^ My interpretation of it was quite the opposite, that she had something to teach him, which is of course the distinguishing feature of the trope.
She realizes that he's not the right guy for her, and so she dumps him. They cross paths again. It takes her some time to reveal that she's dating someone else, indeed that she's engaged to get married. She gets married. She does, I think, learn not to lead him on. But he learns not to entirely throw himself into an idea of a girl based on a few arbitrary coincidences, instead accepting the possibilities of love with more careful whimsy.
Yes, these tropes are out there, and while I can think of some exceptions to the refrigerator one for example (Alys from Phantasy Star 1, where her brother dies in order to instigate her onward in a quest), they are few and far between. In Phantasy Star 2, Nei dies to drive Rolf forward, and in Phantasy Star 4, Alis (an otherwise awesome character) dies to urge Chaz forward.
I would say that a lot of this is due to the narrative choices and possibilities that do exist in our culture, which is why using the language of tropes is strong, and could be stronger. We do often require character death or kidnapping to drive the action forward, and female characters in the usual narrative roles (love interest/wife/mother/daughter) are used more often. The first is a fact that may or may not be problematic, while the second is a result of relying on common roles for women without adequate development, and the tendency to see the female characters as helpless. This also explains why weak writing is often tied to stereotypical thinking. This isn't always true, of course. In the case of movies like Inception, which violate the Smurfette rule, it was because less was expected from the characters in terms of character development, while what was presented didn't explicitly fall under any single stereotype.
Fun fact - the reason why there were few female characters in Renaissance plays is because those were usually played (before the Reformation) by younger boys, which were less common than more seasoned actors. In some companies, where there were a couple of highly talented boys, there might be two or three prominent female characters in a play. While this sort of policy has its own problems, the problems now are not with the availability of female actors, but with the limited scope of writing, where the landscape of tropes involving a balanced cast of actors in a movie, or mostly female characters, is much more limited.