They did back when we had industry standards that weren't "Put it out as fast as possible but minus the quality".
We're currently working with Sub-80's animation as the standard practice. All the same insistence on cheapness and speed, but none of the effort or desire to put out a product your kids can watch that you'd be proud of.
Mainly because writers and animators these days are no longer 30-something dads who work themselves to the bone trying to meet deadlines and obey corporate mandates while trying to make time to put a bit of heart and soul into a toy commercial, but childless, lazy 20 to 40 something spergs with bad hair who were given the carte blanche based on the low overhead of their production who have little oversight and who spend more time on twitter than they do sending the shitty storyboards they made in five minutes to Korea and Japan.
The old animators had brutal standards to meet and worked on shows that very few of them wanted to do with, it was a job to them. But they had budgets, oversight, a large and ever growing number of tools and a support network. They didn't care about the thing they animated for themselves, because it wasn't *for* them, so they learned to care, to love it. Not because of what say, Transformers or He-man could mean to them, or shit like that, but what it could mean to their kids, to their nieces and nephews. Or for family long gone at that point. They *made* themselves care and that made them labors of lovel. Ugly, cliche ridden and often crippled, but labors of love.
And really I think that's it. Shows like SU aren't for anybody but the writers. It's something for the writers to jerk themselves off over. They don't have to have standards or put in work, because whatever makes *them* happy is enough, and it's cheap enough that companies will buy it anyway.
The 80's onward may have been "To Sell Toys" but the people actually making the show tried to give it more than that.