Abstract The “golden age” of Scandinavian television has often been associated with Nordic Noir crime dramas, yet many of the acclaimed serials also engage with geopolitical themes such as migration, cross-border crime, military conflicts, and global terrorism. In this article, we examine the ways in which Nordic Noir contributes to discourses on such topics. We look specifically at the dramas Okkupert [Occupied] (NRK, 2015–), Ørnen [The Eagle] (DR, 2004–2006), Nobel – fred for enhver pris [Nobel – Peace at any Cost] (NRK, 2016), and Kriger [Warrior] (Netflix, 2018–) as they explore potential threats to Scandinavian society and the Nordic welfare state through the distinct figure of the vigilante veteran. Returning soldiers, as we argue, are particularly productive of geopolitics because they are shown to be adept (even well suited) to dealing with the geopolitical uncanny. They, in fact, problematise the positive Scandinavian self-image. While Scandinavian society, as can be inferred from the dramas, has become hypocritical and complacent owing to a very high standard of living, the veterans are the only people adept at responding to threats and crises.

中文翻译：

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北欧黑色的地缘政治

摘要斯堪的纳维亚电视台的“黄金时代”经常与北欧黑色犯罪戏剧联系在一起，但许多广受赞誉的连续剧也涉及地缘政治主题，例如移民，跨境犯罪，军事冲突和全球恐怖主义。在本文中，我们将探讨北欧黑鸟如何为有关此类话题的论述做出贡献。我们专门看电视剧《 Okkupert [被占领]（NRK，2015 –），Ørnen[The Eagle]（DR，2004–2006），Nobel – fren for enhver pris [诺贝尔–不惜一切代价实现和平]（NRK，2016），和Kriger [Warrior]（Netflix，2018年），他们通过警惕的退伍军人的独特形象探索对斯堪的纳维亚社会和北欧福利国家的潜在威胁。正如我们所说，回国士兵 之所以能够发挥地缘政治的作用，是因为它们被证明能够（甚至非常适合）应对地缘政治的诡异。实际上，它们使积极的斯堪的纳维亚自我形象成问题。从戏剧中可以推断出，斯堪的纳维亚社会由于生活水平很高而变得虚伪和自满，而退伍军人是唯一能够应对威胁和危机的人。