The new Bridget Jones film shows the messy, funny, mistake-filled reality of widowhood | Stacey Heale

I lost my own husband at a young age. It's rare (and v.g.) to see a heroine trying to live joyfully despite her grief

Bridget Jones is back and once again blazing a new path, this time as a widow. In Mad About the Boy, our eternally chaotic but lovable everywoman is navigating single parenthood, dating apps and grief. But unlike most widows in romcoms, she's not here to wither away in a beige cardigan, politely mourning until society deems it acceptable for her to love again. Instead, she's in bed with a 29-year-old park ranger named Roxster, proving that healing doesn't have to be quiet reflection - it can also look like great sex with a younger man.

This is where Bridget breaks the mould. In most romantic comedies, women's grief is pitched as a problem to be solved. We must undergo a period of deep self-reflection before we are allowed back into the world of desire. We must heal, learn and then - maybe - we can be kissed under some twinkly lights at the end of the movie. Hilary Swank's character in P.S. I Love You waits for divine permission from her dead husband's letters before even thinking about dating again, whereas poor Demi Moore in Ghost is emotionally tied to Patrick Swayze for ever, choosing to simulate foreplay with a memory over intimacy with the living.