. "KOCE-TV" . "KOCE" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db0 . _:genid2de753ce9ab5344294b8f57e661a450dbd2db1 . "https://www.pbssocal.org/" . . _:genid2de753ce9ab5344294b8f57e661a450dbd2db0 . _:genid2de753ce9ab5344294b8f57e661a450dbd2db0 "Costa Mesa" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db0 "CA" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db0 "US" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db0 "92626" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db0 "3080 Bristol St. #100" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db1 . _:genid2de753ce9ab5344294b8f57e661a450dbd2db1 "3.36846105E1"^^ . _:genid2de753ce9ab5344294b8f57e661a450dbd2db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db2 . _:genid2de753ce9ab5344294b8f57e661a450dbd2db2 "Monday" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db2 "Tuesday" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db2 "Wednesday" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db2 "Thursday" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db2 "Friday" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db2 "08:00" . _:genid2de753ce9ab5344294b8f57e661a450dbd2db2 "17:00" . _:genid2df00a28cd93e94da9b4eb09c100c6b6622db0 . _:genid2df00a28cd93e94da9b4eb09c100c6b6622db0 " MAN: AFTER WEEKS OF FURIOUS WHISKING, CARAMELIZING, AND PIPING, WE'VE SEEN THE BAKERS STRUGGLE WITH STRUDEL, DESIGN GINGERBREAD CONSTRUCTIONS, AND BATTLE WITH BISCUITS, PASTRIES, AND DOUGHS. AMAZING. I'M HAPPY. MAN: EACH WEEK, THE BAKERS ARE ASKED TO COMPLETE 3 CHALLENGES, BUT AS ALWAYS, IT IS THE TECHNICAL CHALLENGE THAT SENDS FEAR THROUGHOUT THE TENT... TECHNICAL CHALLENGE. THE JUDGES ARE MAKING THE CHALLENGES HARDER AND HARDER. I MEAN, TO SAY THAT IT WAS A MATTER OF LUCK WOULD UNDERMINE EVERYONE'S EFFORT. IT'S LIKE A RUSSIAN ROULETTE. MAN: DESIGNED TO REVEAL JUST WHO HAS ENOUGH BAKING EXPERIENCE, KNOW-HOW, AND INSTINCT THAT WILL IMPRESS EVEN MARY AND PAUL. MARY'S GONNA SLAP ME IN THE FACE. THE TASTE IS NOT VERY APPEALING. TEXTURE'S THERE, BUT THE LOOK IS TERRIBLE. WOMAN: OH, OH, NO! OH. THERE'S NOTHING I CAN DO. EVERYTHING'S JUST GONE TO POT. THAT TICKS THE BOXES, AS THEY SAY. YOU'VE ABSOLUTELY NAILED THAT. MAN: GETTING STEADILY MORE DIFFICULT, THE JUDGES WERE OUT TO REALLY TEST THE BAKERS. PAUL AND I HAD TO CHOOSE REALLY DIFFICULT BAKES FOR THEM. I KNEW IF I FOUND IT TRICKY, THEY'LL FIND IT VERY TRICKY. MAN: BUT NOW IT'S TIME FOR QUEEN OF CAKES, MARY BERRY, AND PRINCE OF PASTRY, PAUL HOLLYWOOD, TO GET BAKING THEMSELVES. SO, THE TABLES HAVE TURNED. I'VE REALLY GOT TO SHOW THAT I CAN DO IT ABSOLUTELY PERFECTLY, BUT STOPPING AT ALL THE STAGES WHERE EVERYBODY COULD GO WRONG. WE'RE GOING TO BE THERE, TAKING YOU THROUGH THE STEPS OF MAKING EACH OF THE TECHNICAL CHALLENGES. SO, NOBODY'S GOT ANY EXCUSE NOT TO DO IT PERFECTLY AT HOME. MAN: COMING UP, MARY'S QUEEN OF PUDDINGS COMBINES LAYERS OF RICH BAKED CUSTARD AND FRUIT JAM WITH A FROTHY MERINGUE CROWN. PAUL'S DELICIOUSLY TEMPTING RECIPE FOR HOMEMADE DOUGHNUTS BURSTING WITH JAM. A BRITISH CLASSIC, TEACAKES, COMBINING A CRUNCHY BISCUIT AND TOPPED WITH SOFT MERINGUE, ALL UNDER A DOME OF SHINY CHOCOLATE. MARY'S RECIPE FOR A FRAISIER, DELICATE LAYERS OF SPONGE SANDWICHED WITH THE PERFECT CREME PATISSIERE, TOPPED WITH MARZIPAN AND CHOCOLATE. FONDANT FANCIES, THE ULTIMATE SWEET TREAT OF FONDANT ICING, SPONGE, AND MELTED CHOCOLATE. NOW IT'S MY TURN, AND I WILL GO AND PLAY IN THE TENTS. IT'S A LOVELY EXCUSE TO HAVE A GOOD COOKING SESSION. MAN: HALFWAY THROUGH AND THINGS BEGAN TO STEAM UP AS THE BAKERS FACED PUDDINGS. THEY HAD THEIR HANDS FULL AS THEY MADE SPONGE PUDDINGS AND STRUGGLED WITH SHOW-STOPPING STRUDELS, BUT IT WAS MARY'S TECHNICAL CHALLENGE THAT HAD THEM RUNNING SCARED. SUE: WHAT WE'D LIKE YOU TO MAKE IS... QUEEN OF PUDDINGS. LAYERS OF BAKED CUSTARD AND JAM TOPPED WITH A CHEWY MERINGUE. SO... ON YOUR MARKS... GET SET... GOOD LUCK, AND BAKE. BRENDAN: YOU KNOW, THERE'S ALWAYS A CERTAIN AMOUNT OF DREAD THAT YOU'RE GOING TO MAKE A PRAT OF YOURSELF ON THE TECHNICAL CHALLENGE. RYAN: NEVER MADE JAM BEFORE. THAT WORRIES ME A LOT. JOHN: I'VE KNOWN A FEW QUEENS IN MY TIME, BUT NEVER A QUEEN OF PUDDINGS. MAN: A TIMELESS DESSERT MADE FROM BREADCRUMBS BAKED IN CUSTARD WITH HOMEMADE JAM AND A CROWN OF DELICATELY PEAKED MERINGUE. WE'RE GOING TO DO A QUEEN OF PUDDINGS. IT'S A WONDERFUL PUDDING. IT'S MADE FROM THINGS THAT YOU'RE LIKELY TO HAVE IN THE CUPBOARD AND IT USES THE WHOLE EGG, IT USES UP THE BREADCRUMBS. IT'S A GOOD PUDDING. BUT YOU'RE GOING TO SHOW US THE DEFINITIVE RECIPE THAT YOU INVENTED BACK IN THE 1600s OF HOW TO ACTUALLY MAKE THESE... CHEEKY, CHEEKY, AS USUAL! SO, TO START OFF WITH, I'M GOING TO BUTTER THE DISH. MAKE SURE YOU CHOOSE A DISH THAT WILL GO INSIDE YOUR ROASTING DISH. WE'RE GOING TO DO IT BAIN-MARIE, WHICH JUST MEANS WE'RE GOING TO HAVE BOILING WATER ROUND THE OUTSIDE, SO IT DOESN'T COOK TOO QUICKLY. MAN: PREPARE 75 GRAMS OF WHITE BREADCRUMBS BY BLITZING THEM IN A MACHINE AND POUR INTO THE BUTTERED DISH. JUST PUT THAT IN LIKE THAT. MAN: MEASURE 50 GRAMS OF CASTER SUGAR AND 25 GRAMS OF BUTTER. IT'S A GOOD IDEA TO WEIGH THE BUTTER ON TOP OF THE SUGAR BECAUSE YOU'VE THEN GOT A CLEAN BOWL TO WEIGH THE NEXT THING. SO, I NEED MILK, 600 ML. SO, INTO THE PAN, AND I THINK IT'S BEST TO USE FULL-CREAM MILK, AND IN GOES THE SUGAR AND THE BUTTER. I'M GOING TO ADD SOME LEMON, ONLY THE ZEST. THAT ADDITION OF THE LEMON, I THINK, REALLY ADDS TO THE CUSTARD. AND ORANGE IS LOVELY IN CAKES, BUT FOR THIS PARTICULAR THING, I ALWAYS ADD LEMON. MAN: WARM THE MILK UNTIL JUST HOT, BUT NOT BOILING. SEPARATE 3 EGGS AND KEEP BOTH THE WHITE AND THE YOLK. YOU'LL NEED THE YOLKS FOR THE CUSTARD NOW AND THE WHITES FOR THE MERINGUES LATER ON. IF YOU BOIL THE MILK NOW AND YOU POUR IT STRAIGHT ONTO THE EGG YOLKS, THEY'LL IMMEDIATELY CURDLE AND THEY WON'T BE THE THICKENING AGENT TO THE CUSTARD. SO, FIRST OF ALL, GET THE EGG YOLKS MIXED TOGETHER AND THEN ONE LITTLE SPLASH IN TO START WITH BECAUSE IF YOU PUT IT ALL IN, YOU WON'T GET IT SMOOTH. THEN IN IT GOES. THEN I'M GOING TO POUR THAT OVER THE BREADCRUMBS. LEAVE THAT TO SOAK. THEN I'M GOING TO MAKE THE JAM. IT'S IMPORTANT TO USE EQUAL QUANTITY OF FRUIT TO SUGAR. SO, WE'VE GOT SOME BLACKBERRIES, SOME BLUEBERRIES, AND SOME STRAWBERRIES-- STARTING IT OFF LOW AND LET THE NATURAL JUICE COME OUT. MAN: BUT WITHOUT THE FULL INSTRUCTIONS, MAKING JAM DIDN'T COME QUITE AS NATURALLY TO OUR BAKERS. "MAKE THE JAM." THAT'S DETAILED, ISN'T IT, MARY? "MAKE THE JAM." I'M JUST TRYING TO REMEMBER HOW TO MAKE JAM. RYAN: EVERY SINGLE WEEK IN TECHNICAL CHALLENGE IS A GUESSING GAME. MAN: AS WITH ALL JAMS, YOU NEED EQUAL AMOUNTS OF SUGAR TO FRUIT, SO, WITH 200 GRAMS OF FRUIT, THERE SHOULD BE 200 GRAMS OF SUGAR. MARY: SO, I'VE TURNED THE HEAT DOWN A LITTLE AND IN GOES THE SUGAR AND YOU'VE GOT TO DISSOLVE THE SUGAR WITHOUT BOILING. AND WHEN IT'S DISSOLVED, THEN BOIL RAPIDLY UNTIL IT IS A JAM CONSISTENCY. MAN: ALLOW THE JAM TO COOL IN THE PAN WHILST YOU BAKE THE CUSTARD. POUR HOT WATER INTO THE ROASTING TRAY AROUND YOUR CUSTARD DISH AND BAKE IN A BAIN-MARIE FOR ABOUT 30 MINUTES AT 150 FAN. MARY: THIS IS ONE OCCASION WHEN YOU CAN KEEP OPENING THE