At the risk of actually talking about the original topic, I wonder how carefully she's really vetted the examples she uses in her video. I'll admit, that while many of these films I haven't seen, the two that I have seen seem to stand out more as subversions of the MPDG trope than supporting them.
The two I'm talking about are 500 Days of Summer, which I've only seen once, and Eternal Sunshine of the Spotless Mind, which I've seen a few times and really, really like. There are spoilers below, obviously - if you've not seen Eternal sunshine at the very least I strongly recommend it before reading below, the story works better if you don't know what's coming.
Anyway, I'll start with Summer because I can't go as in depth into that one (due to less familiarity with the film). Zooey Deschanel's character seems to fit all the standard personality traits of the MPDG - hell, she's made playing them something of a speciality (Yes Man springs to mind, as does her character on The New Girl). But the film doesn't follow the supposedly well worn path that these sorts of films are meant to follow. It starts out typical enough - Joseph Gordon-Levitt's character is in something of a funk, working in a profession he doesn't care about and not particularly happy, when he meets Summer, and suddenly everything changes. She's whimsical and fun, and after spending time with her, his whole outlook on life changes (which the film plays up pretty obviously through the animations and his greeting card stuff). If the film were following the proposed path, it would stop here, the credits would roll and they'd live happily ever after.
But, of course, that's not what happens. What we actually see is that JGL's character runs smack into the reality wall when Summer turns out to be not the simple 2 dimensional cutout he thought she was. She had her her opinions about love and relationships before she met her, and they don't change as a result of their time together. The two are fundamentally incompatible, and they stay that way until they break up. The rest of the movie is him pining over her, wishing that she was what he wanted her to be - that doesn't stop until he finally forces himself to accept that she's gone - when events other than his relationship with her have changed her perspective. The last thing we see of his character in the movie is when he meets another woman - one whom he actually has things in common with, and whom he can (it's implied) start a serious relationship with as an equal, and not as a caricature. To me, that seems like the opposite message than the typical MPDG storyl.
Eternal Sunshine is, IMO, an even better example of subverting the trope, because it comes at it from both sides. Although told non-chronologically, the story essentially again starts out in fairly typical MPDG territory - Joel (Jim Carrey's character) is depressed and lonely, his previous relationship having not worked out, when he meets Clementine (Kate Winslet) who forces him to enjoy living his life - they break into someone's beach-house, go make snow angels, all that jazz. However, as their relationship went on, Joel is forced to confront the fact that Clementine isn't what he initially thought she was - not because there's fundamentally anything different about her, but because he was seeing her as the simplistic MPDG, not as the full person with the full personality that would eventually lead to him pulling away during the "real" phase of their relationship.
The other side I was talking about is the relationship between Clementine and Elijah Wood's character (who's name I can't remember). Essentially, Elijah Wood is using Joel and Clementine's memories of one another to seduce Clementine because, it's implied, he wants her to be his own MPDG, or at least he wants to be with him. His attempts to coerce her though, to essentially take her by stealth, are pretty spectacularly rejected, and she ends up back with Joel, starting again in a relationship that, while flawed, was at least real, and between two people, not one person and another person's idea of what they are.
So yeah - like I said, I haven't seen many of the movies on the list, but the two I have seen seem to me to be rather a long way off the story she's trying to tell. The video's author obviously has an agenda (just like literally everyone else on the planet), and she's doing her best to present it/support it, but the fact that these two films are thrown in there, with no qualification or explanation, as part of her series of negative examples makes me wonder about the veracity of the rest of her examples and her overall argument.
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