Separated from his family on a visit to the Soviet Union and taken to jail for minor violations, Psalty finds comfort in a remembered Bible verse.

Psalty and his family go to Australia to see where God's creativity worked overtime in creating an underground opal field and such animals as the kangaroo and platypus.

Psalty and his family grow spiritually when they take a cruise in the South Pacific and are stranded on an island.

After she wins $10,000 and an African safari on a game show, Melody sees firsthand the extreme need in Africa and decides to donate her cash to the missionary work being done there.

For more than seven decades the circuses enjoyed tremendous popularity in the Soviet Union. How did the circus—an institution that dethroned figures of authority and refused any orderly narrative structure—become such a cultural mainstay in a state known for blunt and didactic messages? Miriam Neirick argues that the variety, flexibility, and indeterminacy of the modern circus accounted for its appeal not only to diverse viewers but also to the Soviet state. In a society where government-legitimating myths underwent periodic revision, the circus proved a supple medium of communication. Between 1919 and 1991, it variously displayed the triumph of the Bolshevik revolution, the beauty of the new Soviet man and woman, the vulnerability of the enemy during World War II, the prosperity of the postwar Soviet household, and the Soviet mission of international peace—all while entertaining the public with the acrobats, elephants, and clowns. With its unique ability to meet and reconcile the demands of both state and society, the Soviet circus became the unlikely darling of Soviet culture and an entertainment whose usefulness and popularity stemmed from its ambiguity.