OVEN DOOR AND GIVING A LITTLE SHAKE TO SEE. IT JUST WANTS TO BE SET. YOU WANT THAT LITTLE BIT OF WOBBLE. A LITTLE BIT OF WOBBLE, AND IT WILL GO ON COOKING AS IT COMES OUT OF THE OVEN. THAT LOOKS ABSOLUTELY AS IT SHOULD DO. IT'S REALLY LIKE COOKING AN EGG CUSTARD, BUT WE'VE STRENGTHENED IT WITH THE BREADCRUMBS. MM-HMM. NO SEPARATION IN IT. AND THEN YOU'VE REALLY GOT TO LET THAT COOL JUST A LITTLE BEFORE YOU PUT THE JAM ON. OTHERWISE, THE JAM COULD MIX WITH THE CUSTARD. LET'S GET ON WITH THE MERINGUE. OK. MAN: WEIGH OUT 175 GRAMS OF CASTER SUGAR, WHICH WILL BE MIXED IN WITH YOUR WHISKED EGG WHITES. THE EGGS WANT TO BE FRESH EGGS. IF AN EGG IS OLD, SAY, 2 WEEKS OLD, THE WHITE IS RUNNY AND YOU DON'T GET SO MUCH VOLUME. IF YOU USE A HAND MIXER-- BIG BOWL AND MOVE IT ALL THE WAY ROUND. BUT WE'VE GOT A MIXING MACHINE, SO, PUT THE EGGS INTO THE BOWL AND WHISK IT ON FULL SPEED UNTIL IT LOOKS LIKE CLOUD, AND WE'VE GOT A BIT OF THAT ABOUT TODAY. [WHIRRING] MAN: DON'T USE A PLASTIC BOWL FOR WHISKING EGG WHITES, AS THEY CAN RETAIN A FILM OF FAT THAT CAN DEFLATE THE MERINGUE. IT ISN'T FULL VOLUME YET, BUT IT LOOKS JUST LIKE A FLOATING CLOUD. YEP. SO, AT THAT STAGE, WE START TO ADD THE SUGAR. [WHIRRING] AND IF YOU ADD IT SLOWLY, ON FULL SPEED, IT WILL GET STIFFER AND STIFFER AND STIFFER. AND IT'S VERY UNLIKELY THAT YOU'LL OVER-WHIP IT, BUT MOST PEOPLE UNDER-WHIP IT. MAN: SUGAR NOT ONLY ADDS SWEETNESS, BUT IT STABILIZES THE EGG WHITES BY COATING THEM SO THAT THEY CAN BE BEATEN FOR LONGER AND NOT DRY OUT. AND THAT REALLY IS THE BEAUTIFUL STIFF MERINGUE COMING UP IN PEAKS. AND I REMEMBER WHEN I'VE DONE THIS BEFORE WITH YOU, THE ONE THING YOU LOVE TO DO IS PUT IT OVER MY HEAD, AND ONE DAY IT WILL COME ALL OVER ME. I'M SURE IT WILL. GO ON. LET'S JUST SEE IF THAT DAY IS TODAY. IS IT TRICKLING DOWN? NO. PROPER MERINGUE. PERFECT. NO, NOTHING. I DID TRY, MARY. DID YOU GIVE IT A BIT OF A SHAKE? I DID GIVE IT A BIT OF A SHAKE, ACTUALLY. MAN: BUT THE BAKERS WEREN'T QUITE SO CONFIDENT IN THEIR OWN MERINGUES. JOHN: I GET A BIT SCARED WITH EGG WHITES. I DON'T WANT TO OVER-WHIP IT. OH, GOD, IT'S RUNNY. HANG ON. DON'T PUT THAT OVER MY HEAD, PLEASE, RYAN. MAN: ONCE YOUR CUSTARD AND JAM ARE COOLED AND SET, IT'S TIME TO ASSEMBLE YOUR PUDDING. SO, FIRST OF ALL, THE JAM GOING ON. IT'S ALL ABOUT BUILDING THE LAYERS UP NOW, ISN'T IT? IT IS. SPREAD THAT VERY CAREFULLY OVER THE TOP. YOU'VE GOT TO BE VERY DELICATE DOING THIS BECAUSE IT'S VERY EASY TO LIFT THE CUSTARD UP INTO THE JAM. THAT'S JUST PERFECT. THEN WE'VE GOT THE MERINGUE TO PUT ON THE TOP, AND I'VE FOUND THAT IT'S BEST TO PUT IT ON IN SORT OF BLOBS TO START WITH AND THEN WE CAN BUILD IT UP FROM THERE. I'D BE TEMPTED JUST TO DOLLOP IT ON. I DARE SAY YOU WOULD, BUT HAVING DONE THIS ONE OR TWO TIMES, I FIND THAT TO DO IT SORT OF LIKE THAT SEEMS TO WORK BEST. LOOKS AS THOUGH I HAVEN'T GOT ENOUGH BUT I CAN ASSURE YOU I HAVE. IN MY VERY EARLY DAYS, I'D JUST FINISHED MAKING CAKES AND A LADY RANG UP AND SAID, "I LIKE YOU BECAUSE YOU'RE THE ONLY ONE WHAT'S ON TV THAT SCRAPES HER BOWLS PROPER." [LAUGHS] SO, I'M NOW GOING TO SMOOTH THAT OVER USING TWO SPOONS OR A PALETTE KNIFE, AND I'M GOING TO SPREAD THAT TO THE EDGES, AND THEN WE CAN START TO PEAK IT. I THINK THAT LOOKS REALLY SORT OF HOMEMADE, DON'T YOU, WHEN YOU GET THE SORT OF PEAKS COMING UP? MMM. AND THAT'S JUST THE RIGHT CONSISTENCY FOR THE MERINGUE. THERE WE ARE. READY FOR THE OVEN. YOU CAN SEE ALL THE LAYERS. LOWER THE OVEN 20 DEGREES TO 130 AND IT'LL TAKE ABOUT 25 MINUTES. I DON'T REALLY WANT TO PUT THE JAM ON YET. IF I WAS AT HOME, I'D WAIT ANOTHER 5 OR 10 MINUTES, BUT I THINK IT WOULD BE WORSE TO RUN OUT OF TIME. JOHN: THAT JUST LOOKS AWFUL. MARY'S GOING TO SLAP ME IN THE FACE. RYAN: I'M A BIT DISAPPOINTED ABOUT THE MERINGUE. IT KIND OF COLLAPSED A BIT, SO, IT'S A BIT GOOEY. I WAS HOPING TO MAKE IT PUFFY AND MAKE PEAKS. PLEASE BE GOOD. THAT LOOKS BETTER. PAUL: IT'S THE COLOR OF IVORY. SO, THE CLASSIC QUEEN OF PUDDINGS. A LAYER OF LOVELY CUSTARD AT THE BOTTOM, A BOLD LAYER OF JAM IN THE MIDDLE, AND A LOVELY, THICK LAYER OF MERINGUE, CRISPY ON TOP, MARSHMALLOWY IN THE MIDDLE. IT LOOKS GOOD ENOUGH TO EAT, MARY. THAT LOOKS STUNNING, MARY. IT REALLY DOES. I LOVE THE WAY THAT MERINGUE'S ALL PEAKED. WOULD YOU LIKE SOME? I WOULD LIKE A SCOOP, PLEASE, MARY. IT'S ALL HOLDING TOGETHER NICELY. MMM! OH, IT'S LOVELY. IT'S CRISPY. THE CUSTARD'S WELL SET. I MEAN, REALLY, FOR BUSY PEOPLE, YOU CAN MAKE THE CUSTARD THE DAY BEFORE AND THEN JUST SPREAD THE JAM OVER THE TOP AND PUT THE MERINGUE ON THE NEXT DAY. CAN I HAVE SOME MORE, PLEASE, MARY? OF COURSE YOU CAN. OH, I'M SO GLAD YOU LIKE IT. THERE YOU ARE. A LITTLE BIT OF EVERYTHING. THANKS, MUM. MAN: THE SEVENTH WEEK, AND THE REMAINING BAKERS FACED 3 SWEET DOUGH CHALLENGES, MAKING SIGNATURE REGIONAL SWEET BUNS AND SHOW-STOPPING CELEBRATORY ENRICHED LOAVES, AND PAUL WAS IN HIS ELEMENT AS THE BAKERS FACED ANOTHER OF HIS TRICKY TECHNICAL CHALLENGES. SUE: WHAT WE'D LIKE YOU TO MAKE ARE JAM DOUGHNUTS. MEL: NOW, MARY AND PAUL ARE NOT ONLY LOOKING FOR CONSISTENCY IN SIZE BUT ALSO IN JAM DISTRIBUTION AND COLOR. ON YOUR MARKS... GET SET... BOTH: BAKE! I'M REALLY FRIGHTENED. IT'S GOING TO BE AN EXPERIENCE, YOU KNOW. IT MIGHT NOT BE A GOOD EXPERIENCE. CATHRYN: I REALLY WISH THAT I KNEW WHAT I WAS DOING. RYAN: THE TECHNICAL CHALLENGE IS SOMETIMES, AT THE BEST OF TIMES, IT'S LIKE A RUSSIAN ROULETTE. MAN: A FAIRGROUND FAVORITE, JAM DOUGHNUTS MADE FROM HOT BALLS OF SWEET DOUGH FILLED WITH STRAWBERRY JAM AND ROLLED IN CASTER SUGAR. RIGHT, MARY. DOUGHNUTS. IT'S A FAIRLY STRAIGHTFORWARD METHOD TO MAKING A DOUGHNUT, ALTHOUGH A FEW STAGES THAT YOU'VE GOT TO COVER. MAN: MIX 500 GRAMS OF STRONG FLOUR AND 50 GRAMS OF CASTER SUGAR INTO A BOWL. IN FACT, GRANULATED, YOU CAN ACTUALLY FEEL IN THE DOUGH SO THE CASTER SUGAR'S FINE ENOUGH NOT TO BE FELT ONCE THE LIQUID GOES IN. MAN: ADD 40 GRAMS OF SOFTENED BUTTER, 10 GRAMS OF SALT, 14 GRAMS OF FAST-ACTION YEAST, AND 130 MLS OF WATER INTO THE SAME BOWL. I'M ALSO GOING TO ADD TWO EGGS TO THIS AS WELL AND, AGAIN, IT'S AN ENRICHED DOUGH. YOU NEED THE EGGS. IT'LL HELP TO BIND IT TOGETHER AND GIVE IT A BEAUTIFUL, YELLOW COLOR INSIDE. AND THEN I'M GOING TO GET MY HANDS IN THERE INITIALLY AND JUST GENTLY TURN THE BOWL AND BREAK DOWN THE EGG UNTIL YOU CAN SEE IT'S ACTUALLY STARTING TO CREATE A LITTLE FORM OF DOUGH LIKE A PASTE. MARY: NOW, YOU'VE ADDED TWO SACHETS OF YEAST TO 500 GRAMS OF FLOUR. THAT'S MORE THAN YOU WOULD WITH BREAD. YEAH. IT'S AN ENRICHED DOUGH. IT'S GOT EGGS IN IT, IT'S GOT BUTTER IN IT, IT'S GOT SUGAR IN IT, SO, IT'S GOING TO NEED THAT EXTRA BIT OF YEAST TO LEAVEN IT, TO GET IT RISING UP. KEEP YOUR MILK IN THE OTHER HAND, WHICH IS 150 ML, AND THEN GENTLY BEGIN TO PUSH THE DOUGH TOGETHER. SO, THE BEST WAY TO ADD LIQUID TO A MIX IS ADD ABOUT 3/4 TO IT, MIX IT WELL, AND THEN DRIP-FEED IN THE REST. MAN: BUT THIS UNUSUALLY WET DOUGH WAS THE FIRST THING TO CATCH OUT THE BAKERS. MY DOUGH RESEMBLES SOME KIND OF SWAMP MONSTER. I'VE PUT ALL THE WATER IN, BUT THIS JUST SEEMS REALLY WEIRD, REALLY STICKY. JAMES: IT'S VERY WET, WHICH IS GOOD. IT'S NICE TO SEE WET DOUGHS. WETTER IS BETTER, AS THEY SAY IN THE BREAD WORLD. SO, THIS LOOKS DISGUSTING