The Young Hercules franchise is, in many regards, a paradigmatic exemplar of depictions of Hercules on television produced during the mid-late 1990s. It was the last of several productions, produced during this period, which explored the life of Hercules: e.g. Hercules: the Legendary Journeys and Xena: Warrior Princess franchises; Disney’s television serial spin-off Hercules (1998–1999; 2 seasons). The franchise’s format – a pilot television film preceding a serial – is a repetition of the successful HTLJ formula which released five pilot television films prior to its own serial. (for further discussion of Young Hercules as indicative of the late 90’s interest in and style of depicting Hercules, see Young Hercules (serial) entry.)
Although the majority of the film’s characters carry over from the pilot into the serial, the titular Hercules does not. Ian Bohen, the star of the pilot-film (and was first cast as Young Hercules in flashbacks within various HTLJ episodes, e.g. Regrets... I've Had a Few (S04E03), was replaced by Ryan Gosling for the serial. The former did not want to move to New Zealand (the filming location) and so Tapert recast the role, modifying the serial to have a lighter tone which better reflected its new star. This was, in part, an attempt to better align the serial with its teenage target audience; however, it was also a clever marketing tactic to re-attract casual audience members’ from HTLJ and XWP who had become increasingly put-off by the darker and complex material within the "adult" serials: in Tapert’s own words, “anyone who feels that way [i.e. unhappy with the darker tone] is going to love Young Hercules, because it’s action and fun all the way.” (see here, accessed: August 16, 2019)
The Young Hercules film’s narrative telling of the Argonautic journey differs in many respects from extant versions known from antiquity (i.e. Pindar Pythian 4; Apollonius Argonautica; Apollodorus; Callimachus; Valerius Argonautica; Hyginus). Prominent examples of such changes to this traditional material include: Jason as the prince of Corinth; Yvenna and Captain Attica’s characters; Deimos’ island; the guardian Talos; and even the location of the fleece (i.e. Korsenia). It is also worth noting that the Argonauts who appear in Young Hercules are different from those mentioned in the HTLJ episode Once a Hero (season 2, episode 14: Hercules, Iolaus, Jason, Otus, Castor, Artemus, Valerus, Domesticles, and Lycenus).
Some of these differences are only minor adaptations of traditional components of the Argonautic narrative which serve to simplify an otherwise complex story. For example, although Jason is depicted by ancient sources as the prince of Iolcus, he later flees to Corinth (i.e. after the murder of Pelias) where he attempts to marry into the Corinthian royal family (see, e.g., Euripides’ Medea). By inserting him as the crown-prince of Corinth, Young Hercules removes the need to delve into the complicated questions surrounding Jason’s relationship with Medea and the infanticide which concludes this particular tradition. Likewise, Discord’s island serves as a combination of the island of the Sirens and the island of the Lotus Eaters (perhaps most famously recounted in Homer’s Odyssey; however, the former also appears in accounts of the Argonauts’ return voyage) and the episode of the Argonauts on the island of Lemnos. Thus, the rather lengthy journey of the Argo to the Fleece is shortened significantly in order to accommodate a reasonable run-time.
Other "divergent" components of the Young Hercules narrative are clearly driven by the teenage target audience. This is most evident in the creation of Yvenna and Captain Attica, who both fit the "teen" requirement of the film’s protagonists and removes the necessity of any adults being involved in the action (exceptions to this are Ares, Discord, and Cheiron). Yvenna also serves as a romantic interest for Hercules and provides the “sexy” component of the adventure which is promised by the DVD’s synopsis (thus also contributing to the film’s PG-13 rating). Hercules’ constant need for affirmation from his father Zeus is a theme which receives more attention within the serial itself (see the entry), but this driving force is still present here and has had a demonstrable effect on the shape of the narrative: this is not the Hercules of Greek mythology, but a troubled teenager. Uncertain of his own abilities and identity, Hercules is sent to Cheiron’s academy not because he is a worthy hero (like Jason) but because he is a troublemaker (who almost destroyed his hometown when his attempt to steal an item sacred to Zeus from Ares’ temple went horribly wrong). Nor is this the strong and courageous "loner" Hercules known from mythology who abandons the Argonauts mid-voyage in order to track down his missing companion Hylas (see Ap. Rhod. 1229ff). It is only through teamwork that this Hercules is able to overcome his weaknesses (and insecurities) and become the hero who "saves the day": for example, Hercules is unable to defeat Ares until Iolaus comes to his aid as his "feet", hoisting the hero upon his shoulders after he is injured.
Finally, some components of the film’s narrative appear to be drawn from wider fantastical and/or filmic traditions: the guardian of the fleece, for example, is traditionally a serpent named the Colchian Dragon (as appears in the opening scenes of Young Hercules in the temple of Ares) but the inclusion of Talos in this role may be a subtle nod to the giant created by Ray Harryhausen for the 1963 film, Jason and the Argonauts.
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