It’s rather amusing that sometimes a character’s attempts to manipulate things to their own advantage actually benefits their nominal opponent. In the case of Sense and Sensibility, I experienced the following sequence of reactions:
- “Welp, Lucy’s married. Oooh, poor Elinor.”
- “Hmmm… the details are suspiciously vague – is this more of her teenage-girl-eque cattiness?”
- “Wait, Robert?!? Where did that come from?!”
- “Oh, right, yay!”
So, once relevant explanations are made, it all makes perfect sense; and indeed, it never felt like something completely out-of-the-blue, just unexpected. In some ways, an even more difficult twist to pull off than the one that leaves the audience thinking “Of course! Why didn’t I see it before?”. It’s got to be something that doesn’t explain itself, but feels plausible enough that the audience will be expecting it to be explained in the not-too-distant future (and it better not be too distant, lest you lose audience good-will).
So everything works out happily in the end. I’m just annoyed that Marianne is frequently referred to as being a “reward” for Colonel Brandon’s friendship and help. A product of the time, I suspect, but it comes across just a mite creepy these days.