Destin Glass Bottom Boat tour
Glass Bottom Boat tour July 22, 2014
Dolphins of Destin, Florida Sailing Tour
Pod of dolphins playing by the sailboat. Beautiful day today!
Happy Dolphins sailing with Catamaran Oviri
Dolphins racing with Catamaran Oviri at Port everglades
Fort Lauderdale
Florida
Jet Ski Rentals in Destin%2C Florida FL
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Q&A with Destin - Smarter Every Day 148
Answering questions I've been asked for many years!
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Ambiance and musicy things by: Gordon McGladdery did the outro music the video.
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A balancing act is underway to meet the needs of beachgoers, wildlife, and the military along a 20-m
A balancing act is underway to meet the needs of beachgoers, wildlife, and the military along a 20-mile swath of prime coastal real estate that's been under the control of Eglin Air Force Base in Florida since before World War II.
Tourists have occasional encounters with military police armed with AR 15 assault rifles. Military police keep a watchful eye on the area and have been known to run off private vendors who rent jet skis or paddle boards without permission.
The military recently booted a helicopter tour company that was operating off a floating platform with a ramp that connected it to the military-owned beach property. Parasailing tourists and advertising planes flying banners for all-you-can-eat crab legs, can be seen above fenced-off sections of military beach with signs warning the public to stay away. Military officials say this is why the bulk of their activity takes place on the more-remote swaths of military-owned beach, which are rarely accessed by the public.
The miles of glistening white sand beaches provide an important training and testing site for all branches of the military - from special forces practicing amphibious landings and invasion tactics to stealth fighter jets testing advanced weapons and guidance systems.
Eglin's beach is popular not just with tourists, but with wildlife and archaeologists. Nesting shore birds, sea turtles and beach mice have forced changes in military planning missions. Archaeological artifacts including Native American sites and old shipwrecks are also a consideration before training exercises are approved.
Kathy Gault, a biologist who helps maintain threatened species at Eglin, said that a smooth, graded helicopter landing zone installed last year proved a popular site with least terns, which built nests and laid eggs. Gault had to tell military officials they couldn't use the landing zone until the terns are done nesting. We have quite a few, not just birds, but all sorts of different species that live on this beach, she said.
Test range manager Glenn Barndollar said meetings between the military, local politicians and businesses can sometimes be complicated but it is worth the effort because the beach is such a good training and testing site. It allows the military to practice and test over land, in the Gulf and in the bay, he said.
We do surface launch of missiles, we test with various seeker and sensor systems, lasers, radar systems. Not exclusively, but largely out here because of the environment, the costal environment, we do a lot of it over water with boats on the water or aircraft over water.
The beach test range includes a 300-foot tower, which military officials use to monitor an enormous area of the Gulf of Mexico.
Despite the picturesque setting of the military beach, Barndollar jokes that the soldiers, sailors, airmen and Marines aren't there to enjoy calm turquoise waves or breathtaking sunsets.
They are focused on the missions, he said with a smile.
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Suspense: 'Til the Day I Die / Statement of Employee Henry Wilson / Three Times Murder
The aim for thrillers is to keep the audience alert and on the edge of their seats. The protagonist in these films is set against a problem -- an escape, a mission, or a mystery. No matter what sub-genre a thriller film falls into, it will emphasize the danger that the protagonist faces. The tension with the main problem is built on throughout the film and leads to a highly stressful climax. The cover-up of important information from the viewer, and fight and chase scenes are common methods in all of the thriller subgenres, although each subgenre has its own unique characteristics and methods.[8]
A thriller provides the sudden rush of emotions, excitement, sense of suspense and exhilaration that drive the narrative, sometimes subtly with peaks and lulls, sometimes at a constant, breakneck pace thrills. In this genre, the objective is to deliver a story with sustained tension, surprise, and a constant sense of impending doom. It keeps the audience cliff-hanging at the edge of their seats as the plot builds towards a climax. Thrillers tend to be fast-moving, psychological, threatening, mysterious and at times involve larger-scale villainy such as espionage, terrorism and conspiracy.
