is a Japanese manga series written by Mari Okada and illustrated by Nao Emoto. It was serialized in Kodansha's manga magazine Bessatsu Shà Ânen Magazine from December 2016 to September 2019, with its chapters collected in eight volumes. The manga is licensed in English by Kodansha USA.
An anime television series adaptation produced by Lay-duce was broadcast on MBS's Animeism programming block from July to September 2019. A live-action television series adaptation was broadcast from September to October 2020.
Written by Mari Okada and illustrated by Nao Emoto, O Maidens in Your Savage Season was serialized in Kodansha's manga magazine Bessatsu Shà Ânen Magazine from December 9, 2016, to September 9, 2019. Kodansha collected its chapters in eight volumes, released from April 7, 2017, to October 9, 2019.
In North America, the manga was licensed for English release by Kodansha USA. The eight volumes were published from April 23, 2019, to November 3, 2020.
An anime television series adaptation was announced on November 30, 2018. The series was animated by Lay-duce and directed by Masahiro Andà  and Takurà  Tsukada, with Mari Okada handling series composition, and Kaori Ishii designing the characters. Moe Hyà «ga composed the music. The series aired from July 5 to September 20, 2019, on the Animeism programming block on MBS, TBS, and BS-TBS, as well as AT-X. CHiCO with Honeyworks performed the series' opening theme song , while Momo Asakura performed the series' ending theme song . Sentai Filmworks has licensed the series worldwide excluding Asia, Germany, France, and Australia. In Southeast Asia and South Asia, Muse Communication holds the show's rights.
A live-action television series adaptation was announced on July 9, 2020. On July 30, 2020, the main cast list and the production crew was announced, as well as that the series would be premiered on MBS and TBS on September 8, 2020.
The series was positively received. In a review of the first episode for Anime Feminist, Caitlin Moore described the series as joining series such as Please Tell Me! Galko-chan, YamadaâÂÂs First Time, and Asobi Asobase and films like The To-Do List and Booksmart with "smart, funny, and honest humor about the weirdness that is adolescence." She said that the series is "bluntly authentic" in drawing from Mari Okada's own experiences, appreciates the experiences in a small group of "socially awkward teenage girls who arenâÂÂt having sex," with recognition that sex extends beyond "simple penetration and can be about female pleasure," and said it remains to be seen whether the series will "account for the distinct experiences of queer, asexual, and trans teens." In a review of the first three episodes on the same site, Vrai Kaiser wrote that this series "hit a chorus of raw nerves about sexuality and adolescent anxieties with pointed accuracy" and described it as heartening for the series to "acknowledge queerness with Momoko," which differs from her "platonic protectiveness over Kazusa," and criticizes the blackmail plot involving Mithoha and her teacher, arguing that such thought experiences feel "woefully out of touch with the overwhelmingly unaddressed problems of teens being preyed on by adults," saying that it feels contrived and jarring, a "sour note against the refreshing honesty the rest of the show has to offer." Kaiser later recommended the series for tacking "internalized misogyny," awkwardness around adolescence and sex, Niina's struggles as victim of her acting coach's grooming, and Momoko being a lovable and well-realized queer character who is "trapped in an unrequited love plot," but criticized it for Hongo attempting to seduce her teacher as playing into narratives which absolves predators, and said it crashes because its "ambitions are so high." He also said the series should have content warnings for pedophilic grooming, groping without consent, masturbation, queerphobia, fat shaming, and an unsuccessful relationship between a teacher and student.
Rebecca Silverman reviewed the series for Anime News Network. In her review of the first three episodes, she notes that the series is primarily focused on "girls and female sexuality," and isn't easily defined as a sex comedy because it feels "too true to life," and predicted that the series will be a "frank discussion of developing female sexuality and the stigmas that can come with it." In reviews of later episodes, Silverman said that the series hits on "familiar situations," noting that for teenage girls these melodramas are "serious life and death stuff," but criticized the series for being a little overwhelming if each series "tries to cover all five characters each week" and describes Hongo's relationship with Milo-sensei as "the most uncomfortable storyline." Other reviews for episodes 7, 8, and 9, Silverman said it is important that the series includes a "narrative that can be read as queer," praised the series for doing a "great job with its rollercoaster of emotions" by the characters, that parts of the series "hit too close to home," and called the use of The Little Prince, by Antoine de Saint-Exupéry, as "particularly interesting."