for the play, including the eerie vibration of bed springs, which Joe Bonham learns to recognize as the movement of people entering and exiting his hospital room. Oboler's series was so successful that it attracted the sponsorship of Procter & Gamble. The new series was titled Everyman's Theatre. Everyman's Theatre was essentially Arch Oboler's Plays with commercial sponsorship. The series ran from 1940 to early 1941. Oboler lost patience with the series because of the middle commercial interruption that came during his plays. After the series ended, it took almost a year before Oboler's services were called on again. Plays for Americans After Pearl Harbor, Oboler's anti-Fascist plays – once shunned by corporate radio sponsors – were in demand. Oboler's new series was titled Plays For Americans; its purpose was to "stimulate the American people to the importance of the war effort by indirection rather than by direct appeal." Oboler's Plays For Americans was World War II propaganda in half-hour radio drama form, each story teaching a lesson about wartime responsibility. Oboler's shows for this series were as star-studded as his last series. James Stewart starred in Letter At Midnight, the story of a wealthy young man's conversion from isolationist to soldier. Bette Davis starred in Adolf and Mrs. Runyon, a fantasy-comedy where Hitler finds himself magically transported into the back seat of a car belonging to an irate war bride. The program's life was cut short because of comments that Oboler made at the Radio Institute at Ohio State. Oboler was adamant that World War II propaganda should instill hatred of the enemy in the listener. To some at the institute, it sounded like Oboler was advocating the same kind of racial hatred that the Axis was advocating. Father Edward J. Flanagan rebuked Oboler and remarked that America did not need its own Goebbels. Oboler enlisted the help of Eddie Cantor to get another propaganda series on the air, but Cantor's efforts were of no avail. Lights Out, Part II Oboler generously wrote Plays for Americans for no fee. He decided that in order "to go on writing plays which contained some level of maturity and usefulness, [he] had to find a way to make money quickly...a sponsor was quickly procured to pay me well for a revival of Lights Out". Oboler's new series carried the introduction for which it is best remembered, the sound of chimes behind announcer