Thrillers may be defined by the primary mood that they elicit: fearful excitement. In short, if it thrills, it is a thriller. As the introduction to a major anthology explains:
...Thrillers provide such a rich literary feast. There are all kinds. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. The list goes on and on, with new variations constantly being invented. In fact, this openness to expansion is one of the genre's most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. By definition, if a thriller doesn't thrill, it's not doing its job.
—James Patterson, June 2006, Introduction, Thriller[9]
Writer Vladimir Nabokov, in his lectures at Cornell University, said: In an Anglo-Saxon thriller, the villain is generally punished, and the strong silent man generally wins the weak babbling girl, but there is no governmental law in Western countries to ban a story that does not comply with a fond tradition, so that we always hope that the wicked but romantic fellow will escape scot-free and the good but dull chap will be finally snubbed by the moody heroine.
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Young Love: The Dean Gets Married / Jimmy and Janet Get Jobs / Maudine the Beauty Queen
Janet Waldo (born February 4, 1924) is an American actress and voice artist with a career encompassing radio, television, animation and live-action films. She is best known in animation for voicing Judy Jetson, Penelope Pitstop and Josie McCoy in Josie and the Pussycats. She was equally famed for radio's Meet Corliss Archer, a title role with which she was so identified that she was drawn into the comic book adaptation.
Waldo appeared in several dozen films in uncredited bit parts and small roles, although she was the leading lady in three Westerns, two of them starring Tim Holt. Her big break came in radio with a part on Cecil B. DeMille's Lux Radio Theater. In her radio career, she lent her voice to many programs, including Edward G. Robinson's Big Town, The Eddie Bracken Show, Favorite Story, Four-Star Playhouse, The Gallant Heart, One Man's Family, Sears Radio Theater and Stars over Hollywood. She co-starred with Jimmy Lydon in the CBS situation comedy Young Love (1949--50), and she had recurring roles on The Adventures of Ozzie and Harriet (as teenager Emmy Lou), The Red Skelton Show and People Are Funny.
However, it was her eight-year run starring as teenager Corliss Archer on CBS's Meet Corliss Archer that left a lasting impression, even though Shirley Temple starred in the film adaptations, Kiss and Tell and A Kiss for Corliss. The radio program was the CBS answer to NBC's popular A Date with Judy. Despite the long run of Meet Corliss Archer, less than 24 episodes are known to exist. Waldo later turned down the offer to portray Corliss in a television adaptation.
In 1948 the Meet Corliss Archer comic book, using Waldo's likeness, published by Fox Feature Syndicate, appeared for a run of three issues from March to July 1948, using the original scripts. The same year, Waldo married playwright Robert Edwin Lee, the writing partner of Jerome Lawrence. The couple had two children, and remained married until his death in 1994.
Waldo made a rare on-screen television appearance when she appeared as Peggy, a teen smitten with Ricky Ricardo on a 1952 episode of I Love Lucy titled The Young Fans with Richard Crenna. Ten years later, Waldo again worked with Lucille Ball, this time playing Lucy Carmichael's sister, Marge, on The Lucy Show. That episode, Lucy's Sister Pays A Visit also featured actor Peter Marshall. She also appeared on an episode of The Andy Griffith Show as Amanda. In addition, Waldo reprised the role of Emmy Lou for some early TV episodes of The Adventures of Ozzie and Harriet. Later, she was the female lead opposite Anthony Franciosa in the short-lived sitcom Valentine's Day (1964).
Shirley Mitchell (born November 4, 1919) is an American film and television actress.
