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This essay proposes a feminist appreciation of the 2016 film adaptation of Helen Fielding’s Bridget Johns’s Baby through the critical lens of Jack Halberstam’s Gaga Feminism: Sex, Gender, and the End of Normal, which takes shape through Halberstam’s penetration into the cultural shifts surrounding gender, sexual politics, and family in the last few decades. In Gaga Feminism, Halberstam particularly questions the discrepancy between the real-life experiences of familial and sexual deviances and the heteronormative narratives that dominate popular culture. What Bridget embodies as a popular female icon in Bridget Johns’s Baby, however, is consistent with the ideas Halberstam forms around Lady Gaga, who becomes a route for new forms of intimacy and relationships in his theory. This essay contends that Bridget John’s Baby points toward a queer aesthetic of failure, which is articulated in Halberstam’s The Queer Art of Failure, by illuminating how the relations between Bridget, Mark, and Jack are predicated on their interconnected defeat in the marriage system.
