Empty Movementさんのイラストまとめ

How about that time he dunks on Juri so hard he forces her to acknowledge her lesbian feelings with a duel?

...the c̴̠̲̲̜̘̗̈̓̊͒́͘͟h̵̭̫̪̲̖̃͌̉͝͝ą̵̭̳͕̗̙̏̿͛͊̍̑͜͞ȍ̖̪̖̺̠̾̄͋͗̓́̍̿ͅs̛̖̣̬̖͉͚̪̅͑̂͂͒͒͢͢͝͞ ḏ̡̼̥͖̪̟͒̓͒͆͘u̸̧̺͓̖̥̯͎̹̍́̒͆͝͠͞n̴̗̬͇͎̜̄̑̍̿͞ķ̮̤̙͚̩̈̒̑̆͆̉̌̊͑̔.̛̛͙̦̲̹̖͑͌̇

Revolutionary Girl Utena, episode 10, "Nanami's Precious Thing" - June 4, 1997

Yep the episode actually airs on his birthday

Happy Birthday, Touga Kiryuu!
1. L'Apocalypse 4 (VHS & Laserdisc, 1997)
2. L'Apocalypse 2 (DVD, 1999)
3. DVD-BOX Volume 2 (Remaster on DVD, 2009)
4. Complete Blu-ray BOX (Remaster on BR, 2017)

@supermacaquecol @BoyTotally I vector traced this image for Yasha's birthday once

I think it was right around when we started thinking of ourselves as a couple

which was long before either of us identified as bisexual

seems fitting

Saito Rei, the actress that plays Touga in the 1997 musical, was affiliated with Tokyo Kid Brothers, a theatre troupe founded by Yutaka Higashi, a co-founder alongside Shūji Terayama of the Tenjo Sajiki theatre troupe active in the 60s/70s. This troupe worked with J. A. Seazer. https://t.co/UrVn6CEJcn

Utena engages with this system in ignorance, but Mrs. Ohtori does not. Anthy does not. *Touga* does not. The same trick gets pulled on everyone, and they all fall for it, regardless of how aware they are of the trick. When you're starving, you see the food. Not who is holding it.

Akio sucks, but he's not stupid. The best way to ensure the safety of his crappy patriarchal brand is to be both the brand (the Chairman) and the means of rebellion against it (Ends of the World.) Nanami explicitly sees and groks this, and still can't quite get around him.

This is how the patriarchy perpetuates itself. Get them when they're young, and make sure they know the rules: that the best empowerment they can hope for, the best means to enact change in defense of their own....*is still a god damn engagement ring.*

A ring. What is explicitly stated to have been taken by babby Utena as an *engagement ring.*

With both Utena and Mrs. Ohtori, the answer to encountering the confines of their access to agency, the glass ceiling, so to speak, is provided by the person who made the glass.