Bridget Jones: Mad About the Boy (2025)

Last updated:
September 29, 2025

Bridget Jones: Mad About the Boy is a romantic comedy / dramedy directed by Michael Morris, with a screenplay by Helen Fielding, Dan Mazer, and Abi Morgan. It is the fourth film in the Bridget Jones franchise, following Bridget Jones’s Diary (2001), Bridget Jones: The Edge of Reason (2004), and Bridget Jones’s Baby (2016). In this installment, Bridget is grappling with loss, motherhood, and the possibility of moving on while still honoring the memory of her late husband.

Table of Contents

Detailed Summary

Opening & the Loss of Mark Darcy

The film begins by revealing that Bridget’s husband, Mark Darcy (Colin Firth), died several years ago while working on a humanitarian mission abroad. This is a bold shift: rather than the usual “will she / won’t she get together” tension, Bridget now must navigate life as a widow and single parent, mourning while attempting to rebuild.

From the start, Bridget is shown to be in emotional limbo: she still imagines or senses Darcy’s presence at times, and her two children, Billy and Mabel, carry differing burdens of grief.

The New Romantic Contenders: Roxster & Mr. Walliker

Enter Roxster (Leo Woodall), a younger man Bridget meets in a park (he works there as a ranger). Their “meet cute” has the usual Bridget mishaps, and soon they connect via Tinder and texting.

At first, their chemistry seems promising, and he integrates into parts of her life — meeting her children and having playful, romantic moments.

Meanwhile, Bridget also frequently encounters Mr. Walliker (Chiwetel Ejiofor), who is Billy’s science teacher. His worldview contrasts with Bridget’s emotional, intuitive approach to life, which leads to tension initially, but gradually mutual respect and connection.

One key sequence: when Bridget chaperones a school field trip (after her breakup with Roxster), she spends time with Mr. Walliker and sees a more grounded, caring side of him.

The Fallout with Roxster

Though Roxster and Bridget share fun, romantic interludes, cracks begin to show. At a party, Roxster drunkenly wishes he had a time machine — a remark that highlights his insecurities about their age gap.

He eventually ghosts Bridget for a time, causing her pain and disappointment. Later, he returns and confesses his love, but by then Bridget has begun to see that what she needs may have shifted — she desires someone more consistent, emotionally available, and mature.

Reconciliation, New Beginnings & Family Healing

Bridget’s relationships with her children deepen during this journey — especially Billy, who is navigating the legacy of his father’s absence and the emotional adjustments of a new normal.

Her friendships and extended “Bridget Jones circle” also play crucial supportive roles. Daniel Cleaver (Hugh Grant), once her romantic foible, now appears in a more friendly, supportive capacity.

By the time the final act arrives, Bridget is emotionally stronger, less desperate for a romantic savior, and more open to letting someone in on her terms.

Movie Ending

By the end of Mad About the Boy, Bridget’s romantic arc resolves in favor of Mr. Walliker (Scott). After rejecting Roxster’s attempt to reconcile (she recognizes that he’s not the partner she needs at this stage), Bridget gradually leans closer to Walliker.

In a climactic gesture, Bridget chases him down in the snow after a dinner invitation, and he confesses he has feelings too — asking that she call him “Scott.” They share a kiss.

Then the film jumps forward to New Year’s Eve, a year later. The scene gathers Bridget, her children, Scott, friends, and extended family in a celebratory party at her house. It indicates that Scott has become integrated into her life and that her children accept him.

In the closing moments, Bridget tucks in Billy and Mabel and they all look outside at a white barn owl perched in their backyard at night. The owl has been a recurring symbol in the film (a nightly presence), and in the final moment, it looks Mr. Walliker/Scott in the eye, then flies away. This act is loaded with symbolism: letting go of Darcy’s grief in some way, while still holding his memory.

Director Morris described the owl’s departure as a signal that the family is ready to move forward while keeping Darcy’s memory alive — “letting it fly away doesn’t mean it’s gone forever.”

Additionally, during the credits, there is a slideshow montage of scenes from the previous three Bridget Jones films, celebrating the franchise’s history.

So: Bridget ends up with Scott (Mr. Walliker), she and the kids are integrated in a new life structure, grief is not erased but reframed, and the film gives closure to the Darcy chapter while opening the door (gently) to the next one.

Are There Post-Credits Scenes?

There is no separate post-credits “after the credits” scene in the sense of an Easter-egg or surprise cameo revealed after all credits roll. However, review sources note that “items during the credits” are shown — i.e. the montage of past film moments and tribute slides.

So, while there’s no extra narrative twist after the credits, the end credits themselves serve as a nostalgic tribute to the franchise.

Type of Movie

Bridget Jones: Mad About the Boy is primarily a romantic comedy but leans much more heavily into drama, grief, and emotional maturity than earlier Bridget Jones entries. It is simultaneously about love, healing, family, and the awkward, messy process of “moving again after loss.”

Cast

Here are the key cast members and their roles:

Renée Zellweger as Bridget Jones
Colin Firth as Mark Darcy (appears in flashbacks / memory)
Hugh Grant as Daniel Cleaver
Leo Woodall as Roxster McDuff (Bridget’s younger romantic interest)
Chiwetel Ejiofor as Scott Wallaker (the more grounded love interest)
Emma Thompson as Dr. Rawlings (Bridget’s gynecologist / confidante)
Jim Broadbent as Bridget’s father, Colin Jones (in flashbacks / memory)
Gemma Jones as Pamela Jones, Bridget’s mother

Film Music and Composer

The musical score is composed by Dustin O’Halloran. In addition to the score, the soundtrack incorporates songs from earlier Bridget Jones films plus new tracks. One of the standout musical contributions is Olivia Dean’s original song “It Isn’t Perfect But It Might Be,” which plays over the ending credits and serves as the lead single.

