The author continues the research begun in previous articles («Philosophy and Culture», 2023, no. 11; «Philosophy and Culture», 2024, no. 7). The subject of this study is the Christian discourse of the British television series «Robin of Sherwood» (1984 – 1986). The author examines the problem of violence in the series' cinematic text, as well as in Russian-language literary and historical online resources created by its audience. Viewers' interpretations of violent episodes are compared from the perspective of various value-normative systems, including the norms of Soviet education, the laws of market capitalism, the principles of modern civil society, the mores of medieval European society, and the ideals of Christian ethics. The methodological basis of this work is a philosophical and hermeneutic approach, which utilizes a hermeneutic interpretation of the artistic text, incorporating elements of historical and cultural, contextual, intertextual, and lexical-syntactic analysis. An axiological approach is also employed to identify the value hierarchy within the worldviews of the film's creators and its viewers. The sociocultural concept of E. Durkheim is used as a paradigm explaining the nature of violence. A high degree of congruence is revealed between the values of Christian humanism and the ethical principles that underpinned the socialization of the film's Russian-speaking audience in the 1970s and 1980s. The most active discussions in the literary internet space revolve around episodes of violence by positive characters, primarily Robin Hood, against a helpless opponent. It is concluded that Robin Hood is depicted in the film as a sovereign possessing legitimate political power, one of whose prerogatives is the right to use violence. At the same time, the series' narrative demonstrates a «character arc» – the consistent development of the protagonist's self-awareness toward the norms of Christian morality.