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implications”.1 A constant interplay exists between research, knowledge and pres- ent use in the ways the ideas of the “Viking” and “the Viking Age” are addressed. Historically, between 750 CE and 1100 CE communities in Scandinavia were not as unified as we might think, and the modern use of “Viking” covers very diverse mean- ings. Today, we might write at length about Viking metal music or about Viking sym- bols that are used by American Football teams, appear in advertisements for beer, and could be found in dark depictions of the 5th SS Waffen Panzer Division “Wiking” in the Second World War. Such symbols are both deployed and exploited. Viking stereotypes often prevail in both popular mythology and historical reconstructions. However, a further aspect of Viking discourse is apparent in a recent filmic rep- resentation of Viking life that is found in the Irish-Canadian historical drama television series Vikings (CA/IE 2013–), based on the Icelandic sagas of the Viking Ragnar Lod- brok. The series, written and directed by the renowned scriptwriter Michael Hirst, also known from The Tudors (IE 2007–2010) was first shown in early March 2013 on the History Channel in Canada and the United States and soon found millions of viewers and fans. This top-rated show, filmed on location in both Canada and Ireland, has reached its sixth season. The series website hosts infographics on each season. Interviews given by Hirst provide strong evidence of a deliberate attempt to frame the series in light of an existential clash of religions. In an interview with Brock Swinson, Hirst stated, “During my research, the Pagan versus Christian conflict was very central to Viking sex and life at the time. It couldn’t be avoided, so it had to be addressed. I loved reading about it and I couldn’t have written Vikings without writing about the Pagan gods and the Christian God, who ultimately won, essentially.”2 Similarly Hirst explained: I wanted to show pagan fundamentalism – for audience to understand that pa- ganism was a real religion and that people believed it very deeply. It meant a lot and explained the world to the Vikings. I think I was getting that message across. We’ve seen levels of belief – Floki [one the main characters] is a complete funda- mentalist and I wanted to show the same for Christianity, that it was driven by people like Bishop Heahmund – young religion sweeping across the globe and one of the reasons was the intensity of belief and Heahmund was going to represent that for me – passionate Christians coming up against equally passionate pagans.3 Hirst successfully weaves this clash of religions into the series, including very concrete depictions in single episodes. This article explores the intriguing mix and collision of religious realities. The medium of film can support and enhance conversations about 1 Andersson 2016. 2 Swinson considers the relationship between historic Viking reality and the series. 3 Hirst in the interview (see for link bibliography). 104 | René Erwich www.jrfm.eu 2020, 6/1, 103–126