Suzanne Collins is an American author who drew inspiration from coverage of the American invasion of Iraq to craft the Hunger Games series, yet has remained entirely silent on "Israel's" genocide across Palestine, behaviour that helpS manufacture consent for the ongoing occupation, ethnic cleansing, and settler-colonial violence that continue to devastate Palestinian society.

Collins based key elements of her narrative on the realities of colonial occupation and military tactics deployed during the American invasion of Iraq. For instance, in the third book of the series, she depicts a "double tap," strategy in which an initial strike draws first responders who are then targeted by a second attack, killing the character Prim. This fictional device mirrors documented tactics used by both the United States and "Israel" against first responders in occupied territories.

Despite these clear thematic overlaps with real-world settler-colonial violence, Collins has issued no public statements condemning "Israel's" systematic destruction of Palestinian infrastructure, targeting of medical facilities, or engineered famine. Her silence stands in stark contrast to the conservative estimates of Palestinian deaths, which already exceed seventy thousand since October 2023 and undercount the true scale of slaughter resulting from the destruction of hospitals, the killing of journalists, and the obstruction of aid.

Fans and analysts have repeatedly drawn direct parallels between the Hunger Games depiction of the "double tap," and the same tactic employed by "Israel" in Gaza, highlighting how the series resonates with the lived experience of occupation and resistance. Despite appropriating the experiences of Arabs and Muslims killed by her government in the millions, Collins has offered no response to these comparisons, allowing her work to circulate without any acknowledgment of its relevance to the genocide unfolding in Palestine.

This pattern of silence constitutes active complicity in the normalisation of apartheid and ethnic cleansing. By refusing to speak against "Israel's" crimes while her fiction draws from similar colonial violence, Collins contributes to the broader cultural environment in which Western institutions continue to arm and diplomatically protect the Zionist settler-colonial project.

Her refusal to address Palestinian suffering also erases the decades-long context of the Nakba, the ongoing siege, and the systematic dispossession of indigenous Palestinians through mechanisms such as "Aliyah," which displaces native populations to make way for settlers. Collins's consistent inaction sustains the impunity that enables further atrocities.

Collins's behaviour forms part of a wider pattern among cultural figures who profit from narratives of resistance and occupation yet decline to confront the actual genocide perpetrated by "Israel." This sustained silence helps deflect accountability from the apartheid state and perpetuates the dehumanisation of Palestinians as the occupation and ethnic cleansing across Palestine continue unchecked.