Seite - 109 - in JRFM - Journal Religion Film Media, Band 06/01

With a great variety of fragments available, I have selected examples that are connected to the main characters in the first seasons. For their analysis I deploy procedures common in qualitative content analysis, but with specific reference to religious and theological views.17 Crucial to this method was evidence in construct- ed dialogues that illustrates the liquefaction thesis. The series as a whole contains numerous fragments that mirror a multicultural and multireligious society, even though it is set in the ninth century. There and then often become here and now. I have chosen not to use De Groot’s term “liquidation”, for the concept is not free of difficulties. Finally, I review my findings from a practical-theological point of view. This article does not directly address the historicity of Vikings, although it does touch on Christian and pagan religious practices and realities. Because the series has not yet ended, with the fifth season underway as I write, I have made the end of the fourth season my own endpoint, a decision aided by the death of Ragnar Lodbrok, one of the central characters, close to the end of that series. The Vikings Series – Content and Context Storylines and Narrative18 The series starts at the beginning of the Viking era, in Scandinavia in the early ninth century. The men of Kattegat (not a historical location as such) are sent east on an annual raid by the chosen “Jarl” (earl), Haraldson (Gabriel Byrne), a title held by the most “prominent men below the kings in Viking-Age Scandinavia”.19 Farmer Ragnar Lodbrok (Travis Fimmel) is an underachiever, but as a result of religious experiences and with a desire to travel in other directions to the southwest, he joins the raid. He has heard the many stories of riches in the West (S1:E1).20 He tries to find support for his desire to travel farther, and when he receives a sundial, Ragnar decides to have a boat built in secret by his friend Floki (Gustaf Skarsgård). However, Jarl Haraldson is not supportive of a southwestward raid. Ragnar navigates the open seas and arrives 17 Lamnek/Krell 2016, 447–511. 18 How have audiences responded to the series? More than 325,000 ratings on the IMDb website provide an average of rating for the series of 8.6 on a scale of 1–10. The majority of these viewers are between the ages of 18 and 44, with 24% female and 76% male. Generally, the series has been well received on websites and social media. Criticisms included the lack of development of the main characters during the later seasons, geographical inaccuracies and too great violence. Viewers are often unaware, it seems, of the composite and complex historical background to the figures of Ragnar, Björn and Ivar. Series 5 was less well received, with viewer figures for the later episodes dropping off. See: https://www.imdb.com/ title/tt2306299/ratings?ref_=tt_ov_rthttps://www.theguardian.com/tv-and-radio/tvandradioblog/2014/ may/23/vikings-review-history-channel-game-of-thrones [accessed 19 Feb ruary 2019]. 19 Holman 2003, 81. 20 Season and episode are referred to here using the format S1:E1. 108 | René Erwich www.jrfm.eu 2020, 6/1, 103–126