And, to make matters worse, the networks dropped their orders by nearly 20% (from 16 episodes to the still current 13); this was caused partially by the network-wide cutbacks brought about by the substantial loss of income from the cessation of cigarette advertising. (Until recently, this was the only time three-network advertising income had ever dropped on a year-to-year basis.) TV animation was in a steady decline; in L.A., year-round work was history, as studios were now in production at most 8 months of the year. And, last but not least, overseas production became a factor for the first time; between 1972 and 1980, below-the-line production jobs migrated overseas with lightning speed: the crafts from Animator on down suffered considerably, with the last Ink & Paint jobs finally disappearing completely in the early '80s (except maybe for Filmation).

Salvation
On Wednesday, November 5, 1980, I had lunch with a network children's programming executive, one of the brightest people I know in this business. In a scene that made me feel like I was Watson to her Holmes ("There's an east wind coming, Watson, and a stronger land will lie in the sunshine when the storm has cleared."), she said something I will never forget: "After yesterday's results [the '80 election], this industry will go through major changes. It will never be the same again." How right she was; I only wonder if she really saw the future we've come to.

Ronnie Reagan probably never gave kids TV a thought while he was in the White House, but what he did led to changes that reverberate still, and most of where we are today can be traced back to those years. In short, the FCC did three things: indirectly loosened the constraints on advertiser-controlled kids TV (and program-length commercials); made it far easier to quickly buy and sell TV stations; and re-balanced the playing field to favor the growth of cable. Now how did each of these affect the relationship between advertisers and animation, or animation in general?

We're Back
The first two combined to start the resurgence in TV animation. Advertisers could now fashion shows to suit their specific needs, and tie them to products without fear of penalty. As stations were traded fast and furious, purchase deals became more and more leveraged, and owners were looking around to find programs that cost little or less. Add these together, and you've got - you guessed it, He-Man and the Masters of the Universe.

Barter syndication, which gave the show free to the station in return for a portion of the advertising time contained within the show, was perfect for the parties at the dance: the advertiser got day-and-date nearly national broadcast of its commercials and product-supporting show; the stations got a free first run show with a few spot slots left open for sale; and the producers got new shows made, as well as the chance to cash in if the product was a hit. Another revolution, and lots of work too - 65 episodes for one single series. That was a single series order which almost equaled the total yearly order for each of the then 3 networks.

Advertisers loved barter syndication, as did stations, syndicators, producers, and animation artists. It took off like a rocket; within a few years, over 10 series (650 episodes) per year were vying for timeslots and kids. For the first time in decades, jobs went begging for artists. The drought of work faded from memory. And kids even seemed to like some of the shows.