AT THE MOMENT, AND IF I WORK IT PROPERLY, IT WILL STOP BEING DISGUSTING. JOHN: I THOUGHT THE DOUGH WAS A LITTLE BIT TOO WET, SO, I'M PUTTING MORE FLOUR IN. SO...PROBABLY WRONG. PROBABLY GET TOLD OFF. I WOULD DESCRIBE KNEADING THIS DOUGHNUT DOUGH AS BEING QUITE LIKE THE GYM. SLIGHTLY SWEAT-INDUCING. NOT MY FAVORITE. YOU CAN FEEL HOW WET THAT DOUGH IS. WELL, IF THERE'S ONE THING I'VE LEARNT FROM YOU, IT IS TO MAKE BREAD DOUGHS, WHETHER THEY'RE RICH OR NORMAL BREAD DOUGHS, TO HAVE IT WET. YEAH. IT DOES MAKE A DIFFERENCE. IT MAKES A BETTER RISE. NOW, I'M USING AN ENRICHED DOUGH, AND BECAUSE OF THAT, I'M GONNA BE USING FLOUR INSTEAD OF OIL. THE WET, STICKY MESS GOES INTO THE MIDDLE. COAT THE TOP WITH A LITTLE BIT OF FLOUR, ROLL IT ROUND FOR A BIT, AND THEN HEEL OF THE PALM IN THE MIDDLE, AND INITIALLY, I'M JUST GOING TO COAT IT WITH SOME FLOUR AND THEN BEGIN TO ROLL IT UP. NOW, ALL I'M DOING HERE IS, "A," MIXING ALL THE INGREDIENTS TOGETHER, BUT, "B," YOU BEGIN TO DEVELOP THE GLUTEN. SO, THE MORE I WORK THAT, THE SMOOTHER THAT WILL GET AND THE MORE OF A STRETCH I GET. AND YOU CAN FEEL HOW SOFT IT IS, BUT IT'S THE SPEED THAT PREVENTS IT FROM STICKING TOO MUCH. [DOUGH SLAPS AGAINST TABLE] AND YOU CAN SEE IT'S ACTUALLY GETTING SMOOTHER ALREADY. ANY AGGRESSION, TAKE IT OUT ON THE DOUGH. WELL, PLEASE DO. OK, THERE YOU HAVE THE BEAUTY OF USING A MIXER AND IT'S ACTUALLY VERY POSSIBLE TO OVER-MIX IN A MIXER, USING A DOUGH HOOK. THE MORE THEY MANIPULATE THIS, THEN IT JUST STARTS TO BREAK APART. IT GETS TOO GLUTINOUS. BY HAND, VERY DIFFICULT TO OVER-MIX, OVER-KNEAD. [DOUGH SLAPS AGAINST TABLE] HAVE A GO WITH THAT. COME ON, MARY. YOU CHUCK IT DOWN. BE BRUTAL WITH IT. THAT'S IT. FROM UP HERE. THAT'S IT. YOUR CAKES HAVE JUST DROPPED IN THE OVEN. THINK ABOUT THAT. THAT'S THE ONE. YOU SEE HOW SMOOTH THAT IS NOW? IT LOOKS REMARKABLE. IT'S A TOTALLY DIFFERENT DOUGH TO THE ONE WE SAW A MINUTE AGO. LESS WET. IT'S STRETCHY. YEAH. IT'S LOVELY. NOW, THAT WILL GO INTO A BOWL. CLING-FILM THAT. YOU'RE MAKING IT TECHNICALLY AIRTIGHT. JUST STOPS THE DRAFT GETTING TO THE DOUGH, WHICH FORMS A SKIN AND PREVENTS IT FROM GROWING. MAN: LEAVE THE DOUGH TO PROVE FOR ABOUT AN HOUR UNTIL IT'S DOUBLED IN SIZE. WELL, THERE IT IS, MARY. IF I TAKE THIS OFF, THAT IS FULL OF AIR. ABSOLUTELY... FULL OF AIR. IT JUST BURSTS LIKE A BALLOON. YOU CAN SEE THE STRUCTURE OF IT AS WELL. HMM. THE AIR HOLES OF THE DOUGHNUT. IT'S A BIT LIKE NETTING. STRINGY, YEAH. A BIT LIKE WEBS. GET THAT DOUGH OUT INTO THE FLOUR. IT'S A VERY WET DOUGH. YOU SEE HOW STRETCHY IT IS, AS WELL? COAT IT IN FLOUR. NOW WE NEED 10 DOUGHNUTS. GET YOUR LITTLE DOUGH BALLS AND THEN ROLL THEM INTO A BALL, EITHER IN YOUR HAND OR ON THE BENCH. IT IS TRICKY AND IT IS A VERY, VERY WET DOUGH. BUT I DO LIKE THE FEEL OF THAT DOUGH. THAT ONE'S NOT TOO BAD, IS IT? NO. THEN YOU JUST LEAVE IT LIKE THAT, COVER IT UP WITH ANY BAG, AND THEY WILL DOUBLE IN SIZE. THAT WILL TELL YOU THAT THEY'RE READY TO GO IN A FRYER. MAN: PAUL'S DOUGHNUT CHALLENGE WAS RUNNING RINGS AROUND SOME OF THE BAKERS. CATHRYN: QUITE SPLODGY, PANCAKEY LITTLE BADGERS. NOT SURE THAT'S EXACTLY HOW THEY'RE SUPPOSED TO BE. RYAN: THAT DOUGH'S REALLY PRETTY WET AND SO IT'S GONE A BIT FLAT. TECHNICAL CHALLENGE... PFFFF! DANNY: I HAVE NO IDEA HOW THESE BABIES SHOULD LOOK. CATHRYN: I'M PUSHING IT DOWN A LITTLE BIT. OTHERWISE, IT'S GONNA HAVE A LITTLE TAN MARK ROUND ITS MIDRIFF. THERE THEY ARE, MARY. YOU SEE THEY SPRING BACK. FINGER IN, IT BOUNCES BACK. THAT IS AN INDICATION THAT IT'S READY. NOW, THE FAT IS SET AT 160. IT'S GOING TO TAKE ROUGHLY 5 MINUTES EACH SIDE, OK? YES. GRAB YOUR DOUGH BALL, DROP IT INTO THE FAT, GRAB YOUR DOUGH BALL, DROP IT IN THE FAT. THESE WILL NORMALLY TAKE TWO AT A TIME ANYWAY. AND THIS IS THE SAFEST WAY OF FRYING IT, AND YOU MUST, IF YOU'RE DOING IT AT HOME AND YOU HAVEN'T GOT A DEEP FAT FRYER, HAVE A REALLY DEEP PAN AND ALWAYS WATCH IT. YEAH. ABSOLUTELY. YOU'RE LOOKING FOR A SLIGHT OBLONG, NOT A PERFECT BALL, BECAUSE IT MEANS IT WAS UNDER-PROVED, AND NOT A FLAT DISC BECAUSE THAT MEANS IT WAS OVER-PROVED. WHEN THEY GO IN THE FIRST TIME, THEY DO EXACTLY HALF, AND THEN YOU TURN THEM OVER AFTER 5 MINUTES, YEAH. AND YOU GET THAT LIGHT LINE OF SORT OF A LIGHTER COLOR IN THE MIDDLE. IF YOU LOOK INSIDE HERE NOW, CAN YOU SEE THE COLOR? OH, YES. THERE IT IS. AND THERE'S THE WHITE LINE THAT RUNS ROUND THE MIDDLE. NOW, THOSE HAVE HAD THE ALLOTTED TIME. JUST DRAIN THEM OFF A LITTLE BIT, TAKE THE EXTRA BIT OF FAT OFF, AND THEN JUST ROLL IT IN THE SUGAR. DUST THEM OFF WITH YOUR FINGERS. TWO MORE FOR THE HOLLYWOOD DOUGHNUT FACTORY. 10 LITTLE BEAUTIES. WE CAN'T JAM THEM NOW. THE DOUGH INSIDE IS STILL COOKING BECAUSE OF THE FAT THAT'S ROUND IT, SO, WHAT WE NEED TO DO IS COOL THESE DOWN, INJECT THEM WITH THE JAM, AND THEY'LL BE PERFECT AND GOOD TO EAT, SO, A LITTLE BIT OF PATIENCE, MARY. MAN: BUT THE BAKERS HAD BEEN PATIENT AND WERE READY FOR THEIR INJECTIONS. SUE: IT'S PART BAKING, PART DOCTORS-AND-NURSES, ISN'T IT, THIS? IT IS. DOUGHNUT DOOM. SUE: I THINK YOU MIGHT HAVE GOT A... I'VE GOT A BLOCKAGE. JAM--LITERALLY A JAM. OH, THIS IS HIDEOUS. SARAH JANE: DO YOU KNOW WHAT? I'M SO PLEASED. I KIND OF DON'T CARE WHAT PAUL THINKS BECAUSE I AM SO PROUD OF THOSE. THERE THEY ARE, MARY. NOW IT'S TIME FOR JAMMING. GET YOUR DOUGHNUT. POP A KNIFE IN, ROUGHLY HALFWAY, A LITTLE BIT OF A WIGGLE. GET YOUR JAM, WHICH YOU'LL PUT IN A BAG HERE. JUST CUT THE END OFF. THAT'S A PRETTY GOOD TIP OF YOURS, TO TIE THE END SO IT DOESN'T COME OUT ALL OVER YOUR HANDS. 1, 2. THAT'S ENOUGH. IT'S BASICALLY BEEN SIEVED. SO, IT'S A STRAWBERRY JAM, OR, TRADITIONALLY, A RASPBERRY JAM. AND ANOTHER ONE. AND OBVIOUSLY, YOU COULD FILL THESE WITH ANYTHING. CUSTARD. APPLE PUREE WORKS WELL. JAM IS CERTAINLY THE MOST POPULAR ONE. BUT DON'T WORRY ABOUT THE JAM LEAKING OUT OF IT. IT JUST MEANS YOU'VE REALLY GOT LOTS IN THERE. GREAT COLOR, FILLED WITH JAM, AND WE'LL TRY SOME IN A BIT. CAN'T WAIT. PAUL, I THINK THOSE ARE MAGNIFICENT. THEY'RE ALL A BEAUTIFUL COLOR WITH THE WHITE RING ROUND IT, FULL OF JAM, BURSTING WITH FLAVOR. DO YOU WANT SOME WITH SOME JAM, I TAKE IT? OH, DEFINITELY. YES. BEAUTIFUL INSIDE. OH, THANK YOU. IT IS ABSOLUTELY BEAUTIFUL. IT'S SO SOFT, AND YET THAT LOVELY SUGARY OUTSIDE. I DON'T THINK ANYBODY COULD EVER RESIST THOSE. SO, I'M QUITE CERTAIN THAT EVERYBODY NOW KNOWS HOW TO MAKE A VERY GOOD DOUGHNUT. MAN: WEEK 8, AND THE REMAINING 5 BAKERS WERE TESTED ON THEIR BISCUIT KNOWLEDGE. THEY WERE CHALLENGED TO MAKE SAVORY CRISPBREADS AND SPECTACULAR GINGERBREAD STRUCTURES. THINKING THAT THE JUDGES COULDN'T POSSIBLY FIND ANYTHING TOO HARD TO THROW AT THEM, PAUL'S TECHNICAL CHALLENGE MADE THEM VERY NEARLY CRUMBLE UNDER THE PRESSURE. TODAY, WE'RE ASKING YOU TO MAKE 6 CHOCOLATE TEACAKES, AN ICONIC BISCUIT. SO, ON YOUR MARKS... GET SET... BOTH: BAKE. AH! MARSHMALLOW CHOCOLATE TEACAKES. OK. I KNOW THEM. I SEE THEM IN THE SHOPS. THEY'RE A SCOTTISH CLASSIC, ARE THEY NOT? I'VE HAD MANY OF THEM, BUT I'VE NEVER MADE ONE. MY CHILDREN WOULD LOVE THESE, SO, IF THEY TURN OUT ALL RIGHT, I WILL MAKE THEM. MAN: HOMEMADE CHOCOLATE TEACAKES, COMBINING A DELICATE DOME OF MOLDED CHOCOLATE FILLED WITH A LIGHT MARSHMALLOW MERINGUE AND SUPPORTED BY A