Imagine turning a simple bedtime story into a global phenomenon. That’s exactly what Mike Young did—and in the process, he redefined what it means to be a creator.
Mike didn’t wait for Hollywood to knock on his door. Instead, he crafted his own path, starting with Super Ted, a character born from bedtime stories in his Welsh home. When the world said only big studios could make it, Mike showed them otherwise by creating a high-quality series that became the first show Disney ever purchased from an outside company.
His story isn’t just about animation; it’s about empowerment.
If you’ve ever felt like your dreams were out of reach, Mike Young’s story will inspire you to think again. Keep reading to learn how he’s using his legacy to encourage a new generation of creators to take control, innovate, and prove that the best stories can come from anywhere.
For those unfamiliar, can you share a bit about your background and journey into animation?
Of course! I’m originally from Wales, and one thing I always tell Americans—never call a Welshman English unless you’re ready for a punch in the face! Back in Wales, I started with a character called SuperTed. It began as bedtime stories for my stepson Richard, who was afraid of the dark. I tied a tea towel around a teddy bear’s neck and made up stories about Super Ted, who whispered a magic word to overcome his fears.
Eventually, those stories became a series of books, and SuperTed grew from there. When the Welsh TV network S4C was looking for programming in Welsh, they approached me about turning SuperTed into a show. That’s how I got into animation—completely by accident, really.
How did you transition from a regional production in Wales to working with Hollywood giants like Disney and Hanna-Barbera?
Super Ted was made entirely in Wales. We didn’t know much about animation, so we just copied Disney’s techniques to create a higher-quality product than the limited Saturday morning cartoons of the 1980s. That effort paid off—SuperTed became the first show Disney ever bought from an outside company, airing on their fledgling Disney Channel and sold on VHS tapes.
Later, Hanna-Barbera approached us for The Further Adventures of Super Ted, which was produced in the U.S. Moving to Hollywood became necessary because, at the time, American studios wouldn’t take pitches from foreign companies. They needed you to be local, so we set up Mike Young Productions in Los Angeles. From there, we worked in the early days on projects like Once Upon a Forest, Little Dracula, The Secret Garden, The Little Engine That Could, Care Bears, Zhu Pets, Bratz, Clifford the Big Red Dog.
Your work spans decades and includes iconic brands like He-Man and Strawberry Shortcake. How do you keep evolving with the industry?
It’s all about adapting and embracing change. When I started, we were drawing by hand on paper. Now, we’re using cutting-edge CGI and even experimenting with AI. For example, we recently worked on a project where we used AI to age real-life sports stars down to nine years old for a kids’ series.
The key is originality. In this industry, sequels and reboots dominate, but you need fresh ideas. Where’s the next Bluey, Ninja Turtles, or Power Rangers and many other original and uber-successful shows going to come from? Those groundbreaking shows didn’t come from big studios—they started with independent creators.
Speaking of originality, what advice would you give to aspiring animators or creators?
First, develop your idea fully. Don’t just walk into a pitch with a one-line concept. Create detailed character designs, a strong overview, and storylines that show the potential of your series. If you can write a script, even better.
Second, embrace technology but use it responsibly. AI can be a great tool for kickstarting ideas or enhancing visuals, but originality must always come first.
Finally, understand the market. Platforms like YouTube, TikTok, and social media have democratized content creation. You don’t need Hollywood’s permission anymore. If your content resonates, you can build an audience online and then approach studios with real leverage.
You’ve seen animation evolve from pen and paper to CGI and virtual production. What do you think the future holds for kids’ entertainment?
We’re in a golden age of possibilities. Creators can produce content from anywhere in the world and reach global audiences instantly. The challenge is cutting through the noise. Original ideas that resonate with kids will always have a place.
I also think there’s an untapped potential in slower rollouts. In the binge-watch era, shows often disappear from kids’ lives too quickly. Long-term engagement, like weekly releases, helps build loyalty and drive merchandising—something streaming platforms are still figuring out.
We have worked with some fantastic talent over the years, Mel Brooks for instance on Jakers the Adventures of Piggley Winks, ( which won a British Academy Award and six Emmys) Mariah Carey on All I Want For Christmas is You, Eddie Izzard on Rock Dog, Rob Schneider on Norm of the North and I could not fail to mention my dearly departed cousin Victor Spinetti who played Texas Pete as well as basically casting the show with incredible British voices when I was still very wet behind the producing ears.
With platforms like Kabillion, you’ve also moved into digital distribution. How does that fit into your vision for the future?
Kabillion was a natural progression. We saw the potential for ad-supported digital platforms and built a library of shows like Chloe’s Closet and Woody Woodpecker. Now we’re available on Roku, Amazon Fire, and Apple TV, with plans to expand internationally.
The world is your stage now. Whether you’re an independent creator or a studio executive, the tools are there to bypass traditional barriers. It’s an exciting time to be in this industry.
Mike Young’s journey from a small Welsh village to Hollywood is a testament to the power of creativity and adaptability. As he continues to champion originality and innovation, his work reminds us that the best stories come from unexpected places—and sometimes, all it takes is a tea towel and a bedtime story.
