An interactive story for ages 4-10. The Anderson family always loved to travel and experience new adventures. After climbing the Alps, going on Safari and riding elephants in India, they decided to embark on an adventure in outer space. The Andersons had so much fun on planet Luna-Love, they decided to settle there and live happily ever after. Years later, their descendants time travel back to Earth for a visit, but to everyone's surprise, the visitors are as tall as giants. The neighbors are happy to see the giant Andersons, but are worried because they could step on cars and houses, causing problems in the neighborhood. In this joyful tale, the reader is encouraged to help the hosts create solutions so everyone will enjoy the visit. Along the way, the story gives the reader an opportunity to spot his or her gifts and talents. A journal is included to record the activities they like to do, to recognize the talents of others and learn how everyone can work together.

In this persuasive reversal of previous scholarship, Linda Schulte-Sasse takes an unorthodox look at Nazi cinema, examining Nazi films as movies that contain propaganda rather than as propaganda vehicles that happen to be movies. Like other Nazi artistic productions, Nazi film has long been regarded as kitsch rather than art, and therefore unworthy of critical textual analysis. By reading these films as consumer entertainment, Schulte-Sasse reveals the similarities between Nazi commercial film and classical Hollywood cinema and, with this shift in emphasis, demonstrates how Hollywood-style movie formulas frequently compromised Nazi messages. Drawing on theoretical work, particularly that of Lacan and Zizek, Schulte-Sasse shows how films such as Jew Susss and The Great King construct fantasies of social harmony, often through distorted versions of familiar stories from eighteenth-century German literature, history, and philosophy. Schulte-Sasse observes, for example, that Nazi films, with their valorization of bourgeois culture and use of familiar narrative models, display a curious affinity with the world of Enlightenment culture that the politics of National Socialism would seem to contradict. Schulte-Sasse argues that film served National Socialism less because of its ideological homogeneity than because of the appeal and familiarity of its underlying literary paradigms and because the medium itself guarantees a pleasurable illusion of wholeness. Entertaining the Third Reich will be of interest to a wide range of scholars, including those engaged in the study of cinema, popular culture, Nazism and Nazi art, the workings of fascist culture, and the history of modern ideology.