FIRM BISCUIT BASE. PAUL, QUARTERFINAL TECHNICAL CHALLENGE. MARSHMALLOW TEACAKES. I THINK THEY'RE REALLY TRICKY TO MAKE. THEY ARE UNBELIEVABLY TRICKY. SO, WE'RE GOING TO START BY MELTING THE CHOCOLATE. MAN: MELT 200 GRAMS OF CHOCOLATE OVER A BAIN-MARIE, MAKING SURE THAT THE BOWL DOES NOT TOUCH THE BOILING WATER. HERE'S OUR CHOCOLATE. NOW, IT'S BEGINNING TO COOL AND SET. NOW, THIS IS A GOOD TEMPERATURE TO HAVE IT AT. IT'S WARM TO THE HANDS. AS IT COMES INTO CONTACT WITH THE MOLD, IT ACTUALLY BEGINS TO COOL VERY, VERY QUICKLY. I'M JUST STARTING OFF WITH A BLOB IN EACH ONE. ALLOW THAT TO COOL SLIGHTLY. IT'LL HELP YOU THEN BUILD UP THE WALLS. BEGIN TO BRING UP THE CHOCOLATE UP THE SIDES OF THE MOLD. TAKE YOUR TIME DOING THIS. DON'T RUSH IT. AND YOU'VE GOT TO GET THAT JUST RIGHT, BECAUSE IF IT WAS TOO HOT, IT WOULD RUN DOWN THE MOLD, WOULDN'T IT? EXACTLY. SO, YOU'VE JUST GOT TO GET IT RUNNY, SO THAT IT CLINGS TO THE SIDE. EXACTLY. YOU DON'T WANT TO MAKE IT TOO THIN BECAUSE, ESSENTIALLY, IT'S GOING TO BE THE CAGE THAT GOES OVER THE MARSHMALLOW. THAT LOOKS PRETTY WELL COVERED NOW AND YOU'VE GOT THAT SLIGHTLY THICKER LAYER AT THE TOP, WHICH SHOULD MAKE IT TURN OUT WELL. EXACTLY. MAN: PUT THE MOLDS ASIDE TO SET, BUT DON'T PUT THEM IN THE FRIDGE OR THE CHOCOLATE WILL DISCOLOR AND LOSE ITS SHINE. JOHN: I NEED TO GET IT DONE NOW, SO THE CHOCOLATE COOLS. AND IF THE CHOCOLATE DOESN'T HOLD, YOU WON'T HAVE A TEACAKE. YOU'LL JUST HAVE A BIG, MESSY THING ON A PLATE. CATHRYN: I'M JUST GOING TO DO IT MY WAY AND IT'LL BE FINE. SUE: YOU'RE THE FRANK SINATRA. BOTH: I BAKED IT MY WAY I WANT IT TO BE A LITTLE SLOW POURER THAN THAT SO THAT IT WILL STICK TO THE SIDES. DANNY: I THINK IT'S A BIT LIKE IF YOU MAKE EASTER EGGS, THE BEST THING TO DO IS TO PUT A THIN LAYER ON, LET IT DRY, AND IF YOU DON'T THINK IT'S THICK ENOUGH, JUST PUT ANOTHER LAYER ON. GUT FEELING SAYS DON'T PUT THEM IN THE FRIDGE, UNLESS I'M RUNNING OUT OF TIME AND THEY'RE NOT GOING TO BE HARD, IN WHICH CASE I'LL ABANDON MY GUT INSTINCT AND JUST PUT THEM IN THE FRIDGE. WHAT I'M MAKING NOW IS A BISCUIT-- A GOOD, EARTHY, CRISPY BISCUIT TO GO AT THE BOTTOM OF THE MARSHMALLOW. MAN: MEASURE OUT 50 GRAMS OF PLAIN FLOUR AND 50 GRAMS OF WHOLE-WHEAT FLOUR. THEN ADD 25 GRAMS OF CASTER SUGAR, 25 GRAMS OF BUTTER, AND 1/2 TEASPOON OF BAKING POWDER. 25 AND 25. JUST BE PATIENT. I'VE GOT TO TAKE A LITTLE BIT. THAT'S IT. THAT'S ONE THING I'M NOT GOOD AT, MARY. NO, I KNOW YOU'RE NOT. TERRIBLY IMPATIENT. IT'S ONE OF MY FLAWS. I HAVE LEARNED IT. COULD YOU PUT A LITTLE PINCH OF SALT IN THERE AS WELL? THANK YOU. THAT'S ABOUT RIGHT. YEAH. LOVELY. I'M GOING TO GET MY HANDS IN THERE AND BEGIN TO BREAK UP THE BUTTER. NOW, I'VE GOT THAT CRUMBED QUITE WELL. THE BUTTER'S GONE INTO THE FLOURS VERY WELL. I JUST NEED THAT LITTLE BIT OF LIQUID NOW TO BIND THAT TOGETHER. 1 TABLESPOONFUL OF MILK. THIS IS QUITE A DRY BISCUIT. SO, YOU BEGIN TO CRUSH AND PICK UP ALL THE MIXTURE TOGETHER. MAN: TIP THE MIXTURE ONTO A SURFACE AND BRING TOGETHER INTO A BALL BEFORE ROLLING IT OUT TO ABOUT 1/2 CENTIMETER THICKNESS. GET YOUR CUTTER. WE OBVIOUSLY NEED 6. YOU WANT THEM QUITE HARD. YOU DON'T WANT THAT SOFT BISCUIT WHEN YOU BITE INTO A MARSHMALLOW. MAN: PUT ON A NON-STICK BAKING TRAY AND INTO THE OVEN FOR ABOUT 10 TO 12 MINUTES AT 150 DEGREES FAN. BISCUITS HAVE BEEN OUT NOW FOR A GOOD 10, 15 MINUTES. COULD YOU JUST TRIM THE BISCUITS SLIGHTLY WITH THAT? WHY AM I DOING THAT? BECAUSE YOU'VE GOT BAKING POWDER IN THERE. SO, WHAT'S HAPPENED IS THE BISCUIT HAS GROWN JUST BEYOND THE BASE OF THE TEACAKE. SO, WHAT WILL HAPPEN IS IT WON'T BE ABLE TO GO INSIDE THE MOLD. SO, IT'S A LITTLE TRICK. WHAT DO I DO IF I CRACK IT NOW? IF YOU BREAK THEM, I'M JUST GOING TO GO AND YOU'RE GOING TO HAVE TO DO THEM ALL OVER AGAIN. THIS IS ONE OF THE MOST TRICKY THINGS I'VE DONE, ESPECIALLY WHEN YOU'RE STANDING OVER ME. [LAUGHS] DON'T YOU WORRY. I'M DOING IT REALLY, REALLY CAREFULLY. THERE. IT'S GOOD, THAT, MARY. I CAN BE QUICK NOW AND DO THEM ALL, BUT I WAS NERVOUS OF THAT FIRST ONE. NOW, WHILE YOU'VE BEEN DOING THAT, I'VE BEEN MELTING THE REMAINING CHOCOLATE. YOU SEE HOW LOOSE THAT IS? NOW, I'M GOING TO DROP EACH BISCUIT INTO THERE, GIVE IT A BIT OF A COATING. JUST GONNA SLIDE ONTO THE WIRE. THAT'S ONE BISCUIT. I CAN'T RESIST TASTING THIS 'CAUSE IT'S BEAUTIFULLY SHORT. COULD YOU PATCH UP ANY LITTLE BITS THAT HAVE NO CHOCOLATE ON THERE? OH, I'M VERY GOOD AT PATCHING UP. ALL I'M TRYING TO DO IS JUST PUT AS MUCH CHOCOLATE ON, EVENLY AS I CAN. LAST ONE GOING IN. OK, MARY. WE'VE GOT OUR COMPONENT PARTS. NOW WE'VE GOT TO START THE MERINGUE. THIS TECHNICALLY IS A SWISS MERINGUE, BUT WE'RE ADDING GOLDEN SYRUP TO IT. IT'LL THICKEN THE WHOLE THING UP AND GIVE IT A BEAUTIFUL SHINE. NOW, TO START WITH, I NEED 3 EGG WHITES. I'M DOING IT THE OLD-FASHIONED WAY WITH MY HANDS. MAKING A RIGHT MESS. I LOVE MAKING A MESS. YEAH. NOW, WHILE I'M DOING THIS, COULD YOU WEIGH ME UP 150 GRAMS OF CASTER SUGAR, PLEASE? RIGHT. THAT'LL DO, MARY. THANK YOU VERY MUCH. POP THIS STRAIGHT INTO THE WHITES. I'M ALSO GOING TO ADD HALF THE SEEDS OF A VANILLA POD, 6 TABLESPOONS OF GOLDEN SYRUP. 1, 2, 3, 4, 5, 6. APPROXIMATELY. APPROXIMATELY. AND I NEED A PINCH OF SALT, PLEASE, MARY. A LITTLE BIT OF SALT IN THERE WILL JUST DAMPEN THINGS DOWN A BIT SO IT'S NOT TOO SWEET. MAN: WHISK THE MIXTURE OVER A GENTLE HEAT OF A BAIN-MARIE FOR ABOUT 6 MINUTES, MAKING A VERY STABLE MERINGUE... FOR MOST OF THE BAKERS, ANYWAY. DANNY: I'VE NEVER MADE MARSHMALLOW BEFORE. I THINK IT'S SOME KIND OF SWISS MERINGUE, BY THE LOOKS OF IT. JOHN: I THINK EVERYONE'S FINDING THIS QUITE TRICKY, AREN'T THEY? SO, I'M NOT ON MY OWN. MAN: BUT THEN IT WAS TIME TO PUT THE WHOLE THING TOGETHER. CATHRYN: OH, LORDY. TOO MUCH MARSHMALLOW. I NEED TO SPOON SOME OUT. DANNY: IF I PULL OFF 6 TEACAKES, YOU KNOW, THAT'S ALL RIGHT. PAUL: WE HAVE OUR DOMES, WE HAVE OUR BISCUIT BASE, WE HAVE OUR MERINGUE, AND WE HAVE OUR CHOCOLATE THAT'LL BIND THE WHOLE THING TOGETHER. PIPE IN THE MERINGUE INTO THE BASE. NOW, YOU WANT TO TAKE IT ABOUT 3/4 OF THE WAY UP. DON'T OVER-FILL IT, BECAUSE OTHERWISE, WHEN THE BISCUIT GOES IN, THE MERINGUE'S JUST GOING TO POUR OUT. AND THE NEXT STAGE IS A LITTLE BIT OF CHOCOLATE JUST ON THE MERINGUE. THIS WILL HELP THE BISCUIT BIND TO THE MERINGUE. OH, THAT'S JUST PURE, MELTED CHOCOLATE. IT'S JUST PURE, MELTED CHOCOLATE. AND WHAT YOU'VE GOT TO DO IS JUST RUN ROUND THE OUTSIDE OF EACH ONE, JUST PUTTING A LITTLE BIT OF CHOCOLATE. THIS IS ACTUALLY WHERE THE BOTTOM OF THE BISCUIT WILL BIND WITH THE DOME OF THE CHOCOLATES. AND THE WHOLE THING SHOULD BECOME ONE. OK. THERE WE GO. GET EACH BISCUIT, POP IT INTO THERE, AND INITIALLY, JUST LEAVE IT IN THERE FOR THE SECOND. IDEALLY, YOU DON'T WANT TO PUT THEM IN THE FRIDGE, 'CAUSE IT'LL OXIDIZE AND TURN THE CHOCOLATE, YOU KNOW, THAT OFF COLOR. PUT A BIT OF PRESSURE ON THAT 'CAUSE YOU'VE GOT THAT LITTLE BIT OF GIVE... YEP. WHERE IT HITS THE MARSHMALLOW. AND IT DOESN'T MATTER A BIT THAT YOU'VE GOT FINGERPRINTS ON THERE, BECAUSE IT'S GONNA BE AT THE BOTTOM. IT'S UNDERNEATH, ISN'T IT? EXACTLY. BIT OF PRESSURE... AND THERE WE HAVE THE BASES FINALLY IN CONTACT WITH THE MARSHMALLOW. MAN: LEAVE YOUR CHOCOLATE TEACAKES TO SET FIRMLY IN THEIR