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A writer's life during the golden age of television

I’m Jack Olesker, creator, writer, producer and director of more than twelve hundred episodes of television, eighteen motion pictures and seven published novels. I've written and created many animated series during The Golden Age of Television Animation including Care Bears, M.A.S.K., Heroes on Hot Wheels, The New Adventures of He-man, The Super Mario Bros. Super Show, Hello Kitty’s Furry Tale Theater, Popples, my co-creation of Mighty Morphin Power Rangers and many more.

It’s been my joy to have entertained countless millions of viewers who were young fans and stayed fans as they grew up and introduced their own children to many of my series continuing to air worldwide.

And now, through my A Writer’s Life…During the Golden Age of Television Animation blog, I’m going to take all of you on an amazing journey back to those shining years of animated television series. It’s a real-life journey that has everything – history, action, adventure, cliffhangers, comedy and drama, suspense, devastating disappointments and tremendous triumphs.

We who labor – and labored -- in the animation industry are forever indebted to you for being fans. So my A Writer’s Life…During the Golden Age of Television Animation blog is a labor of love dedicated to you. It’s my way of saying “Thank-you.” I promise it will be a fascinating journey.

Let’s go on it together!

- JACK OLESKER

Updated: Dec 13, 2022

Whether you were meeting him in DIC’s conference room or his executive office, Andy Heyward dominated the room with an understated elegance and elan. He was so smooth you’d swear you heard a silky Barry White torch song playing softly in the background.


That’s how I felt when I walked into his contemporary office at DIC’s studios. Andy wore a perfectly tailored size 40 gray business suit with burgundy-framed eyeglasses that matched his burgundy tie. He smiled, motioned to a chair and gauged me as I sat. He complimented me on my first two scripts for The Littles, although I doubted he’d read them. In fairness, I thought he was much too involved with really important matters to have the time to read a new writer’s scripts.


He moved the meeting quickly along. I knew how I handled things in the next half-hour was going to have a major impact on my career path, so out of the blue I shifted the conversation and blurted, “How do you get all those eyeglasses to always match the colors of your ties?” It was one of the few times I ever saw Andy caught off guard. As if against his will, his battle armor momentarily lowered, he broke into a grin and let out a genuine laugh.



When he caught his breath, he grinned, leaned forward conspiratorially and shared, “I buy them as sunglasses for a buck a pair at Venice Beach, pop out the lenses and put clear ones into the frames.”


I’d bonded with the shark.



I was getting known at DIC Entertainment. I’d begun what would be a decades-long business relationship that would grow into a wonderful friendship with Lori Crawford, DIC’s Director of Creative Affairs. We hit it off from the start because we had similar personalities, the same relentless work ethic and the same sense

of humor – scathing and able to both dish it out and take it.


Jean was my mentor, but Lori was my Insider. She showed me the ropes, explained who was who, what was what and gave me the lay of the land. Naturally, Lori knew Jeffrey Scott well. After all, Jeffrey’d written an entire season of episodes for The Littles. She gushed as she told me Jeffrey was Jean’s go-to writer…and Lori didn’t ordinarily gush.


Because of his huge output, there was a rumor Jeffrey had a cadre of writers who would knock out scripts that he’d put his name on. Because I, too, wrote at a furious pace, I realized the rumor was absurd and likely fueled by jealousy.


Over time I figured out Andy Heyward, President and CEO of DIC, ran the business end of the studio, Jean preferring to concentrate on creative matters. Andy definitely had a presence. Stylish, always wearing business suits and horn-rimmed eyeglasses with vibrantly colored frames that matched his vibrantly colored ties, Andy was engaging, cordial and closely related to Great White sharks. (That’s a compliment.) He was – and still is -- one of the sharpest businessmen I’d ever meet.


So when Lori called one day to say Andy Heyward wanted to see me, I knew things were picking up.

1984 was a good year for this writer who was enjoying A Writer’s Life…During The Golden Age of Television Animation. My first episode of television -- “The Forest Littles” Episode 3 of Season 2 of The Littles had aired. It was definitely cool to see my name right under the episode’s title on the TV screen.


Jean still maintained his professorial aura when talking about writing for television. But it was increasingly apparent to me that he knew his stuff.


I must have been doing something right because the studio assigned me two more scripts for The Littles. I was being paid $1,500 for a half-hour script. That may not sound like a lot, but adjusted for inflation it would come out to about $4,500 in 2022 dollars. Not enough for me to retire to the South of France, but I’d earned just $350 a week as an Associate Editor at Entrepreneur Magazine, so it was a nice hit. Still, I knew that to live off my writing I’d have to write a lot more than two or three episodes of The Littles each season.

Jean was teaching me more and more. “You can’t use TILT DOWN AERIAL SHOTS in animation because you’d have to animate every creature on the ground.” “Don’t ever have a tiger in a script again. You can’t animate the stripes!” (And back then you couldn’t.) I was learning. But while everything seemed to go fast in the beginning, now it felt like I was slogging through mud. I wanted it to go faster.


Then two things happened that changed everything.

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