It is notable that season two of HTLJ engages with ancient narratives in a more emphatic manner than the previous season and/or films. This engagement takes several forms: modernised retellings of known narratives derived from antiquity (adapted in order to better reflect both modern sensibilities and internal continuity with the franchise); and ‘filling in the gaps’ by exploring the aftermath of well-known mythical narratives. By comparison, the characterisation of the figures who fill these narratives is more anachronistic than ancient.
First, season two includes several episodes which are modernised retellings (or, alternatively, modern appropriations) of mythological narratives derived from antiquity; however, these narratives are very clearly “updated” with certain anachronisms to reflect modern sensibilities. A clear example of this occurs is episode 8, “The Other Side”, which presents a retelling of the Homeric Hymn to Demeter according to which Hades abducts Persephone as his bride. Certain aspects of the episode clearly derive from the Homeric Hymn and remain unchanged, such as Persephone picking flowers during her abduction, Demeter withholding crops from mankind until her daughter is returned to her, and the resolution of Persephone’s abduction by an arrangement of shared time in the underworld/real world. This stated, the overall tone of the narrative is notably different than its ancient counterpart. Rather than Persephone being “gifted” to Hades in accordance with the will of Zeus – a contentious act according to modern sensibilities regarding the independence of women – Hades and Persephone are here presented as an enamoured and misunderstood pair of lovers whose desire to be together is problematized by the combination of Persephone’s equally strong desire to see her mother and the latter’s overprotectiveness of her daughter. Furthermore, it is Hercules’ decision to prioritize Persephone’s personal wish (i.e., her desire to spend time with both her mother and her lover) that results in the division of her time. Thus, this modern Persephone is presented as a fully-fledged character in her own right with her own feelings and emotions which are not only recognised but also validated, rather than merely the object of Hades’ desire to be gifted to Hades by her father Zeus and whose own opinion is of no concern. Another example of such adaptation occurs in episode 11, “Highway to Hades”, which presents a modified version of Sisyphus’ attempt to cheat/escape death. Here, the episodes’ narrative introduces additional characters (e.g., Timuron and Daphne) and mixes in elements from the Admetus and Alcestis myth (where the latter agrees to suffer the death of the former) as a means of updating the story.
Furthermore, several episodes include traditional narratives which have been modified in order to provide continuity with previous episodes and characterisations. For example, episode 16, “Let the Games Begin”, has Hercules found the Olympian Games in order to broker peace between the Spartans and Eleans. There is a degree of precedence for this narrative in that Pausanias Periegesis (5.7.6) records that the first (mythical) games were held when a certain Hercules raced his five brothers and crowned the winner with an olive branch. But, it should be noted this was a different figure to the ‘heroic’ Hercules (i.e., the son of Amphitryon upon whom the Hercules of this franchise is based). According to Pausanias (5.8.3), the hero Hercules did hold an Olympian Games but this was after the conquest of Elis, rather than in order to broker a treaty. This stated, the melding of these two figures into a single narrative fits the serial’s characterisation of Hercules as a champion of the people (on whose behalf he achieves peace). Likewise, episode 17, “The Apple”, is a modified version of “the judgment of Paris” from the Trojan Cycle, expect in the serial it is Iolaus rather than Paris who determines which of Aphrodite, Athena and Artemis is the most beautiful goddess. Furthermore, it is notable that Hera is traditionally the third goddess in this trio, but her role as the primary antagonist of the serial requires her to be substituted with another, Artemis.
In addition, episode 14 (“Once a Hero”) takes a known narrative from antiquity – i.e., Jason and Medea – and ‘fills in the gaps’ left by traditional tellings of this tale (e.g., Euripides’ Medea) and asks the question ‘what happened next?’ Thus, the audience is presented with a characterisation of the King of Argos following on from the murdering of his children by Medea. Jason is here characterised as a drunk, powerless and mad king, who continually mourns the death of his children and is plagued by demons. It falls to Hercules to reunite the Argonauts, in honour of the tenth anniversary of their quest for the Golden Fleece, and to track down the fleece (which has been stolen) in order to restore Jason to his kingly stature and reveal the villainous source of Jason’s troubling visions.
This presentation of Jason’s persona is a paragon for much of the characterisation in season 2, particularly those figures who are introduced here to audiences for the first time. While such characters have ancient counterparts, their characterisation is more anachronistic than ancient. Autolycus is prime example of such adaptation. Autolycus is introduced in episode 1 of season 2 as the titular “King of Thieves”: a thief with a heart of gold who, in later seasons, accompanies Hercules on his adventures (e.g.: s. 3, e. 19; s. 4, e. 1, 12, 16, 17, 18 etc). On the one hand, this characterisation largely matches Autolycus’ presentation within Hercules’ mythology: e.g., Apollodorus (2.6.6) confirms that Autolycus and Hercules knew each other, with the former having taught the latter how to wrestle, and also that Autolycus caused trouble for Hercules who was punished for Autolycus’ crime of stealing the cattle of Eurytus (in the serial, it is Iolaus who is framed for Autolycus’ crime – s. 2, e.1). Yet, the franchises’ characterisation of Autolycus clearly relies far more upon non-mythical influences. Most notable, Autolycus is dressed in a Robin Hood style costume (i.e., green tunics and tights) and his title, the “King of Thieves”, may be a reference to the 1991 Robin Hood film of this name (starring Kevin Costner). Further, Autolycus’ good-hearted nature and his strict adherence to a heroic code, despite being a thief, are in many ways similar to Robin Hood’s traditional characterisation. An alternative source for this version of Autolycus may be found in the character of the same name in Shakespeare’s The Winter’s Tale whose comedic presentation befits the campy nature of Hercules: the Legendary Journeys.
Finally, it should be noted that another, highly significant, example of anachronistic influences derived from film and television occurs in episode 14, “Once a Hero”. In this episode, skeleton soldiers emerge from sown dragons’ teeth. This is a clear nod to the coinage of this trope in Jason and the Argonauts (1963), made famous by the special effects of Ray Harryhausen.
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