MOLD BEFORE ATTEMPTING TO TURN THEM OUT. [CATHRYN GASPS] THEY'RE NOT READY! MAN: THAT'S THE WAY TO DO IT. SUE: OH, MY WORD! YOU'VE MADE A TEACAKE. [GASP] BRENDAN: SO, YES, SO FAR, SO GOOD. OH, NO! WELL DONE. NOW WE'VE GOT TO RELEASE IT FROM THE MOLD. I'M GLAD IT'S YOU, NOT ME. [LAUGHS] YOU'VE GOT TO PUT A BIT OF PRESSURE ON THE TOP. LOVELY. AND YOU SHOULDN'T NEED TO TOUCH THE ACTUAL DOME. IT'S POPPING OUT REALLY NICELY. YEAH, LOVELY. THAT IS SHEER PERFECTION. WOW. SO BEAUTIFULLY FORMED, AREN'T THEY? MMM. HONESTLY, WHEN YOU LOOK INSIDE, RATHER SOFT MARSHMALLOW, LOVELY CRISP BISCUIT, AND AN AMPLE SHARE OF CHOCOLATE ON TOP. YOU'VE GOT IT ALL OVER YOUR MOUSTACHE, YOUNG MAN. THAT'S THE WAY IT SHOULD BE. THAT'S A PROPER CHOCOLATE TEACAKE, AND I HOPE EVERYBODY AT LEAST TRIES TO MAKE ONE. IT'S ABSOLUTELY LOVELY. MAN: WITH ONLY 4 BAKERS REMAINING AND THE FINAL IN SIGHT, THE BAKERS GRAPPLED WITH PETITS FOURS AND WITH CHOUX PASTRY GATEAUX, BUT IT WAS MARY'S TECHNICAL CHALLENGE THAT BROUGHT A DOSE OF FRENCH SOPHISTICATION TO THE TENT. MEL: OK, BAKERS, WE CAN NOW REVEAL TO YOU THAT WE WOULD LIKE YOU, PLEASE, TO COOK THE ALL-TIME CLASSIC FRENCH CELEBRATION CAKE, THE FRAISIER. NOW, THIS HAS GOT TO BE VISUALLY STUNNING, OK? IT'S ALL ABOUT THE LAYERS OF SPONGE, STRAWBERRY, AND CREME PATISSIERE. SO, ON YOUR MARKS. GET SET. BOTH: BAKE. I'M LOOKING FORWARD TO IT. I MEAN, I'M GOING TO DO WHAT I INSTINCTIVELY FEEL IS RIGHT, BUT I NEED TO GO BACK AND READ THE INSTRUCTIONS FOR A START. JAMES: READ THROUGH THE RECIPE, AND I CAN'T QUITE VISUALIZE IT, WHICH ISN'T REALLY A GOOD SIGN. DANNY: I KNOW WHAT ONE SHOULD LOOK LIKE, BUT I DON'T ACTUALLY KNOW IF I CAN DO IT, SO, LET'S SEE. MAN: A GENOESE SPONGE, SLICED THINLY AND LAYERED WITH ENRICHED CREME PATISSIERE, EDGED WITH A CROWN OF SLICED STRAWBERRIES. FRAISIER CAKE. I'VE NEVER MADE ONE IN MY LIFE. IT IS REALLY, REALLY SPECIAL. IT'S TRICKY TO MAKE, BUT IT IS ONE OF THE MOST DELICIOUS CAKES YOU'LL EVER MAKE. VISUALLY, IT LOOKS STUNNING. AND I'M GOING TO SHOW YOU HOW TO DO IT PERFECTLY. GO AHEAD, THEN. MAN: FIRST OF ALL, ROLL OUT A THIN DISC OF MARZIPAN AND DRAW AROUND THE BASE OF THE CAKE TIN SO THAT THE CIRCLE WILL PERFECTLY FIT ON THE TOP OF YOUR CAKE. PLACE ON A BAKING TRAY AND LEAVE TO CHILL IN THE FRIDGE WHILST YOU MAKE THE GENOESE SPONGE. NOW, A CLASSIC GENOESE IS JUST EGGS WITH FLOUR AND SUGAR AND BUTTER, AND YOU MAKE IT OVER HOT WATER. IF YOU'VE GOT A POWERFUL MACHINE, YOU CAN DO IT JUST BY WHISKING THE EGGS AND SUGAR TO START WITH. MAN: CRACK 4 EGGS INTO A BOWL AND GET ALL THE ZEST OFF TWO LEMONS. YOU WILL NEED THEIR JUICE FOR THE LEMON SYRUP LATER. MEASURE OUT 125 GRAMS OF CASTER SUGAR AND ADD TO THE EGGS. MIX IT ON FULL POWER SO THAT YOU GET GOOD VOLUME. [WHIRRING SLOWS, STOPS] THERE WE ARE. THAT'S IT. NOW YOU CAN SEE IT'S LOVELY AND THICK. YOU CAN OVER-BEAT IT. IF YOU GET IT REALLY FIRM, ALMOST LIKE MERINGUE, YOU WON'T GET THE FLOUR IN. MAN: SIFT IN 125 GRAMS OF SELF-RAISING FLOUR, A LITTLE BIT AT A TIME. IF YOU ADD ALL THE FLOUR AT ONCE, IT'S LIKELY TO GO IN IN POCKETS, SO, JUST A LITTLE LIKE THAT. WHEN I MADE THIS WHEN I WAS TRAINED, WE USED PLAIN FLOUR, AND YOU USED JUST THE VOLUME OF THE EGGS TO RISE THE SPONGE. YEAH. BUT I FIND NOW WE ALL USE SELF-RAISING FLOUR. WHY NOT USE IT AND GET THE EXTRA RISE, AND, YOU KNOW, IT WORKS EVERY TIME. MAN: ADD THE MELTED BUT SLIGHTLY COOLED BUTTER TO THE SPONGE MIXTURE. IF ADDED WHILST HOT, YOU'LL LOSE THE VOLUME OF THE MIX. IT'S MELTED, BUT IT'S NOT RUNNY, NOT OILY, JUST VERY, VERY SOFT. AT THIS STAGE, IT JUST LOOKS LIKE A NORMAL, WHISKED SPONGE THAT YOU WOULD USE FOR A SWISS ROLL, BUT ADDING THE BUTTER MAKES IT A GENOESE. GENTLE FOLDING MIXTURE TO GET ALL THAT IN. THIS IS THE DANGER POINT BECAUSE IF YOU GO ON WORKING IN THE BUTTER, THE VOLUME WILL GO DOWN AND YOU WON'T GET SUCH A GOOD RISE. MM-HMM. MAN: GENTLY POUR THE MIXTURE INTO A GREASED AND LINED CAKE TIN. DON'T POUR THE MIXTURE INTO THE TIN FROM A GREAT HEIGHT BECAUSE THE AIR BUBBLES WILL BE STRETCHED AND BURST. DO IT CLOSE TO THE TIN. IF YOU DO SEE A LITTLE BIT OF FLOUR IN IT, JUST GIVE IT A LITTLE STIR. IT GOES IN THE OVEN AT 160 FAN, THAT'S 4 GAS, AND IT'LL TAKE ABOUT 35 MINUTES. LOOKS GOOD, MARY. OH, GOOD. SIGH OF RELIEF. MAN: YOU CAN TELL THE CAKE IS BAKED AS IT WILL SHRINK AWAY FROM THE SIDES OF THE TIN AND WILL SPRING BACK WHEN PRESSED. AND YOU EXPECT THAT SLIGHT ROUNDEDNESS WITH A GENOESE. MAN: LEAVE THE CAKE IN THE TIN TO COOL WHILST YOU MAKE THE LEMON SYRUP. JUICE THE TWO LEMONS THAT WERE ZESTED EARLIER AND MEASURE OUT 75 GRAMS OF CASTER SUGAR. HEAT TOGETHER IN 70 MLS OF WATER UNTIL IT'S ALL DISSOLVED. LEAVE THAT TO COOL AS YOU MAKE YOUR ENRICHED CREME PATISSIERE. I'M GOING TO START OFF BY PUTTING 600 ML OF MILK INTO THE PAN HERE. THEN I'M GOING TO PUT A VANILLA POD INTO THE MILK, AND THOSE SEEDS ARE GOING TO ADD FLAVOR. MAN: HEAT THE MILK UNTIL JUST BELOW BOILING POINT. MEASURE OUT 180 GRAMS OF CASTER SUGAR AND 100 GRAMS OF CORN FLOUR TO THICKEN IT. I MEAN, I USE A LOT OF CREME PATISSIERE WHEN I'M MAKING DANISH PASTRIES, YOU KNOW. I THINK IT TASTES SO GOOD. OH, I THINK IT'S LOVELY. AND IF YOU GET THE CONSISTENCY RIGHT, IT CUTS THROUGH LIKE A DREAM. NOW, I'VE FOUND THAT IN ORDER TO GET THIS BEAUTIFULLY SMOOTH, IT'S A GOOD IDEA TO COAT THE CORN FLOUR IN THE SUGAR. OTHERWISE, THE CORN FLOUR CAN GO IN LUMPS. SO, THAT'S JUST MIXING IT TOGETHER, LIKE THAT, BEFORE THE EGGS GO IN. THEN I'M GOING TO ADD 4 EGGS AND 2 EGG YOLKS. SO, THERE WE'VE GOT THE 4 EGGS IN THERE, 2 EXTRA YOLKS. THAT'S JUST TO ENRICH IT. AND YOU JUST GO ON MIXING UNTIL IT'S REALLY, REALLY SMOOTH. THAT'S REALLY WELL MIXED. THERE'S NO FLECKS OF CORN FLOUR. IT DOES HELP TO PUT THAT SUGAR AND CORN FLOUR IN FIRST. YEAH. MAN: POUR THE HOT MILK ONTO THE COLD EGG MIXTURE SO THAT THE EGGS DON'T SCRAMBLE. YOU CAN USE A SIEVE TO CATCH THE VANILLA POD AND KEEP WHISKING. POUR BACK INTO THE SAUCEPAN AND STIR CONTINUOUSLY SO THAT IT DOESN'T GO LUMPY. EVEN THOUGH THERE'S A LOT OF EGG IN THERE, THE CORN FLOUR IS STABILIZING THAT AND IT WILL GRADUALLY THICKEN. MAN: WHILST MARY'S CREME PATISSIERE MIGHT BE THICKENING, THE BAKERS' NERVES WERE NOT SO SET. IT'S CURDLED. I'M NOT USING IT. I'LL KEEP IT JUST IN CASE THE NEXT ONE'S WORSE. NORMALLY WITH CREME PATISSIERE, YOU'RE LOOKING FOR A MEDIUM THICKNESS. DANNY: I'M SURE, YOU KNOW, A PERFECT BAKER WOULDN'T DO WHAT I'VE JUST DONE WITH MINE, BUT I'M NOT PERFECT. I'M A HUMAN BEING. HA HA! PAUL: I THINK IT'S THERE, MARY. RIGHT. I'VE JUST GOT THE ADDITION OF THE 150 GRAMS OF BUTTER THAT'S SLIGHTLY SOFTENED. JUST DROP THAT ALL IN IN ONE GO. AND THEN SOME KIRSCH, ABOUT A TABLESPOON. IF YOU HAVEN'T GOT KIRSCH, YOU COULD USE... LIMONCELLO WOULD BE NICE. BRANDY. WHATEVER'S IN THE CUPBOARD. AND NOW WE NEED TO TAKE THAT OUT AND PUT IT TO COOL. I FIND IT'S BETTER TO PUT IT IN SOMETHING SHALLOW, AND THEN IT COOLS QUICKLY. SO, ONCE THAT'S COOLED DOWN A BIT, WE'LL PUT IT IN THE FRIDGE TO BECOME REALLY FIRM. NOW THE CAKE SHOULD BE COOLED. SHALL WE HAVE IT OUT OF THE TIN? IT CERTAINLY IS COOL. RIGHT. SPRINGFORM TIN. YOU TAKE OFF THE PAPER ON THE BOTTOM. [PAPER CRINKLING] NOW FOR THE EXCITING PART. WE'RE GOING TO ASSEMBLE THE CAKE. MAN: GREASE YOUR CAKE