I ask this because the other day my oldest brother who is a total normie (plus in his teen years he was busy with one lady after the next while in my teen years I was researching UFO cases, reading sci-fi and buying classic rock and RnB records) was telling me about The Boys and was shocked that I wasn't watching it. I told him that I have some of the comic book and they are fine but that at this point I am just so sick of deconstruction or subversion.
I have the the Watchmen comic by Alan Moore and his life views aside it is a great comic. The only problem is that it spawned to this day so many "what if super heroes were bad" or "dark and gritty side of super heroes" stories. My two worst cases of these modern trends are the Last Jedi because I think Rian Johnson is a typical hollywood douchebag who thinks you aren't smart if you don't appreciate his movies and I question his motivations because I don't think he would give a beloved female character the "Luke treatment". Another example would be Ayra killing the Night King in Game of Thrones because while I enjoy her character in the books I can't help but think that their motivation was girl power and to say "well everyone expected Jon to fight the Night King" is a terrible reason to not do it.
Some good examples off the top of my head are Yoda in Empire Strikes back because it was an interesting surprise to see a little green guy after hearing about a great warrior/Jedi master, but there was a lesson there. Also, in the first Ice and Fire book or Game of Thrones season 1 I didn't see Ned Stark being executed because I thought he would be the main character throughout. Granted there is a pretty sad lesson there about the consequences of doing the right thing and being honest.
What are your examples?
Berserk: The Golden Age arc of the manga really deconstructs the idea relentlessly pursuing one's dream. While the story shows the importance of finding and achieving a purpose for oneself, it also shows just how dangerous and self-destructive it can be if the ambition is too great and laser-focused. and the means you set out to fulfill it are that costly. Griffith seems like a heroic and romantic figure, especially when he espouses his philosophy on a man's need to make his dream come true that you can almost ignore some of the darker things he does to bring his own to reality, but not only does the emotional toll ultimately prove too great for him, but his refusal to ever let it go leads him to becoming the figure of great evil that we saw him become in the Black Swordsman arc.
The Witcher: There are too many instances to count (and unlike A Song of Ice and Fire, it didn't go full retard in trying to deconstruct every fictional trope under the sun), but I'd say the big one is the idea of the oppressed minority. While the nonhumans, particularly the elves, do indeed deal with unfair discrimination in some parts of the Northern Kingdoms, they're shown to be assholes as well, especially when they form the Scoia'tael to fight the North on behalf of the Nilfgaardian Empire. And the Scoia'tael is only making things worse for the law-abiding nonhumans as the humans are looking at them with even greater suspicion and hostility. Oh, and the Nilfgaard Empire, that promised to reward the Elves handsomely for their work by giving them a land of their own to rule autonymously? Yeah, it screws them over and shows it never gave a damn about them or their plight; it just used them to fight Nilfgaard's battles for it.
Fallout 3: It did a similar thing. While the game is poorly written overall, I love what it did with the "twist" of the Tenpenny Tower quest, and showcased why you should pay attention to what individuals actually say and do, and not get caught up in sympathy because they belong to a poor and oppwessed minowity. The people of Tenpenny Tower don't like ghouls, so they don't want Roy and his goons to come in. But you can convince them to see the light and learn to get along with and welcome the ghouls into their home. Happy end for all, right? WRONG! Not long after moving in, Roy kills all the humans in Tenpenny Tower and populates it with ghouls. But you should have known from the beginning that was a bad idea because when you talked to Roy beforehand, he showed what a murderous unrepentant asshole he was, he was always a hair's breath away from killing you if you simply misspoke, and he was planning on killing everyone in the tower just because they wouldn't let him in. What the fuck did you think was going to happen when you let the psychopath in?! In the end, he never wanted to live in harmony with the humans; he just wanted to take their stuff. Just like a lot of so-called oppressed minorities in the real world.
No Matter How I Look At It, It's You Guys' Fault I'm Not Popular: Or "Watamote" for short. This deconstructs the cute shy girl and "cool otaku" character archetype in manga and anime (like Konata from Lucky Star, whom Watamote's protagonist, Tomoko, kind of resembles). It shows that socially-awkward people aren't these adorable little moeblobs you just want to hug and protect; a lot of time, they're actually assholes with a lot of built-up resentment towards other people, whom they're likely to project their own flaws upon, and that social awkwardness is not a cute or desirable trait. It's uncomfortable to watch, can come across as creepy, and is very crippling. That being said, the manga eventually reconstructs those conventions; the protagonist, Tomoko, through sheer persistence and force of will, brute forces her way to becoming a somewhat functional individual, and shows herself to be an eccentric-enough person that catches the interest of multiple people and allows her to make friends.
The Hobbit: Yes, even the codifier of modern fantasy got in on this, particularly with the idea of a dragon's hoard. Hurray, Smaug was slain and the Dwarves can now reclaim their ancestral home and wealth! Except now that the dragon's gone, many interested parties are beginning to emerge seeking to claim a part of the now unguarded treasure for themselves, which almost causes total war to break out between them. It's also quite unexpected because up until this part, the story was very straightforward, with the (mostly) sympathetic Dwarves and Hobbit dealing with hardships and (seemingly) unsympathetic antagonists. But when we get here, the Dwarves, Men of Laketown, and Mirkwood Elves all have valid and understandable reasons to come to blows, leading to a very complicated political situation that has even the unambiguously good Bilbo resorting to shady tactics in a desperate effort to broker peace between the feuding factions.
Extremely debatable. Neither humans or elves are native to the world the Witcher takes place in, and before humans showed up and kicked the shit out of the elves, the elves were kicking the shit out of the dwarves, who probably were the natives of the world, for about 2000 years.
Most shit that happens to the elves really is their own fault, and by that I do mean historically as a race, like when Aelirenn decided to go poke the bear despite being told how monumentally retarded it was; resulting in the countless deaths of so many younger elves it created the same kind of generational gap the USSR experienced after ww2, except in this case it was far more significant a danger to reproduction.
Holding those grievances over modern individuals is a problem but as you point out the Scoia'tael just keep making things worse, for themselves and other elves, and this is before even considering what the other group of elves do; murdering, pillaging, kidnapping, and enslaving countless sentients and working them literally to death, often in another dimension where time will pass differently, because said sentients are little else than fuel to the Aen Elle.
Fallout 3 also had The Pitt which for me definitely eclipsed and expanded the Tenpenny Tower arc.
It was honesty brilliant how they deconstructed the "Downtrodden freedom fighter" by showing that the rebellion was filled with assholes, had no plan to cure the people, and honestly don't know how to run the city. Every play through now I crush the rebellion because Ashur has a point. The people lived hard now under his rule, but they're building a juggernaut industrial powerhouse and when he eventually gives the reins to the people, they'll be unstoppable. Plus he has the best chance of getting a cure out there.
Bioshock Infinite had a similar subplot.
You mentioned ASoIaF. I will always get a laugh out of the fact that GRRM's life's work is "Heh, what if I wrote a legendary cycle with no heroes or even good people?"
And the incredibly obvious answer, to everyone but GRRM, was that it can't be a legendary cycle. So after decades of work, the retard can't finish.