SANDA

Episode 4

I think it's pretty impressive that a show as big and weird as SANDA can perfectly crystalize all of the themes that it's touching on in a single episode. Episode four of SANDA manages to cohesively bring together all of the show's themes, as well as all of its strong points into a single, expertly crafted, piece of television. While I can't say that everyone will appreciate what's happening here, I think everyone will be able to tell if SANDA is for them or not after this.

Picking up right where the previous episode left off, SANDA has been shot by a Santa Claus hunter and transformed into the mythical figure thanks to his blood staining his clothes red. This opening scene is underscored with an absolutely inspired darker and ominous riff on “Joy to the World,” which for my money is the best Christmas song. As SANDA fights this foe, he also struggles with what his new identity as Santa Claus means and how his newfound adulthood changes his identity. This is represented super well in the animation, as many of SANDA's movements in his now hulking body look clumsy and childish; reinforcing that he is still uncomfortable in his new body and figuring out what adulthood means to him.

Motivated by Santa's nude buff bod, this fight is interspersed with flashbacks to Fuyumura's budding babyqueer relationship with Ono. In these scenes not only do we see the two begin to explore their relationships with sexuality and sexual attraction by looking at classical sculptures and nearly kissing, but we also get more of a sense of how much this society represses children. Fuyumura pulls back from kissing Ono largely because she isn't ready for it, but leans on the lie fed to them by adults that young people kissing will give them cavities. Not only is this an important moment for the character, but it's a really affecting examination of how messy adolescent sexuality is, how awkward that maturation process can be, and how much adults police this part of young people's lives.

Later on, when SANDA crashes Ono's faux funeral, the last big thematic element of this series takes shape. As is understandable for a bunch of extremely sheltered children, when they see this smokeshow of an old man fall through a ceiling completely unharmed they immediately assume that he's God. On top of being hilarious considering that Santa Claus is basically a semi-secular means to make children behave under the threat of an omniscient onlooker, this also sparks an anxiety in SANDA that is universal in the shift from childhood to adulthood. SANDA isn't used to people relying on him or having the capacity to disappoint other people, which he and Fuyumura bond over in the closing act.

This episode of SANDA isn't digging super deep into its themes, but it's making it more clear than ever what this show is going to be about and has me excited for what's to come. The autonomy of young people and how much control which adults get to have over their lives and development is a hot button social issue right now, and I'm so curious to see SANDA further weigh in on these topics. Sure, this show is probably a little too high concept for its own good, but there's nothing else like it and I'm eager to see it tackle issues and themes that most other projects are afraid to address.

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As a lapsed Catholic and fan of hot dudes, Lucas DeRuyter was born to review SANDA and similar works. You can get into the holiday spirit with him on his Bluesky account, and read through his naughty and nice list by visiting his portfolio. When he isn't spreading holiday cheer, you can find him contributing to ANN's This Week in Anime column.

SANDA is currently streaming on Amazon Prime.