I'm in Love with the Villainess
Finished · 12 epPlatinum Vision · 2023 · Japan

I'm in Love with the Villainess

私の推しは悪役令嬢。

7.3/ 10 · 62,164
Watch on Crunchyroll

Available on

Crunchyroll· Sub · HD

The world turns upside down when a corporate drone wakes up as Rae Taylor, the heroine in her favorite otome game, Revolution. Rae is elated at the opportunity to court Claire François, the game’s villainess and the object of her affection. Armed with her knowledge of the game and events to come, Rae sets out to make Claire fall for her. But how will the villainess take Rae’s romantic advances? (Source: Crunchyroll)

Also in this franchise

Episodes

12
1. Episode 1 - Rushing Headlong into Life in Another World
24m · Crunchyroll
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2. Episode 2 - A Maid's Job Is a Labor of Love
24m · Crunchyroll
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3. Episode 3 - My Love Is a Series of Ups and Downs
24m · Crunchyroll
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4. Episode 4 - When Monsters Attack, Unpreparedness Is the Greatest Enemy
24m · Crunchyroll
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5. Episode 5 - The Knight Exam Is Packed with Drama
24m · Crunchyroll
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6. Episode 6 - The Secret Reason Must Not Be Told to Anyone
24m · Crunchyroll
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7. Episode 7 - What Makes or Breaks a School Fair Is the Cross-Dressing Café
24m · Crunchyroll
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8. Episode 8 - The Swirling Currents Are All Machinations
24m · Crunchyroll
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9. Episode 9 - My Master Will Never Change
24m · Crunchyroll
Watch
10. Episode 10 - My New Rival in Love Is a Perfect Superhuman
24m · Crunchyroll
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11. Episode 11 - A Near-Miss in Love is Certain Doom
24m · Crunchyroll
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12. Episode 12 - The Villainess and I Are in Love
24m · Crunchyroll
Watch

How watching this pays the artists

Every time you watch I'm in Love with the Villainess on a legitimate streaming service, a portion of that revenue flows back to Platinum Vision, the voice actors, the composer, and the animators who made it. Subscribing or watching on an ad-supported tier is how the work continues.

Where the money actually goes

Streaming services pay licensing fees to the production committee that financed the show. That committee distributes revenue to the studio, the publisher of the source material, the music label, and the broadcasters who originally aired it. The animators themselves are typically employed or contracted by the studio; their pay comes from the studio’s share of these licensing dollars.

Piracy doesn’t reduce streaming-service revenue evenly — it removes the underlying viewership that justifies future licensing investment. Less licensing investment means smaller studio budgets, lower pay for animators, and fewer shows greenlit.

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