With the impending end of hostilities in the final months of
World War II, utility companies began to prepare for a return to a consumer-driven economy, and to respond to 15 years of pent-up demand for new household appliances. Demand for electric power jumped 14 per cent between 1946 and 1947 alone. An important driver was that, even as demand for electrical energy increased, the cost of energy continued to decline. When Reddy was created in the mid-1920s, a kilowatt-hour cost 55 cents (in constant 1992 dollars). By 1947, it had fallen to 19 cents, and it would continue to fall over the ensuing two decades. Ashton Collins saw that Reddy Kilowatt could play an important role in promoting electrical use in a period of post-war prosperity, but recognized a need to refine the character's image. As early as 1943, Collins approached the prominent American animator
Walt Disney in a bid to adapt Reddy for film. The studio was heavily involved in producing films for the U.S. military at the time and the project did not proceed. Two years later, Collins approached another noted animator,
Walter Lantz, with the idea of starring Reddy on the big screen. Lantz, whose characters like
Woody Woodpecker and
Andy Panda were well known to theatre-goers of the period, agreed, releasing the
short film Reddy Made Magic in March 1946. Lantz and Collins shared producing credits on the film, which was directed by
Dick Lundy, a former Disney animator. The screenplay, by
Ben Hardaway and Milt Schaffer, featured the story of the creation of electricity as told by Reddy Kilowatt. In conjunction with the film version of
Reddy Made Magic,
Educational Comics produced a companion comic book with a cover price of five cents and the subtitle
The amazing true story of electricity. Reddy's movie voice was provided by
Walter Tetley, the prolific
voiceover actor whose talents were in demand by producers needing a high-pitched, adolescent sound. Tetley's credits included the voice of Sherman, sidekick of
Jay Ward’s canine genius
Mr. Peabody. By the end of the '60s, it's estimated that the number of RKI licensees totalled about 300 worldwide. Throughout this period, RKI was a prolific producer of promotional materials and incentives, broadly distributed by licensees. Trinkets ranging from men's and women's jewellery, writing instruments and lighters, to oven mitts, aprons and playing cards, featured Reddy Kilowatt's consistently smiling face. Collins’ prime objective remained unchanged: to provide a human, accessible face to the business of energy generation. The theme is evident in RKI art from the time: a winded Reddy running uphill to demonstrate the stress of rising costs; Reddy in hunting togs warning shooters away from power lines; a smiling Reddy framing a power bill as his “wages”. RKI continued to advance Collins' pro-capitalist ideology. The company encouraged licensees to spread this message to young people. Beginning in the late 1940s, utilities began to sponsor “Reddy Kilowatt Youth Clubs”, incorporating educational activities with capitalist messages. A singing and dancing Reddy Kilowatt was featured in an animated show called “Holiday with Light” in the Tower of Light exhibit at the 1965 New York World's Fair (together with a lightbulb-shaped
Benjamin Franklin). In 1962, Collins turned the presidency of RKI over to son Ashton B. Collins Jr. (1932–2014), although the senior Collins remained chairman of RKI until his death in 1972. Much of the day-to-day work of RKI was led by the company's corporate secretary, Louise M. Bender (1917–2005). Ray Crosby served as the company's art director from 1934 to 1964. ==Decline==