Filming Locations

The film’s principal photography was done starting in May 2024, at Sky Studios Elstree, London.
Some exterior / location shooting also took place in London and in the Lake District (for the school trip segment) to provide scenic contrast and emotional backdrop.

These settings are meaningful: London remains Bridget’s home and emotional center, familiar to longtime fans. The Lake District trip amplifies the sense of physical and emotional escape—stepping out of routine into fresh space where healing can happen.

Awards & Nominations

As of now, Bridget Jones: Mad About the Boy has not accumulated a long list of awards (or at least not widely reported). The focus in press and criticism has been more on its emotional resonance and franchise closure than on awards circuits.

Behind the Scenes Insights

Renée Zellweger reportedly shed real tears on set when filming her final scenes as Bridget, acknowledging the emotional weight of saying goodbye to a role she’s inhabited for decades.
Colin Firth returned to film Mark Darcy’s posthumous scenes; filming those moments was difficult emotionally for both him and Zellweger.
The owl motif became a recurring symbol during filming. Director Michael Morris said the owl’s nightly appearances and final flight were woven carefully to reflect Bridget’s inner journey.
Some deleted scenes exist—one released bonus scene shows Bridget and her rival Nicolette catching up while drunk, adding comedic flavor but trimmed for pacing.

Inspirations and References

The film is adapted from Helen Fielding’s 2013 novel Mad About the Boy.
Like the previous films, the narrative references the earlier Bridget Jones novels / films (Bridget Jones’s Diary, The Edge of Reason, Bridget Jones’s Baby), giving continuity and callbacks to past storylines.
Symbolically, the white owl in the film can be seen as a reference to memory, watchfulness, or spiritual presence—echoing literary and cinematic traditions where owls signal transition, wisdom, or a watch over the living.

Alternate Endings and Deleted Scenes

As noted, one deleted scene involving Bridget and Nicolette having a drunken “venting” session was released with the digital edition.
No widely publicized entirely alternate ending is known to have been filmed or revealed; the version released appears to be the final intended cut.

Book Adaptations and Differences

Because the film is based on Fielding’s novel, several adjustments were made:

The film condenses and simplifies subplots, focusing heavily on two romantic options (Roxster and Scott).
Some internal monologues, diary entries, or narrative asides from the novel are translated into visual or dialogue forms (rather than voiceover).
The pacing and dramatic arcs are adjusted for cinematic flow—some scenes in the book that linger on grief or introspection are trimmed or restructured.
The final “Not-Wedding” from the novel (in which Bridget and Scott hold a wedding-style gathering without formal marriage) is altered or downplayed in the film.

Memorable Scenes & Quotes

Key Scenes

Billy’s tribute performance at the school pageant.
Bridget attending the celebration of Mark’s life, confronting grief publicly.
The confrontation / confession between Roxster and Bridget about age insecurity.
The final New Year’s Eve party and the owl’s flight as Bridget watches.

Iconic Quotes

(From Roxster) — his admission that he worries about their age difference, which forces Bridget to reflect on the nature of love and insecurity.
(From Bridget, in many versions) — lines about how “moving on” doesn’t mean forgetting, but living with memory.
(From Daniel) — urging Bridget and himself to reconnect with their children, building emotional bridges.

Because the film is new, not many lines have yet become cultural “quoteables” beyond those thematic ones about grief and starting again.

Easter Eggs & Hidden Details

The owl motif recurs nightly, perched outside the children’s bedroom, symbolizing both Mark’s lingering presence and Bridget’s gradual acceptance.
Memories and flashbacks to the original Darcy/Bridget relationship echo visual cues from earlier films (costumes, settings) for longtime fans.
Some side characters from earlier Bridget films appear briefly, offering continuity nods to fans.
The birthday balloons to Mark (released with messages) serve as a symbolic ritual of letting go yet maintaining memory.

Trivia

Mad About the Boy marks what is widely considered the final Bridget Jones film. Zellweger and others have referred to it as her farewell to the character.
The film achieved the largest opening weekend for a rom-com in the UK/Ireland for its release period.
In the novel, Bridget and Scott hold a “Not-Wedding” instead of marrying; the film adaptation downplays or omits that explicit framing.
The screenplay was co-written by Helen Fielding (the original author), Dan Mazer, and Abi Morgan.

Why Watch?

If you’ve followed Bridget Jones over the years, Mad About the Boy offers a mature, emotionally resonant—and sometimes tear-jerking—closure to her arc. It’s not just fluff or romantic comedy; it grapples with grief, family, memory, and the courage to love again. Renée Zellweger carries the weight with grace, and fans will appreciate the nods to earlier films. If you like romantic comedies with emotional depth (rather than pure escapism), this one delivers more than just laughs.

Director’s Other Films

Michael Morris is primarily known for directing episodes of television and smaller films; Mad About the Boy is one of his more high-profile feature outings.
(Because Morris is less established in big franchise cinema, most references focus on his direction here and how he handled tone shifts.)

Bridget Jones: Mad About the Boy (2025)