Ursula Le Guin has some very vocal criticisms of the mentioned commodified and shackled copies and ideas. One part I read in an English translation preface of Roadside Picnic by Strugatsky Brothers:

"Science fiction lends itself readily to imaginative subversion of any status quo. Bureaucrats and politicians, who can’t afford to cultivate their imaginations, tend to assume it’s all ray-guns and nonsense, good for children. A writer may have to be as blatantly critical of utopia as Zamyatin in We to bring the censor down upon him. The Strugatsky brothers were not blatant, and never (to my limited knowledge) directly critical of their government’s policies. What they did, which I found most admirable then and still do now, was to write as if they were indifferent to ideology—something many of us writers in the Western democracies had a hard time doing. They wrote as free men write."

The sentence in bold letters, which I formatted as such, is the exact part that is very much needed in any form of entertainment in the last few decades. The ideology that can be ignored can come in form of not only state or economical one, but also very formidably as a cultural one. The connect with the post, the escape from macho men protagonist to vulnerable but determinant teen girls in the movies, series, games and books was already a regurgitated reflection of culture shift and political ideology change that was trending decades before. Having every piece of soft, lovable, darling resistance to oppression stories of made up straight evil men and refrigerator old women technological dystopias has become so ubiquitous that it is either this or time traveling/parallel worlds, intelligent machine"technobabble" stories since 2010s, at best. There is almost no movement to break out of this sanitized, recycled, endearment-abusing fiction, to the degree that even the fictionary art films devolved into templates with same close-up shots for tearjerk or stress imposing. Nothing main story is going beyond the boundaries of cultural ideologies. If we are lucky, there are a couple side characters sprinkled in, that act as wildcard some writers can introduce without having to make them conform to all desirable or relatable personality in every situation.

Rough, wild, inconsistent, slightly changing, unexplained, disagreeable, confusing and incoherent characters and events are all parts of life, too. Imagining these can still yield a whole lot of novel ideas, entertainment and movement, and give the creative arts the meaning of its name.

The massively less complex and artful variation on this is "Wow! Cool robot!"

Personal favorite example: cyberpunk, as a genre.

Though I'm growing fond of countersignal versions that lean into it. Not least because you still need to understand themes to make the gag work.

Did you read/watch the prequel? Yes, public perception is absolutely a theme of the series.

Yup, I would have had more respect for her if she just admitted she was inspired by this book instead of pretending she never heard of it. It's insulting really.

BR was cooler and made for a good one shot. The book also has shoutouts to rock and roll which were kinda fun.

Shame that Hunger Games can't acknowledge the legacy, but if they did they'd probably be sued.

Seconding this. I remember finding and reading Battle Royale in high school after watching the movie with my dad. It's great, and the movie did a good job adapting it.

Reading Hunger Games after that just felt derivative, though admittedly I'm not the target audience so much of the appeal is lost on me to begin with.

They simply took inspiration from Fortnight

Young Adult