After moving to Chicago, she appeared in the network broadcast of The First Nighter and played small parts in various soap operas including The Story of Mary Marlin and The Road of Life. After moving to Los Angeles, she played opposite Joan Davis in The Sealtest Village Store. She also starred as Louella in The Life of Riley and joined the cast of Fibber McGee and Molly as Alice Darling in 1943. Her most prominent radio role was that of the charismatic Southern belle Leila Ransom on The Great Gildersleeve radio show beginning in September 1942. In 1953, Shirley joined the cast of I Love Lucy playing the part of Lucy Ricardo's friend Marion Strong. As of 2012, she is the only recurring adult cast member still living following the deaths of Doris Singleton in 2012 and Peggy Rea in 2011. In 1962, she played Mrs. Colton on the CBS-TV comedy series Pete and Gladys, and between 1965--1967, she appeared as neighbor Marge Thornton on NBC-TVs Please Don't Eat the Daisies. In the same year she appeared in Episode 13, Season 2 of The Dick Van Dyke Show when she played Shirley Rogers opposite Bob Crane as Harry Rogers in Somebody Has to Play Cleopatra. In 1963, she appeared on the television program The Beverly Hillbillies as Opal Clampett (the wife of Jake Clampett, an out-of-work actor). In 1966, she appeared in Green Acres as a nurse and as Oliver's old friend Wanda. Between 1967 and 1968, she portrayed Kate Bradley's cousin Mae Belle Jennings on Petticoat Junction. In 1968, she appeared in the Season 1 finale of The Doris Day Show as Mrs. Loomis, a woman who accuses Billy of stealing $5.00 from her purse after she dropped it.
In 1972, she was the voice of Laurie Holiday on the Hanna-Barbera cartoon series, The Roman Holidays.
In 1994, Mitchell voiced the Sneetches, cousins, Thidwick's mother and Sue the Second Fish in Storybook Weaver and later in 2004, deluxe version in Storybook Weaver Deluxe.
In 2012, she voiced her guest star as Betty White in MAD episode, Betty White & the Huntsman / Ancient Greek Mythbusters.
Suspense: 100 in the Dark / Lord of the Witch Doctors / Devil in the Summer House
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, Backseat Driver, which originally aired February 3, 1949.
The highest production values enhanced Suspense, and many of the shows retain their power to grip and entertain. At the time he took over Suspense, Lewis was familiar to radio fans for playing Frankie Remley, the wastrel guitar-playing sidekick to Phil Harris in The Phil Harris-Alice Faye Show. On the May 10, 1951 Suspense, Lewis reversed the roles with Death on My Hands: A bandleader (Harris) is horrified when an autograph-seeking fan accidentally shoots herself and dies in his hotel room, and a vocalist (Faye) tries to help him as the townfolk call for vigilante justice against him.
With the rise of television and the departures of Lewis and Autolite, subsequent producers (Antony Ellis, William N. Robson and others) struggled to maintain the series despite shrinking budgets, the availability of fewer name actors, and listenership decline. To save money, the program frequently used scripts first broadcast by another noteworthy CBS anthology, Escape. In addition to these tales of exotic adventure, Suspense expanded its repertoire to include more science fiction and supernatural content. By the end of its run, the series was remaking scripts from the long-canceled program The Mysterious Traveler. A time travel tale like Robert Arthur's The Man Who Went Back to Save Lincoln or a thriller about a death ray-wielding mad scientist would alternate with more run-of-the-mill crime dramas.
Words at War: Eighty-Three Days: The Survival Of Seaman Izzi / Paris Underground / Shortcut to Tokyo
The French Résistance has had a great influence on literature, particularly in France. A famous example is the poem Strophes pour se souvenir, which was written by the communist academic Louis Aragon in 1955 to commemorate the heroism of the Manouchian Group, whose 23 members were shot by the Nazis.
The Résistance is also portrayed in Jean Renoir's wartime This Land is Mine (1943), which was produced in the USA.
In the immediate post-war years, French cinema produced a number of films that portrayed a France broadly present in the Résistance.[188][189] The 1946 La Bataille du rail depicted the courageous efforts of French railway workers to sabotage German reinforcement trains,[190] and in the same year Le Père tranquille told the story of a quiet insurance agent secretly involved in the bombing of a factory.[190] Collaborators were hatefully presented as a rare minority, as played by Pierre Brewer in Jéricho (1946) or Serge Reggiani in Les Portes de la nuit (1946), and movements such as the Milice were rarely evoked.
