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Фильм Рагнарёк 2021 (сериал) Russian
First Theme: Different Languages for Describing the World.
One of the central ideas in "Ragnarok" is the concept of different languages for describing the world. These languages, much like the isomorphic formalisms of quantum physics (e.g., Schrödinger's wave mechanics and Heisenberg's matrix mechanics), interpret the same reality from different perspectives. These languages—Norse mythology, mathematics, Kabbalah, Buddhism, Shintoism, philosophy, and Judaism—offer unique ways of understanding the world, but at a deeper level, they can be complementary. In the series, this idea is manifested through the interweaving of mythological archetypes with contemporary issues, such as ecology and personal growth.
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Norse Mythology
In "Ragnarok," Norse mythology serves as a narrative language describing the world through the struggle between gods (Æsir) and giants (Jötunns), symbolizing order and chaos. Magne, embodying Thor, represents strength, justice, and protection; Loki represents cunning, change, and ambivalence; and the Jutuls, as giants, embody destructive chaos and greed. Mythology structures reality through the cycle of Ragnarok—the end of the world, followed by renewal. In the series, the ecological crisis caused by the Jutuls' pollution mirrors the mythological battle, and the youth protests in Edda reflect the struggle for a new order. For example, scenes where Magne uses his hammer symbolize his attempt to restore balance, much like Thor fighting the Jötunns. This language connects ancient archetypes with modern challenges, allowing for the interpretation of ecological and social problems through the prism of myths.
Features:
Rich symbolism connecting nature, humanity, and the cosmos.
A narrative approach accessible through emotional and cultural archetypes.
Flexibility in interpreting contemporary problems through ancient plots.
Limitations:
* Cultural specificity limits its universality.
* Metaphorical nature makes empirical verification difficult.
The Mathematical Language of Science
Mathematics in science is a universal language that describes reality through precise models. Newton's laws, Einstein's equations, or quantum operators allow for predicting the movement of planets, electromagnetic fields, or the behavior of particles. In "Ragnarok," ecological problems, such as the water pollution caused by the Jutuls, can be analyzed using scientific data—for example, carbon emission levels, waste toxicity, or hydrological models. This language strives for objectivity: the laws of physics are applicable everywhere, from Edda to distant galaxies. For instance, the fight against pollution in the series could rely on mathematical calculations to assess environmental damage. However, mathematics does not answer the metaphysical questions raised by mythology, such as the meaning of Magne's struggle or the nature of Ragnarok.
Features:
* High precision and predictive power based on empirical data.
* Universality, independent of cultural context.
* Ability to structure complex phenomena through equations and models.
Limitations:
* Lack of answers to "why" questions in a metaphysical sense.
* Detachment from subjective human experience.
Mathematical Language as a Thing in Itself
In Platonic philosophy, mathematics is viewed as an autonomous system existing outside the physical world. Numbers, geometric shapes, and theorems, such as π or the Pythagorean theorem, exist in an ideal world of forms, and physical reality is their reflection. In "Ragnarok," the idea of universal order, embodied in Magne's pursuit of harmony, can be interpreted as a reflection of this Platonic world. For example, the struggle for ecological justice in the series symbolizes the search for an ideal order, akin to mathematical truths that remain unchanged regardless of time and space. Max Tegmark's hypothesis of a mathematical universe reinforces this idea, suggesting that reality itself is a mathematical structure, and physical laws are its manifestations. In the series, this can be seen in the characters' attempts to structure the chaos caused by the Jutuls through protests and actions.
Features:
* Absolute universality, independent of human experience.
* Ability to describe abstract and hypothetical realities, such as multidimensional spaces.
* Proximity to philosophical reflections on the nature of being.
Limitations:
* Difficulty of interpretation in the context of subjective perception.
* Lack of direct connection to spiritual aspects.
The Kabbalistic Language
Kabbalah offers a language that describes reality through the Sephirot—ten emanations connecting the Divine with the world and humanity. Each Sephirah—Keter (Crown), Chokhmah (Wisdom), Binah (Understanding), Chesed (Mercy), Gevurah (Severity), Tiferet (Beauty), Netzach (Victory), Hod (Glory), Yesod (Foundation), and Malkuth (Kingdom)—represents an aspect of creation, from will to physical reality. In "Ragnarok," the gods and giants are akin to the Sephirot: Thor (Magne) embodies Tiferet (harmony and compassion), Loki embodies Chokhmah (creative spark and unpredictability), and the Jutuls embody Gevurah (severity and destruction). The Tree of Sephirot, with its 22 paths, can be modeled as a mathematical graph where the vertices are Sephirot and the edges are their connections.
