th century, the romantic comedy attempted to evolve afresh. In so doing it helped to generate a fictitious matriarchy. Boys now primped and did push-ups, uncorking their feminine side, in the movies at any rate. Aloof girls made (among themselves) blistering judgments and comparisons. The world changed, and two things helped it do so – TV’s Sex and the City and, on the big screen, Bridget Jones’s Diary and even its soggy sequel.Various embodiments of feminism-as-style appeared to have won — though Hollywood’s take on the movement was to render it as a pastiche of the obvious and the comic.That a third Bridget Jones film should suddenly slide into the top movie rankings — and with Zellweger reappearing after a six-year hiatus from the screen — raised fears that the muddled, overweight and lovelorn lass would have grown increasingly cynical and self-loathing, straining to fit into the outré clothing of younger Millennial sisters.By now men grasp that women, to...
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