TIN AND LINE IT WITH GREASEPROOF PAPER OR ACETATE. THIS IS WHAT WILL GIVE THE FRAISIER CAKE ITS DISTINCTIVE EDGES ONCE ASSEMBLED. ACETATE IS PERFECT FOR LINING THIS, BUT NOT EVERYBODY'S GOT IT AT HOME. I'VE TRIED IT JUST LINING THE TIN WITH CLING FILM. THAT'S ABSOLUTELY FINE. OR YOU CAN USE FOIL THAT'S LINED WITH PARCHMENT. MAN: NOW IT'S TIME TO CUT YOUR COOLED SPONGE IN HALF. SO, YOU PUT YOUR HAND FLAT, THEN GET EYE LEVEL... AND THEN WHAT I DO IS I TURN THE CAKE AND MOVE IT ROUND AS I'M DOING THE KNIFE, AND THEN GO THROUGH TO THE MIDDLE A BIT LATER. THAT'S IT. MAN: PUT THE BOTTOM HALF OF THE SPONGE BACK IN THE LINED CAKE TIN AND BRUSH WITH HALF OF THE LEMON SYRUP. I'M GOING TO GET A SPOON AND SQUASH THAT DOWN SO THAT IT REALLY DOES GET INTO THE SIDES. NOW WE COME TO THE STRAWBERRY PART. IT'S ESSENTIAL TO CUT THE BOTTOM OFF AND HAVE A NEAT SLICE AND THIS WILL GO NEXT TO THE ACETATE... YUP. PRESSING IT FIRMLY DOWN ONTO THE SPONGE. I'M ABSOLUTELY SQUASHING THEM AS TIGHTLY AS I CAN TO EACH OTHER. NOW, YOU NOTICE HOW THE VERY LAST ONE I SQUISHED IN AND THEY'RE VERY, VERY FIRM AGAINST THE SIDE. MAN: PUT THE CHILLED CREME PATISSIERE INTO A PIPING BAG AND PIPE IT ONTO THE EXPOSED LAYER OF SPONGE IN THE TIN SO THAT IT IS ALL COMPLETELY COVERED. CAN I HAVE A GO, MARY? NO, BECAUSE YOU'RE GOING TO SHOW ME UP. NO, I ENJOY IT. YOU CAN DO IT ABOUT 10 TIMES QUICKER. I LOVE PIPING. I KNOW. WELL, I'M GOING TO LET YOU PIPE THE TOP, THE CHOCOLATE PART. RIGHT. THAT IS COMPLETELY COVERED. NOW WE'RE GOING TO JUST GO BETWEEN THESE STRAWBERRIES, SORT OF LIKE THAT, ALL THE WAY ROUND. NOW, THE NEXT MOVE IS TO PUT THE CHOPPED STRAWBERRIES INTO THE MIDDLE HERE. SO, THE LAYERS ARE BUILDING UP. THEY ARE. AND NOW I'M GOING TO PUT THE REST OF THE CREME PATISSIERE ALL OVER THE TOP OF THAT. SO, THAT'S PERFECT. AND NOW WE COME TO THE FINAL LAYER. SO, JUST TURN THAT UPSIDE DOWN ONTO THE TOP THERE. GIVES YOU A NICE, FLAT TOP, DOESN'T IT? IT DOES. I'M PRESSING THAT DOWN WELL. SO, WE USED HALF THE SUGAR SYRUP ON THE FIRST SPONGE, AND I'M NOW USING HALF THE LEMON SYRUP ON TOP. THEN TAKE A SPOON AND JUST PRESS THAT DOWN JUST SO AS IT'S LEVEL, AND THEN WE NEED THE MARZIPAN. DO YOU REMEMBER WE PUT THE MARZIPAN IN THE FRIDGE? YUP. NOW, I THINK I'LL BE ABLE TO LIFT THAT OFF IN ONE PIECE, 'CAUSE IT'S SO COLD, LIKE THAT, AND SLIP IT ON THE TOP. AND THAT IS A PERFECT FIT. NOW YOU WANT TO PUT THAT BACK IN THE FRIDGE TO BE REALLY FIRM BEFORE WE TURN IT OUT AND DECORATE IT. MAN: BUT WITHOUT KNOWING WHAT THE FINISHED CAKE LOOKED LIKE, THE BAKERS FOUND PUTTING IT TOGETHER HARDER THAN EXPECTED. I CAN'T DO IT. OOH! SO, IN FRANCE, IT'S NEARLY ALWAYS DECORATED WITH CHOCOLATE. HOW ABOUT YOU HAVING A GO MAKING SOME SHAPES? THEY DON'T HAVE TO BE PERFECT, YOU KNOW, BUT THE SPIRALS DO LOOK QUITE EFFECTIVE. IT ALWAYS LOOKS BETTER TO USE PLAIN CHOCOLATE RATHER THAN MILK CHOCOLATE. IT ALSO HOLDS UP BETTER. IT'S YOUR ARTISTIC FLAIR COMING OUT ON TOP OF A CAKE. MAN: LET THE CHOCOLATE SWIRLS HARDEN QUICKLY IN THE FRIDGE WHILST YOU RELEASE YOUR CAKE FROM THE TIN AND START TO DECORATE. IT'S IMPORTANT TO PIPE QUITE THICK ONES. YEAH. NOW, THIS IS THE ONE CAKE THAT YOU MUST KEEP IN THE FRIDGE AT ALL THE TIME. THAT'S IT. NOW ALL THAT'S NEEDED IS A NICE DUSTING OF ICING SUGAR, AND THAT WOULD BE WONDERFUL FOR ANY CELEBRATION. DOESN'T NEED ANY CREAM. JUST AS IT IS. ABSOLUTELY. LOOKS GREAT, THAT, MARY, DOESN'T IT? I THINK WE OUGHT TO TRY IT. DON'T YOU? I THINK WE SHOULD, MARY. IT'S A SHAME TO CUT INTO IT. HOW ABOUT THAT? WE OUGHT TO SHARE THAT. CAN I JUST TAKE A LITTLE? I DON'T THINK SO! OK. I'LL TAKE MYSELF. NO, IT'S ALL RIGHT. IT'S ALL RIGHT. DO YOU WANT SOME OF THIS, MARY, YEAH? THE STRAWBERRIES, THE CREME PATISSIERE, AND THEN THE LAST THING YOU HIT IS THAT MARZIPAN, WHICH I THINK WORKS REALLY WELL. IT'S SO BEAUTIFUL WHEN YOU'VE FINISHED AND, OF COURSE, IT TASTES ABSOLUTELY WONDERFUL. I TOTALLY AGREE, MARY. IT'S GORGEOUS. MMM. MAN: FOR THE FINAL WEEK, THE BAKERS HAD TO SUPPLY THE FOOD FOR THE VILLAGE FETE, FROM PERFECT PUFF PASTRY PITHIVIERS IN THE SIGNATURE CHALLENGE TO CHIFFON CAKE SHOWSTOPPERS. AS THE LAST TECHNICAL CHALLENGE, MARY AND PAUL CHOSE TO TEST THE BAKERS' METTLE WITH VOLUME AND CONSISTENCY WHERE SIZE DEFINITELY MATTERED. WHAT WE'RE ASKING YOU TO DO IS TO MAKE... AND ICE... 25 FONDANT FANCIES, A SQUARE OF DELICATE LIGHT SPONGE, A DOME OF BUTTER CREAM, ALL ENCASED IN A GLOSSY FONDANT. MEL: ON YOUR MARKS. GET SET. BOTH: BAKE. IT'S BAKING ON THE HOOF WHILE STILL PRODUCING A REALLY GOOD PRODUCT. I'M REALLY EXCITED ABOUT THIS BECAUSE I'VE ALWAYS WANTED TO MAKE FONDANT FANCIES, BUT I'M NERVOUS BECAUSE THEY ARE DIFFICULT LITTLE CREATURES TO DO. THIS IS ABOUT REALLY PROFESSIONAL FINISH. WHO WOULD EVER MAKE A FONDANT FANCY? MAYBE I'LL WANT TO AFTER THIS. MAN: A SWEET TREAT OF PERFECTLY-SHAPED SQUARES OF CAKE COVERED IN RUNNY, FONDANT ICING AND CHOCOLATE. WILL YOU SHOW US, MARY? SHOW US HOW TO DO YOUR FANCIES. WE'RE GOING TO START OFF WITH A CLASSIC SPONGE BASE. MAN: CRACK 4 EGGS INTO A MIXING BOWL AND MEASURE 225 GRAMS OF CASTER SUGAR, 225 GRAMS OF SELF-RAISING FLOUR, AND 225 GRAMS OF BAKING SPREAD OR SOFTENED BUTTER. ADD THE ZEST OF ONE LEMON AND MIX WELL. [WHIRRING] ALL THE INGREDIENTS ARE THE SAME WEIGHT, SO, IT'S AN EASY RECIPE TO REMEMBER. THAT'S IT. IT COULDN'T REALLY BE EASIER. I'M GOING TO PUT ALL THAT MIXTURE INTO THE PREPARED TIN. AND IF YOU WANTED TO MAKE A CHOCOLATE MIXTURE, YOU WOULD TAKE AWAY 25 GRAMS OF THE FLOUR AND PUT IN 25 GRAMS OF COCOA. NORMALLY, I WOULD JUST LEVEL THAT OFF, IF IT WAS JUST A VICTORIA SANDWICH, BUT I WANT THIS TO BE ABSOLUTELY LEVEL ON TOP. AND SO, I'VE FOUND THAT THE BEST WAY TO DO THAT IS TO PUSH THE MIXTURE INTO THE CORNERS WITH A SLIGHT DENT IN THE MIDDLE. THEN IT WILL LEVEL ITSELF OUT. OK. MAN: PUT IN A PREHEATED OVEN AT 140 FAN AND BAKE FOR ABOUT 40 MINUTES. DON'T OPEN THE DOOR WHILST BAKING OR YOUR SPONGE MAY SINK. MARY: THAT'S FINE. THERE YOU GO. IT'S SHRINKING FROM THE SIDE AND IT'S SPRINGING BACK. PUT IT ON TOP OF THE JAR AND IT SHOULD COME OUT. THERE WE ARE. TURN THAT UPSIDE DOWN IN ORDER TO GET A LOVELY, FLAT SURFACE ON THE TOP. MAN: PUT THE CAKE ASIDE TO COOL WHILST YOU MAKE YOUR BUTTER CREAM. MEASURE OUT 200 GRAMS OF ICING SUGAR AND 250 GRAMS OF UNSALTED BUTTER AND WHISK TOGETHER WELL. [WHIRRING] MOVE THE BOWL ROUND AND KEEP THE BEATER STILL. THEN THE REST CAN GO IN THERE. NOW, YOU SEE THAT IS A LOVELY LIGHT COLOR. IT'S WELL BLENDED, NO LUMPS IN THERE, AND IT'LL BE FULL OF FLAVOR. ON TO THE MARZIPAN ON THE TOP. MAN: ROLL OUT 200 GRAMS OF MARZIPAN THINLY, USING ICING SUGAR TO DUST THE SURFACE INSTEAD OF FLOUR SO THAT IT ADDS TO THE FLAVOR. SO, WE'RE GOING TO PUT THAT INTO THE CENTER AND CUT IT OFF. SO, THAT'S THE BASE FROM THE CAKE YOU'VE USED AS A TEMPLATE. MAN: BRUSH THE FLAT TOP OF THE CAKE WITH WARMED AND SIEVED APRICOT JAM SO THAT THERE ARE NO LUMPS ON THE SURFACE. LAYER THE THIN SQUARE OF MARZIPAN ON TOP OF THE CAKE, WHICH SHOULD BE THE EXACT FIT AND PERFECTLY SMOOTH. NOW WE HAVE TO CUT IT INTO THE SQUARES. TAKE A SHARP KNIFE, MAKE QUITE SURE THERE ARE NO CRUMBS ON THE KNIFE, AND DO IT SLOWLY. SO, IT'S REALLY PRECISION TO GET EVERY ONE IDENTICAL. IF, AT THE EDGES, THERE'S A LITTLE