This analogy is reinforced by a parallel with the mathematical concept of ordinals in set theory, which describe the hierarchy of infinities. Ordinals begin with natural numbers (0, 1, 2, ...) and extend to transfinite numbers (ω, ω+1, ω·2), each adding a new level of order. Keter, the first Sephirah, is like the initial ordinal, and subsequent Sephirot are like increasing ordinals, structuring the emanation from Ein Sof (the Infinite) to the material world. Just as ordinals differ qualitatively (ω is different from ω+1), so too is each Sephirah unique: Chesed is mercy, Gevurah is severity. In the series, the interaction of characters reflects this dynamic: Magne's struggle with the Jutuls aims for balance, similar to the harmony of the Sephirot structuring the world.
Kabbalah and Set Theory: The hierarchy of the Sephirot, describing divine emanation, is isomorphic to the hierarchy of ordinals, structuring infinities. Both systems presuppose an ordered transition from the infinite to the finite, where each level (Sephirah or ordinal) adds a new aspect to the whole. For example, the transition from Keter to Malkuth can be compared to the sequence of ordinals from 0 to ω, where each step structures infinity.
Features:
* Symbolism connecting the spiritual and material.
* Potential for mathematical modeling (graphs, ordinals).
* Connection between microcosm and macrocosm through the Sephirot.
Limitations:
* Subjectivity, dependence on esoteric knowledge.
* Limited applicability to empirical phenomena.
The Buddhist Language
Buddhism describes reality through the prism of consciousness, impermanence (anicca), non-self (anatta), and suffering (dukkha). The world is viewed as a dynamic process rather than a static entity. In "Ragnarok," this perspective is manifested in Loki's mutability, whose ambivalence reflects impermanence, or in Magne's suffering, caused by his struggle with the Jutuls and internal conflicts. The Mahayana teaching of emptiness (shunyata) resonates with the mathematical zero or philosophical nothingness, emphasizing the illusory nature of a fixed reality. Meditation and mindfulness practices are reflected in Magne's introspection as he seeks balance between anger and justice, similar to the Buddhist path to liberation from illusions.
Features:
* Focus on inner experience and the transformation of consciousness.
* Understanding of reality as a dynamic process.
* Practical orientation through meditation and ethics.
Limitations:
* Limited applicability for describing physical phenomena.
* Dependence on cultural and religious context.
The Shintoist Language
Shintoism, the traditional religion of Japan, describes reality through animism, reverence for spirits (kami), and harmony with nature. In Shinto, everything—mountains, rivers, trees, people—possesses a spiritual essence, and rituals of purification and reverence for kami maintain the balance between humans and the world. In "Ragnarok," this perspective resonates with the ecological theme: Magne's fight against the Jutuls' pollution reflects the Shinto idea of respecting nature as sacred. For example, scenes where the nature of Edda (forests, fjords) plays a key role can be interpreted as manifestations of kami, and the characters' protests as rituals for restoring harmony. Shinto, like Norse mythology, uses myths and rituals to connect with nature but emphasizes purity and equilibrium.
Features:
* An animistic view that spiritualizes nature and the world.
* Focus on harmony and purification rituals.
* Connection to ecological and cultural values.
Limitations:
* Cultural specificity, limited universality.
* Less philosophical depth compared to Buddhism or Kabbalah.
The Philosophical Language
Philosophy uses concepts, logic, and argumentation to comprehend being, consciousness, and truth. It synthesizes other languages: Kant reconciled empiricism and rationalism; Heidegger sought the language of being. In "Ragnarok," the philosophical language is evident in reflections on fate, freedom, and the meaning of struggle. For example, Magne's choice between revenge and justice echoes existential questions about free will, and his fight for Edda reflects Kant's idea of moral duty.
Features:
* Universality, encompassing science, religion, and art.
* Ability to pose metaphysical questions.
* Flexibility in approaches, from logic to metaphors.
Limitations:
* Abstractness, detachment from practice.
* Potential contradictions between schools of thought.
The Traditional Jewish Language
The Jewish language, based on the Torah and Talmud, describes the world as God's creation, regulated by commandments (mitzvot). In the series, this perspective is implicitly present in Magne's moral responsibility; his actions to protect Edda and fight the Jutuls' injustice reflect ethical principles similar to mitzvot. Unlike esoteric Kabbalah, Judaism focuses on practical life and community, offering a narrative approach to reality.
Features:
* Narrative approach through sacred texts.
* Ethical and communal orientation.
* Connection to historical and cultural context.
Limitations:
* Adherence to tradition, lesser universality.
* Limited flexibility compared to philosophy.
Second Theme: Man as a Cosmos.