In the 1950s, a less heroic interpretation of the Résistance to the occupation gradually began to emerge.[190] In Claude Autant-Lara's La Traversée de Paris (1956), the portrayal of the city's black market and general mediocrity revealed the reality of war-profiteering during the occupation.[191] In the same year, Robert Bresson presented A Man Escaped, in which an imprisoned Résistance activist works with a reformed collaborator inmate to escape.[192] A cautious reappearance of the image of Vichy emerged in Le Passage du Rhin (1960), in which a crowd successively acclaim both Pétain and de Gaulle.[193]
After General de Gaulle's return to power in 1958, the portrayal of the Résistance returned to its earlier résistancialisme. In this manner, in Is Paris Burning? (1966), the role of the resistant was revalued according to [de Gaulle's] political trajectory.[194] The comic form of films such as La Grande Vadrouille (1966) widened the image of Résistance heroes to average Frenchmen.[195] The most famous and critically acclaimed of all the résistancialisme movies is Army of Shadows (L'Armee des ombres), which was made by the French film-maker Jean-Pierre Melville in 1969. The film was inspired by Joseph Kessel's 1943 book, as well as Melville's own experiences, as he had fought in the Résistance and participated in Operation Dragoon. A 1995 television screening of L'Armee des ombres described it as the best film made about the fighters of the shadows, those anti-heroes.[196]
The shattering of France's résistancialisme following the events of May 1968 emerged particularly clearly in French cinema. The candid approach of the 1971 documentary The Sorrow and the Pity pointed the finger on anti-Semitism in France and disputed the official Résistance ideals.[197][198] Time magazine's positive review of the film wrote that director Marcel Ophüls tries to puncture the bourgeois myth—or protectively askew memory—that allows France generally to act as if hardly any Frenchmen collaborated with the Germans.[199]
Franck Cassenti, with L'Affiche Rouge (1976); Gilson, with La Brigade (1975); and Mosco with the documentary Des terroristes à la retraite addressed foreign resisters of the EGO, who were then relatively unknown. In 1974, Louis Malle's Lacombe, Lucien caused scandal and polemic because of his absence of moral judgment with regard to the behavior of a collaborator.[200] Malle later portrayed the resistance of Catholic priests who protected Jewish children in his 1987 film Au revoir, les enfants. François Truffaut's 1980 film Le Dernier Métro was set during the German occupation of Paris and won ten Césars for its story of a theatre production taking place while its Jewish director is concealed by his wife in the theatre's basement.[201] The 1980s began to portray the resistance of working women, as in Blanche et Marie (1984).[202] Later, Jacques Audiard's Un héros très discret (1996) told the story of a young man's traveling to Paris and manufacturing a Résistance past for himself, suggesting that many heroes of the Résistance were imposters.[203][204] In 1997, Claude Berri produced the biopic Lucie Aubrac based on the life of the Résistance heroine of the same name, which was criticized for its Gaullist portrayal of the Résistance and over-emphasis on the relationship between Aubrac and her husband.[205]
In the 2011 video game Call of Duty: Modern Warfare 3, in which a hypothetical World War III is depicted, a French resistance movement is formed to act against Russian occupation. The playable characters of many factions in-game receive assistance from this Resistance . This is in line with previous, World War II-based Call of Duty games, which often featured involvement with the Resistance of that era.
[MultiSub] The Adventures of Sherlock Holmes: Adventure 5 “The Five Orange Pips”
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Source: Doyle, A.C. (1892) The Adventures of Sherlock Holmes London, England: George Newnes Ltd.
