I think we can all agree that the second and third films in the franchise did Bridget a little dirty. But number four, the final one in the series, has much of the same magic as the first iteration. Even better, there are lots of lovely callbacks (or what people now call Easter eggs) to Bridget Jones’s Diary, from a date night scene in Borough Market where Bridget had that first flat to drinking bright blue cocktails to replicate the famous blue string soup she served at a dinner party. There’s also a brilliant nod to Colin Firth’s wet shirt scene in Pride And Prejudice involving an ornamental pond and a dog that can’t swim.

We rejoin Renée Zellweger’s Bridget as she’s juggling two children under 10 with returning to work and grappling with parenting and dating apps – not to mention ending up in a love triangle with a handsome gardener 20 years her junior (the improbably named Roxster, played by Leo Woodall) and an uptight science teacher (Chiwetel Ejiofor).

But it’s the deep grief that sits on her like a brick after the death of Mark Darcy (Colin Firth) four years ago that provides the film’s emotional gut punch. Bridget has to endure painful dinner parties with friends asking her about dating (a reminder of how little society has evolved since Helen Fielding first wrote Bridget Jones’s Diary in 1996) while still working out who she is, how she wants her life to look and whether she’s ready to put herself through the pain of opening herself up again.

It’s a surprisingly pertinent reminder that you can achieve everything you think you should – all the milestones we hold ourselves so accountable for – and life still isn’t perfect. You’re not instantly granted a lifetime of happiness because you’ve finally won the ‘ultimate prize’ of a husband and children. It’s also a reminder that women can be – and are – sexual beings past the age of 30.

“The grief in Bridget Jones: Mad About The Boy is an absolute gut punch”