One of the central ideas in "Ragnarok" is the metaphor of "man as a cosmos," presenting the individual as a complex, multifaceted system comparable to the vast and mysterious universe. This concept, inspired by ancient philosophies including Platonism, Hermeticism, and Kabbalah, is revealed through several key aspects.
The Immensity of the Inner World
In the series, a person's inner world is like a cosmos filled with unexplored galaxies. Magne's thoughts, emotions, memories, and dreams form a unique universe, where each thought is a star, and neural connections are galactic pathways. The human brain, containing about 86 billion neurons and trillions of connections, is comparable in complexity to the scale of the Universe. Through Magne's struggle with internal conflicts and external enemies, the series shows the exploration of this inner universe.
Microcosm and Macrocosm
Ancient teachings, such as Platonism and Hermeticism, view man as a microcosm reflecting the macrocosm of the universe. Physically, this is manifested in the fact that the atoms composing our bodies—carbon, oxygen, iron—were born in stars billions of years ago. Scientists confirm that the composition of stars and cosmic dust is 97% identical to the human body, connecting us to the cosmos. On a spiritual level, Magne's pursuit of justice and self-knowledge resembles the exploration of distant galaxies. In Kabbalah, this idea is embodied in the Sephirot—ten emanations structuring the universe and the human soul. For example, Tiferet (harmony) reflects Magne's balance between strength and compassion, and Malkuth (kingdom) reflects his actions in the physical world.
Chaos and Order
The cosmos combines chaotic processes, such as supernova explosions and black holes, with the strict order of physical laws and planetary orbits. In humans, chaos manifests as spontaneous emotions, instincts, and crises, while order is found in reason, morality, and goals. In "Ragnarok," Magne's anger and doubts reflect chaos, similar to galactic collisions, while his decisions based on justice bring order. Just as in the cosmos the chaos of supernovae generates elements for new stars, Magne's internal conflicts lead to personal growth and new meanings. This synthesis of chaos and order creates a dynamic equilibrium, where chaos carries creative potential, and order structures it into new ideas and achievements.
Interconnectedness
The cosmos is united by invisible threads of gravity, forming a "cosmic web" of galaxies. Similarly, in the series, characters are connected by emotions, actions, and culture. The youth protests against pollution in Edda show how one person's actions can have global consequences, much like gravity in the cosmos. This idea resonates with the Buddhist concept of interdependence, emphasizing that everyone is connected to others through empathy, culture, and history. In the context of the series, gods and giants are like the Sephirot in Kabbalah: each represents a unique aspect of creation and human nature. For example, Thor (Magne) embodies Tiferet (harmony and compassion), Loki embodies Chokhmah (creative spark and unpredictability), and the Jutuls, as giants, can be associated with Gevurah (severity and destruction). Their interaction reflects the dynamics of the Sephirot, where the balance between different forces creates the harmony of the world.
Spoiler
In this light, the ending can also be interpreted as a resolution in Magne's microcosm. That is, we have descended from the macrocosm to the microcosm of an individual, and from this perspective, we can interpret the finale, see below.
Plot and Structure
The first and third seasons of the series maintain attention thanks to their dynamics, character development, and mythological underpinnings. However, episodes 2–5 of the second season are disappointing: they seem drawn out, with a vague narrative and a weak connection to the overall arc. They can be skipped, relying on a brief recap to avoid losing the thread of the plot. Fortunately, the third season gets the series back on track, heightening the drama and leading to an intriguing finale.
The initial seasons of "Ragnarok" are captivating due to their dynamics, character development, and mythological basis. Magne transitions from an insecure teenager to a hero, confronting the Jutuls, whose actions threaten Edda. Episodes 2–5 of the second season (Correction: original text mentioned third season here, but later refers to issues in second season, and you confirmed it was second season episode 2-5) are disappointing: they are drawn out, with a vague narrative and a weak connection to the series' key idea. They can be skipped, relying on a recap. However, the first season and the finale of the third season bring the series back on track, enhancing the drama and leading to an intriguing conclusion.
Secondary Themes and Ideas
Ecology and the Fight Against Pollution
The ecological agenda is organically integrated into the plot. The main antagonist, the Jutul family corporation, pollutes the environment, which becomes a metaphor for the impending Ragnarok. The series raises the real problem of poor industrial waste disposal and shows how corporations can manipulate state structures. Meanwhile, youth protests, initially seeming pointless, eventually yield results, adding dynamism to the plot. In a mythological context, the ecological crisis symbolizes the inevitability of the end of the world, heightening the drama.