A Pride of Carrots - Venus Well-Served / The Oedipus Story / Roughing It
Oedipus (US pron.: /ˈɛdɨpəs/ or UK /ˈiːdɨpəs/; Ancient Greek: Οἰδίπους Oidípous meaning swollen foot) was a mythical Greek king of Thebes. A tragic hero in Greek mythology, Oedipus fulfilled a prophecy that said he would kill his father and marry his mother, and thereby brought disaster on his city and family. The story of Oedipus is the subject of Sophocles's tragedy Oedipus the King, which was followed by Oedipus at Colonus and then Antigone. Together, these plays make up Sophocles's three Theban plays. Oedipus represents two enduring themes of Greek myth and drama: the flawed nature of humanity and an individual's powerlessness against the course of destiny in a harsh universe.
Oedipus was born to King Laius and Queen Jocasta. In the most well-known version of the myth, Laius wished to thwart a prophecy saying that his child would grow up to murder his father and marry his mother. Thus, he fastened the infant's feet together with a large pin and left him to die on a mountainside. The baby was found on Kithairon by shepherds and raised by King Polybus and Queen Merope in the city of Corinth. Oedipus learned from the oracle at Delphi of the prophecy, but believing he was fated to murder Polybus and marry Merope he left Corinth. Heading to Thebes, Oedipus met an older man in a chariot coming the other way on a narrow road. The two quarreled over who should give way, which resulted in Oedipus killing the stranger and continuing on to Thebes. He found that the king of the city (Laius) had been recently killed and that the city was at the mercy of the Sphinx. Oedipus answered the monster's riddle correctly, defeating it and winning the throne of the dead king and the hand in marriage of the king's widow, Jocasta.
Oedipus and Jocasta had two sons (Eteocles and Polynices) and two daughters (Antigone and Ismene). In his search to figure out who killed Laius (and thus end a plague on Thebes), Oedipus discovered it was he who had killed the late king - his father. Jocasta also soon realized that she had married her own son and Laius's murderer, and she hanged herself. Oedipus seized a pin from her dress and blinded himself with it. Oedipus was driven into exile, accompanied by Antigone and Ismene. After years of wandering, he arrived in Athens, where he found refuge in a grove of trees called Colonus. By this time, warring factions in Thebes wished him to return to that city, believing that his body would bring it luck. However, Oedipus died at Colonus, and the presence of his grave there was said to bring good fortune to Athens.
The legend of Oedipus has been retold in many versions, and was used by Sigmund Freud as the namesake of the Oedipus complex.
The Great Gildersleeve: Leila Leaves Town / Gildy Investigates Retirement / Gildy Needs a Raise
Aiding and abetting the periodically frantic life in the Gildersleeve home was family cook and housekeeper Birdie Lee Coggins (Lillian Randolph). Although in the first season, under writer Levinson, Birdie was often portrayed as saliently less than bright, she slowly developed as the real brains and caretaker of the household under writers John Whedon, Sam Moore and Andy White. In many of the later episodes Gildersleeve has to acknowledge Birdie's commonsense approach to some of his predicaments. By the early 1950s, Birdie was heavily depended on by the rest of the family in fulfilling many of the functions of the household matriarch, whether it be giving sound advice to an adolescent Leroy or tending Marjorie's children.
By the late 1940s, Marjorie slowly matures to a young woman of marrying age. During the 9th season (September 1949-June 1950) Marjorie meets and marries (May 10) Walter Bronco Thompson (Richard Crenna), star football player at the local college. The event was popular enough that Look devoted five pages in its May 23, 1950 issue to the wedding. After living in the same household for a few years with their twin babies Ronnie and Linda, the newlyweds move next door to keep the expanding Gildersleeve clan close together.
Leroy, aged 10--11 during most of the 1940s, is the all-American boy who grudgingly practices his piano lessons, gets bad report cards, fights with his friends and cannot remember to not slam the door. Although he is loyal to his Uncle Mort, he is always the first to deflate his ego with a well-placed Ha!!! or What a character! Beginning in the Spring of 1949, he finds himself in junior high and is at last allowed to grow up, establishing relationships with the girls in the Bullard home across the street. From an awkward adolescent who hangs his head, kicks the ground and giggles whenever Brenda Knickerbocker comes near, he transforms himself overnight (November 28, 1951) into a more mature young man when Babs Winthrop (both girls played by Barbara Whiting) approaches him about studying together. From then on, he branches out with interests in driving, playing the drums and dreaming of a musical career.
