A smile like the sun on a hot summer day with eyes

The fact that birth (literal and metaphorical) plays such a huge role and it’s directed to the women, the emphasis on how a woman can gain power without giving birth if she takes another person’s child, the refusal to let a child be without a guardian, the fact that mice (a prolific breeder and oft-considered vermin yet a necessary part of the ecosystem is juxtaposed with “girls” when Kon listens at the beginning), the use of “seed” as both a destructive and renewing force (a lot of wordplay there), etc.

And also the consistent criticism that is woven into the movie itself of upholding the status quo (the music that combines modern sounds, especially things such as rap, with Japanese musical qualities; the manner in which Kon dresses—atypical of the era—the fact that Sakashita, no matter how nice he is, is *also* part of the system that holds up the Ōoku, the women taking part in the system, the inherent fact that its an outsider, Kon, who saves the Ōoku, Tenshi as a figurehead, etc.)

Not to mention how fire is used as both as a destructive and renewing force here + the shots that intentionally focus in on the white horse. One of the first shots you see of that room is the horse (virility, a ward against evil spirits/harm, a mount for deities/connection between the divine and mortal realm, the practice of Shinme [especially with the last movie being about water/rain and an umbrella], etc.)

And Kon is so delightfully theatrical as always. He’s characterized very strongly by his actions and mannerisms, and the animators and script writers did a wonderful job conveying his character + cementing him as someone different from Ri.