Hem till Midgård focuses on slapstick, satire, and traditional comedic tropes rather than identity politics. Characters are exaggerated for humor, but identity factors like race, gender, or sexuality are barely relevant. The show seems much more interested in getting laughs than ticking modern representation boxes. As such, narrative integrity is only minorly compromised, mainly due to cartoonish caricatures for comedic effect, which is par for the genre.

This series largely embraces traditional (if comical) takes on masculinity, family dynamics, and Norse traditions, sometimes even lampooning them, but not in a mean-spirited or revisionist way. Religion and tradition are often played for laughs, but there’s little sense that the show is trying to rewrite or undermine cultural foundations according to contemporary sensibilities.

Alternative viewpoints, when presented, are exaggerated for comedic purposes rather than to villainize tradition or push an agenda. There’s no serious ideological uniformity, just irreverent humor aimed at everyone. Dissenters aren’t portrayed as backward relics, but as parts of the setup for goofy punchlines, so there’s minimal woke monoculture at play.