Suggestion 2:
The Right to Know Ownership and Rights, and Remixing
(Im much less sure on the exacts of this one, and feel implicit remixing may be controversial. Welcome discussion)
Determining who owns what in the world of copyright is extremely complex. Getting the rights to use something, expand on something, or make something that already exists are ALSO complex.
It should be required that copyright & licensing be easily discoverable so that existing remixing rights can be applied, or other licensing sought out.
Ideally (tho I understand likely controversially), Id like there to be default percentages granted to anyone wanting to remix beyond just the existing remix laws (a musician can perform a cover without breaking copyright, but they have to give royalties to whoever owns it).
I’d like these laws to extend to all media, with default (tho negotiable) royalty percentages and costs that anyone can use. As a work gets older, these decrease. As a derivative work gets further from the original, these decrease. the rates would probably have to start rather high for very close works so that you don’t have people just reprinting with minor changes causing confusion immediately on launch.
Ex1:
Someone making & selling a modified version of the new Mario Kart to add other Nintendo characters 2 weeks after release would have to charge the MSRP for it and give that chunk to Nintendo, but could charge ABOVE MSRP and thus get a cut for themselves.
Where you to do the same thing to MK Double dash, (a 17 year old game) you would be free to charge a much smaller amount as the game is so old (and or take a larger cut) Tho Nintendo would still have rights to a reasonably large percentage of the sold amount.
Ex2:
Gotye’s Somebody That I Used To Know is a song that uses bit-crushed & extremely remixed samples of other songs that were popular at the time. because of this, the publishers of those songs get a very large cut even though they have almost no impact. With this right, Goyte could have argued for a minuscule (if not nonexistent) cut given the distance from the original works.
Ex3:
Author A writes a book. Author B comes along and makes a fan-fiction in that book’s universe, with a bot of work referencing the characters from Author A, but otherwise not interfering. Author B would be able to sell their work, Author A still gets a cut for building that universe, and the fans get more material to potentially read.