Feminism and Equality
The series subtly promotes ideas of gender equality, which is perceived positively. Female characters, such as Freya or Sigrid, play important roles, demonstrating strength and independence. The theme of equality also raises the question of whether traditional structures should adapt to modernity. The series draws parallels with historical examples: the Vatican in the 20th–21st centuries accepted changes, whereas the Jewish elite during the Hasmonean period resisted Hellenization. Later, the elite Hellenized, while the majority of Jews remained faithful to traditions, preserving their identity. This aspect adds depth and prompts reflection on the balance between tradition and progress.
LGBTQ+ Agenda
The inclusion of LGBTQ+ themes, especially in the third season, evokes a sharply negative reaction. Gay scenes appear without any connection to mythology or the plot, seeming intrusive and out of place. Their presence feels like mere propaganda, undermining the narrative's integrity and distracting from the main story. This is one of the main drawbacks of the series, reducing its quality.
Miscellaneous
Spoiler (About the epigraphs)
The epigraphs for the episodes are a separate discovery. Short but meaningful, they set the thematic focus and enrich the narrative, connecting it to a broader cultural or mythological context.
Spoiler (About Ran Jutul's position)
I noticed a possible plot inconsistency or roughness related to Ran Jutul's position: in some scenes, she clearly acts as the school principal, whereas in other moments, this seems to be forgotten, or her role in school management becomes unclear. This was a bit confusing and created ambiguity regarding her exact position and influence in the school at different stages of the plot.
Spoiler (Rebirth of the giants)
Another point that remained not fully understood is the nature of the giants' immortality or rebirth. Although it is obvious that the Jutuls are ancient beings, the very process of their reincarnation or preservation of essence through the centuries is not fully disclosed.
Spoiler (Magne's grasp on reality)
I remember the scene where Magne is on the edge: the diagnosis of "paranoid schizophrenia" almost convinces him of the unreality of everything happening. But it is at this very moment that the world itself seems to give him signs, confirming that his mission and powers are not a figment of his imagination. This perfectly shows his struggle for his own perception of reality.
Spoiler (Season 2 finale)
I don't know about you, but the scene of Magne creating Mjolnir at the Jutul factory in the season two finale visually reminded me of some moments from "Terminator 2," especially the scenes at the steel mill. Perhaps it's due to the general industrial aesthetic.
The Finale and Its Interpretations
The series finale, in my opinion, is its strong point, leaving room for reflection.
Spoiler
Starting from the scene before the high school graduation ceremony, events can be interpreted in several ways:
* A figment of Magne's imagination. A significant part of the events, especially the mystical ones, might have only occurred in the main character's head. Having matured, he leaves fantasies behind, finding inner harmony and becoming an ordinary person. This interpretation emphasizes the psychological aspect of growing up and accepting reality.
* A mix of physical and mystical worlds. Another interpretation suggests that some events are real, while others occur on a mystical plane. After Thor's (Magne's) death, his connection to the mythological world is severed, but the world achieves harmony as his mission is accomplished. This version enhances the mythological component, emphasizing the cyclical nature of Ragnarok.
* Ragnarok in the physical world. There is also an interpretation that the final "feast" scene of gods and giants did not happen in the physical world. In this case, Ragnarok could have occurred in reality, and the graduation scene was either on a mythological plane or a figment of Magne's imagination. This interpretation allows for a physical end of the world but leaves open the question of the reality of subsequent events.
What definitely could not have happened is the unequivocal exclusion of a physical Ragnarok without considering the final scene. The absence of a clear "breaking point" between Thor's death and the final "feast" scene makes the interpretation of events ambiguous.
Interestingly, the ambiguous ending of "Ragnarok," which allows for the interpretation of events as Magne's imagination, resonates with the finale of the film "Total Recall." This is the 1990 film "Total Recall" starring Arnold Schwarzenegger and Sharon Stone. In both cases, the viewer is left with the question of the reality of what happened. Moreover, both in the series and in the film, there is a key scene where the main character is persuaded that he is not in his right mind (Magne is diagnosed, and Quaid is assured that he is still in the "Rekall" chair, experiencing a program malfunction). This device, which calls the hero's perception into question, and the open ending truly link these works.
Conclusion
"Ragnarok" is a series with a strong beginning and end, skillfully intertwining mythology with contemporary problems. The ecological and gender themes are successfully integrated into the plot, but the LGBTQ+ agenda, conversely, is perceived as intrusive and inappropriate. The weak episodes 2-5 of the third season can be skipped, but the rest and the finale compensate for the shortcomings, leaving room for reflection on the nature of reality, harmony, and growing up. The series will suit those who love Norse mythology and social dramas but requires patience with its uneven narrative pace and jarring elements.