Our Miss Brooks: Exchanging Gifts / Halloween Party / Elephant Mascot / The Party Line
Our Miss Brooks is an American situation comedy starring Eve Arden as a sardonic high school English teacher. It began as a radio show broadcast from 1948 to 1957. When the show was adapted to television (1952--56), it became one of the medium's earliest hits. In 1956, the sitcom was adapted for big screen in the film of the same name.
Connie (Constance) Brooks (Eve Arden), an English teacher at fictional Madison High School.
Osgood Conklin (Gale Gordon), blustery, gruff, crooked and unsympathetic Madison High principal, a near-constant pain to his faculty and students. (Conklin was played by Joseph Forte in the show's first episode; Gordon succeeded him for the rest of the series' run.) Occasionally Conklin would rig competitions at the school--such as that for prom queen--so that his daughter Harriet would win.
Walter Denton (Richard Crenna, billed at the time as Dick Crenna), a Madison High student, well-intentioned and clumsy, with a nasally high, cracking voice, often driving Miss Brooks (his self-professed favorite teacher) to school in a broken-down jalopy. Miss Brooks' references to her own usually-in-the-shop car became one of the show's running gags.
Philip Boynton (Jeff Chandler on radio, billed sometimes under his birth name Ira Grossel); Robert Rockwell on both radio and television), Madison High biology teacher, the shy and often clueless object of Miss Brooks' affections.
Margaret Davis (Jane Morgan), Miss Brooks' absentminded landlady, whose two trademarks are a cat named Minerva, and a penchant for whipping up exotic and often inedible breakfasts.
Harriet Conklin (Gloria McMillan), Madison High student and daughter of principal Conklin. A sometime love interest for Walter Denton, Harriet was honest and guileless with none of her father's malevolence and dishonesty.
Stretch (Fabian) Snodgrass (Leonard Smith), dull-witted Madison High athletic star and Walter's best friend.
Daisy Enright (Mary Jane Croft), Madison High English teacher, and a scheming professional and romantic rival to Miss Brooks.
Jacques Monet (Gerald Mohr), a French teacher.
Our Miss Brooks was a hit on radio from the outset; within eight months of its launch as a regular series, the show landed several honors, including four for Eve Arden, who won polls in four individual publications of the time. Arden had actually been the third choice to play the title role. Harry Ackerman, West Coast director of programming, wanted Shirley Booth for the part, but as he told historian Gerald Nachman many years later, he realized Booth was too focused on the underpaid downside of public school teaching at the time to have fun with the role.
Lucille Ball was believed to have been the next choice, but she was already committed to My Favorite Husband and didn't audition. Chairman Bill Paley, who was friendly with Arden, persuaded her to audition for the part. With a slightly rewritten audition script--Osgood Conklin, for example, was originally written as a school board president but was now written as the incoming new Madison principal--Arden agreed to give the newly-revamped show a try.
Produced by Larry Berns and written by director Al Lewis, Our Miss Brooks premiered on July 19, 1948. According to radio critic John Crosby, her lines were very feline in dialogue scenes with principal Conklin and would-be boyfriend Boynton, with sharp, witty comebacks. The interplay between the cast--blustery Conklin, nebbishy Denton, accommodating Harriet, absentminded Mrs. Davis, clueless Boynton, scheming Miss Enright--also received positive reviews.
Arden won a radio listeners' poll by Radio Mirror magazine as the top ranking comedienne of 1948-49, receiving her award at the end of an Our Miss Brooks broadcast that March. I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this two years in a row, I get to keep Mr. Boynton, she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year's best radio comedienne.
For its entire radio life, the show was sponsored by Colgate-Palmolive-Peet, promoting Palmolive soap, Lustre Creme shampoo and Toni hair care products. The radio series continued until 1957, a year after its television life ended.