BIT OF A TILT, TURN THEM OVER AND THEN JUST LEVEL IT OFF WITH A SHARP KNIFE. MAN: WHEN YOU'VE MADE 25 EQUAL SQUARES, YOU CAN BUTTER CREAM THE SIDES OF EACH CAKE. SO, A LITTLE BUTTER CREAM. IT'S JUST TO GIVE THE SMOOTHEST EDGE, AND IT'S GOT TO COME RIGHT UP TO THE MARZIPAN. SO, THERE'S ONE DONE. AND PERHAPS WOULD YOU LIKE TO PUT THE LITTLE BLOB ON TOP? YEAH. TELL ME WHEN. JUST A NEAT, SMALL BLOB IN THE MIDDLE. HOW'S THAT? PERFECT. MAN: THE BUTTER CREAM IS IMPORTANT AS IT WILL ACT AS A CRUMB BARRIER, STOPPING ANY CRUMBS FROM THE SPONGE GETTING INTO THE FONDANT ICING LATER ON. AND I SHALL PUT THESE IN THE FRIDGE AND WHEN THEY HAVE HARDENED UP A LITTLE BIT, I WILL PUT A KNIFE ACROSS THE SIDES. JUST TO SMOOTH THAT RIGHT DOWN. JUST TO SMOOTH IT. AND IF THEY REALLY HAVE GOT A BIT TOO COLD, I DIP THE KNIFE IN HOT WATER, DRY IT, AND THEN PUSH IT ACROSS, SO THAT IT'S ABSOLUTELY SMOOTH, BECAUSE THEY'RE NOT PERFECT AT THE MOMENT. THEY WILL BE BY THE TIME YOU'VE FINISHED WITH THEM, MARY. I CAN TELL YOU, THEY'RE GOING TO BE. MAN: PUT THE CAKES IN THE FRIDGE TO CHILL WHILST YOU PREPARE THE FONDANT ICING. THIS, I HAVE TO SAY, IS A BIT TRICKY. THE FONDANT COMES IN A BLOCK. YOU CAN BUY IT IN GOOD SUPERMARKETS. BUT, OF COURSE, IT'S HARD AND STIFF. WE WANT IT TO POUR OVER, OR TO DIP THE FANCIES INTO IT. SO, I'M GOING TO RUN THAT DOWN WITH A LITTLE WATER. MAN: TO MAKE THE HARD FONDANT LIQUID AND READY FOR DIPPING, CUT UP THE BLOCK AND PUT IT INTO THE MIXER, USING A BEATER, NOT A WHISK. MIX AT A SLOW SPEED WHILST YOU ADD IN THE WATER, A TINY AMOUNT AT A TIME. IT'S IMPORTANT TO ONLY ADD A LITTLE AT A TIME SO THAT YOU GET THE ICING TO THE CORRECT POURING CONSISTENCY. IT WANTS TO COAT THE BACK OF A SPOON. THAT IS JUST A LITTLE TOO THICK. IT'S NEARLY THERE. PAUL: IF YOU DO GO TOO FAR, YOU CAN ACTUALLY BRING IT BACK WITH A LITTLE BIT OF ICING SUGAR. [WHIRRING] BRENDAN: MY RECOLLECTION OF THIS SORT OF THING IS THAT IT'S MORE A DELICATE PINK RATHER THAN A DEEP ONE. SO, WE'RE GOING TO HAVE A DEEP ONE. [LAUGHS] [WHIRRING] JAMES: OH, THAT'S QUITE A BRIGHT PINK FROM JUST THAT TINY, LITTLE DROP, ISN'T IT? I DID NOT EXPECT THAT. MAN: BUT THAT'S NOT THE ONLY THING THEY DIDN'T EXPECT. THE DIPPING FONDANT CHALLENGED THEIR BAKING SKILLS TO THE MAX. SUE: IS THIS YOUR PIONEERING TACTICS? MAN: YES. BRENDAN: THE REST WON'T BE AS MESSY, I PROMISE YOU. JAMES: A HAND IS ALWAYS THE BEST METHOD. PLUNGE, QUICK. PLUNGE. PLUNGE, BANG, OUT. WOW! IT'S MORE GENERATION GAME, THIS, THAN SORT OF BIJOUX FRENCH PATISSERIE, ISN'T IT? BIJOUX IS NOT WHAT COMES TO MIND. IS IT DUNKING? IT'S CALLED "LE DUNKAGE." LE DUNKAGE. DUNKAGE DE FONDANT PETIT. [WHIRRING STOPS] THAT LOOKS JUST ABOUT RIGHT. SO, I'M GOING TO ADD A LITTLE ROSE WATER. IT'S A LOVELY FLAVOR, BUT IT SHOULD BE USED IN MODERATION. I'M JUST GOING TO PUT A FEW DROPS IN THERE, AND THAT WILL BE PLENTY. THAT'S JUST A HINT. THEN WE COME TO THE COLORING AND THE SMALLEST AMOUNT. WE COULD ALWAYS ADD MORE. [WHIRRING] THAT LOOKS JUST ABOUT RIGHT TO ME. [WHIRRING STOPS] SO, FOR EASE OF DIPPING, I'M GOING TO TRANSFER IT TO THIS BOWL, AND YOU CAN ALWAYS THIN THIS DOWN IF IT ISN'T QUITE RIGHT. MAN: TAKE THE CAKES FROM THE FRIDGE. THEY SHOULD BE REALLY CHILLED BY NOW SO THAT THE SPONGE HOLDS TOGETHER WHEN IT'S DIPPED IN THE FONDANT, ALLOWING NO CRUMBS TO COME LOOSE. TAKE THE FORK AND DON'T PUT IT IN STRAIGHT, PUT IT IN AT A SLIGHT ANGLE, LIKE THAT, AND THEN THAT'S READY TO DIP. SO, IN IT GOES. SO, WHY DON'T YOU POUR IT, THEN, MARY? I THINK YOU GET A SMARTER FINISH AND I FOUND IT EASIER TO DO IT THIS WAY. SO, IN IT GOES, RIGHT DOWN, THEN A LITTLE TWIST, LET IT DRAIN A BIT, AND THEN PUT IT ON THERE LIKE THAT. MAN: ONCE YOU'VE ICED ALL 25 FONDANT FANCIES, LEAVE THEM TO SET BEFORE DECORATING WITH MELTED CHOCOLATE ON TOP. JAMES: RIGHT. DO I NEED TO CHILL THESE OR SOMETHING? "LEAVE THE FONDANT TO SET." OH, THAT DOESN'T MEAN CHILL, I DON'T THINK. JOHN: NOT BAD, EH? YOU KNOW, THEY LOOK QUITE CUTE, REALLY. IT'S JUST BEEN A VERY STRESSFUL PROCESS. SUE: EVEN THOUGH ONE'S LOST ITS NIPPLE, YOU KNOW, NOT A BAD JOB. JOHN: IF I EVER SEE ANOTHER FONDANT FANCY, I'LL... WHAT WILL YOU DO? DECK IT. [LAUGHS] MARY: SO, THERE THEY ARE, ALL SET AND FIRM. WE NEED THE FINISHING TOUCHES. SO, MELTED CHOCOLATE THAT'S COOL, AND I PUT IT INTO A PIPING BAG. A LOT WILL GO ON THE TRAY. THAT'S WHAT I EXPECT. YOU LET IT COME OUT HERE AND YOU GO BACKWARDS AND FORWARDS LIKE THAT. YOU SEE HOW QUICK YOU'VE GOT TO BE? YEAH. AND AS YOU GET GOING, YOU CAN BE MUCH, MUCH BRAVER AND QUICKER. YOU SEE I'M GETTING THE HANG OF IT NOW. NOW IT'S YOUR TURN. OK. NOW, I EXPECT YOU DO HUNDREDS AT A TIME. DO YOU, WHEN YOU'RE DOING THEM? UH...YEAH. WELL, IT IS A BIT DIFFERENT, YOU AND ME DOING IT. I THINK YOU'VE DONE IT MUCH MORE OFTEN. BUT I'M JUST DEAD CAREFUL. I MUST ADMIT, IT'S ONE OF MY FAVORITE, LITTLE JOBS. WELL, WE'RE NOT GONNA HAVE AN EXAMINATION TO SEE WHOSE IS BEST, BUT I QUITE LIKE MINE, A BIT INFORMAL. I THINK MINE'S A BIT MORE ELEGANT. [LAUGHS] A REALLY TRICKY TECHNICAL CHALLENGE. IT REALLY LOOKS GOOD WHEN YOU CUT INSIDE. THEY'RE DELICIOUS, YOU KNOW. WE'VE NOW SHOWN EVERYBODY HOW TO MAKE THESE PROPERLY AT HOME. WELL, I'VE ENJOYED DOING IT. IT'S SO NICE TO SHOW HOW TO MAKE THINGS. YOU CAN JUST FOLLOW IT, STEP BY STEP, TO GET A PERFECT FINISH. MAN: NEXT TIME, A FIRST, AS MARY AND PAUL SHARE 5 OF THEIR SIGNATURE BAKES. PAUL: I'M QUITE LOOKING FORWARD TO PUTTING MY OWN PERSONALITY INTO THE SIGNATURE CHALLENGES. MAN: THEY'LL TAKE YOU THROUGH EVERY STEP OF THEIR RECIPES... I RATHER LIKE TURNING THINGS OUT. I LIKE THE SURPRISE. MAN: OFFERING ALL THE HINTS AND TIPS TO GET THE PERFECT RESULTS AT HOME EVERY TIME... PAUL: TACK A LITTLE BIT DOWN ON THE TABLE. WHEN YOU ROLL THAT OVER, YOU CAN PULL IT AND GET A BIT OF A TENSION. MAN: JOIN US NEXT TIME FOR ANOTHER MASTERCLASS. THAT'S WICKED, THAT. " . _:genid2df00a28cd93e94da9b4eb09c100c6b6622db0 "From the queen of puddings to chocolate tea cakes, jam doughnuts, fraisier cake and fondant fancies, Mary and Paul prove that no bake is too big or too small. They go through every step in detail to show how to avoid the mistakes some of the bakers made." . _:genid2df00a28cd93e94da9b4eb09c100c6b6622db0 "S5 E12: Masterclass, Part 2 | The Great British Baking Show" . _:genid2df00a28cd93e94da9b4eb09c100c6b6622db0 . _:genid2df00a28cd93e94da9b4eb09c100c6b6622db0 "2018-12-23T05:00:00+00:00"^^ . _:genid2df00a28cd93e94da9b4eb09c100c6b6622db0 "PT0H54M51S" . _:genid2df00a28cd93e94da9b4eb09c100c6b6622db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2df00a28cd93e94da9b4eb09c100c6b6622db0 . . "KOCE-TV" . "KOCE" . _:genid2d48630261df9243c6acb51f354920d0c72db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d48630261df9243c6acb51f354920d0c72db0 . _:genid2d48630261df9243c6acb51f354920d0c72db1 . "https://www.pbssocal.org/" . . _:genid2d48630261df9243c6acb51f354920d0c72db0 . _:genid2d48630261df9243c6acb51f354920d0c72db0 "Costa Mesa" . _:genid2d48630261df9243c6acb51f354920d0c72db0 "CA" . _:genid2d48630261df9243c6acb51f354920d0c72db0 "US" . _:genid2d48630261df9243c6acb51f354920d0c72db0 "92626" . _:genid2d48630261df9243c6acb51f354920d0c72db0 "3080 Bristol St. #100" . _:genid2d48630261df9243c6acb51f354920d0c72db1 . _:genid2d48630261df9243c6acb51f354920d0c72db1 "3.36846105E1"^^ . _:genid2d48630261df9243c6acb51f354920d0c72db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d48630261df9243c6acb51f354920d0c72db2 . _:genid2d48630261df9243c6acb51f354920d0c72db2 "Monday" . _:genid2d48630261df9243c6acb51f354920d0c72db2 "Tuesday" . _:genid2d48630261df9243c6acb51f354920d0c72db2 "Wednesday" . _:genid2d48630261df9243c6acb51f354920d0c72db2 "Thursday" . _:genid2d48630261df9243c6acb51f354920d0c72db2 "Friday" . _:genid2d48630261df9243c6acb51f354920d0c72db2 "08:00" . _:genid2d48630261df9243c6acb51f354920d0c72db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2d331acc71dd444e83a4d47d936cdf17232db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d331acc71dd444e83a4d47d936cdf17232db0 . _:genid2d331acc71dd444e83a4d47d936cdf17232db1 . "https://www.pbssocal.org/" . . _:genid2d331acc71dd444e83a4d47d936cdf17232db0 . _:genid2d331acc71dd444e83a4d47d936cdf17232db0 "Costa Mesa" . _:genid2d331acc71dd444e83a4d47d936cdf17232db0 "CA" . _:genid2d331acc71dd444e83a4d47d936cdf17232db0 "US" . _:genid2d331acc71dd444e83a4d47d936cdf17232db0 "92626" . _:genid2d331acc71dd444e83a4d47d936cdf17232db0 "3080 Bristol St. #100" . _:genid2d331acc71dd444e83a4d47d936cdf17232db1 . _:genid2d331acc71dd444e83a4d47d936cdf17232db1 "3.36846105E1"^^ . _:genid2d331acc71dd444e83a4d47d936cdf17232db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d331acc71dd444e83a4d47d936cdf17232db2 . _:genid2d331acc71dd444e83a4d47d936cdf17232db2 "Monday" . _:genid2d331acc71dd444e83a4d47d936cdf17232db2 "Tuesday" . _:genid2d331acc71dd444e83a4d47d936cdf17232db2 "Wednesday" . _:genid2d331acc71dd444e83a4d47d936cdf17232db2 "Thursday" . _:genid2d331acc71dd444e83a4d47d936cdf17232db2 "Friday" . _:genid2d331acc71dd444e83a4d47d936cdf17232db2 "08:00" . _:genid2d331acc71dd444e83a4d47d936cdf17232db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db0 . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db1 . "https://www.pbssocal.org/" . . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db0 . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db0 "Costa Mesa" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db0 "CA" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db0 "US" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db0 "92626" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db0 "3080 Bristol St. #100" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db1 . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db1 "3.36846105E1"^^ . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db2 . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db2 "Monday" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db2 "Tuesday" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db2 "Wednesday" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db2 "Thursday" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db2 "Friday" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db2 "08:00" . _:genid2dd8439fd674de4b02a8f8a0e8f4b1b42f2db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2d96ce1a87f017441fbf27aff891c67f352db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d96ce1a87f017441fbf27aff891c67f352db0 . _:genid2d96ce1a87f017441fbf27aff891c67f352db1 . "https://www.pbssocal.org/" . . _:genid2d96ce1a87f017441fbf27aff891c67f352db0 . _:genid2d96ce1a87f017441fbf27aff891c67f352db0 "Costa Mesa" . _:genid2d96ce1a87f017441fbf27aff891c67f352db0 "CA" . _:genid2d96ce1a87f017441fbf27aff891c67f352db0 "US" . _:genid2d96ce1a87f017441fbf27aff891c67f352db0 "92626" . _:genid2d96ce1a87f017441fbf27aff891c67f352db0 "3080 Bristol St. #100" . _:genid2d96ce1a87f017441fbf27aff891c67f352db1 . _:genid2d96ce1a87f017441fbf27aff891c67f352db1 "3.36846105E1"^^ . _:genid2d96ce1a87f017441fbf27aff891c67f352db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d96ce1a87f017441fbf27aff891c67f352db2 . _:genid2d96ce1a87f017441fbf27aff891c67f352db2 "Monday" . _:genid2d96ce1a87f017441fbf27aff891c67f352db2 "Tuesday" . _:genid2d96ce1a87f017441fbf27aff891c67f352db2 "Wednesday" . _:genid2d96ce1a87f017441fbf27aff891c67f352db2 "Thursday" . _:genid2d96ce1a87f017441fbf27aff891c67f352db2 "Friday" . _:genid2d96ce1a87f017441fbf27aff891c67f352db2 "08:00" . _:genid2d96ce1a87f017441fbf27aff891c67f352db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db0 . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db1 . "https://www.pbssocal.org/" . . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db0 . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db0 "Costa Mesa" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db0 "CA" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db0 "US" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db0 "92626" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db0 "3080 Bristol St. #100" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db1 . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db1 "3.36846105E1"^^ . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db2 . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db2 "Monday" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db2 "Tuesday" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db2 "Wednesday" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db2 "Thursday" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db2 "Friday" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db2 "08:00" . _:genid2d0b995bb9518f4f0f8c7c79f46c6f09c82db2 "17:00" . _:genid2db8a32b51a2cb424f92c743efc389bf432db0 . _:genid2db8a32b51a2cb424f92c743efc389bf432db0 " (gentle music) - It's time for that favorite challenge of yours, the revered technical challenge. Now you should know how this works by now. You've done it for nine weeks. It is judged blind, so, Paul and Mary, off you trot. - What we're asking you to do is to make and ice 25 fondant fancies. Proper artisan, beautifully done, fondant fancies. You need a square of delicate light sponge, a dome of buttercream, all encased in a glossy fondant. - All the very best. This is your last technical challenge. - On your marks... - Get set... - [Sue And Mel] Bake! (gentle music) - [Narrator] For today's technical challenge, Paul and Mary's recipe contains even fewer instructions than usual. - I haven't made them before, but at least you're working with sponges and accuracy, and so on, which, you know, I do have some skills in. - How long have we've got for this? - Can't remember what a fondant fancy actually looks like. (paper rustling) (gentle music) - A very tricky technical challenge. They've got to bake their cake absolutely level and evenly. They've then got to divide it into 25. Buttercream all the way around each square. - We're giving them 25 perfect squares of sponge to do, top them with marzipan, put apricot jam on it, put buttercream around the outside, put fondants on the top, and spin it with chocolate. All in 2 1/2 hours. That's (laughs) difficult to do. (gentle music) " . _:genid2db8a32b51a2cb424f92c743efc389bf432db0 "For the final technical challenge, the bakers are asked to make 25 fondant fancies." . _:genid2db8a32b51a2cb424f92c743efc389bf432db0 "S5 E10: Technical Challenge: Fondant Fancies | The Great British Baking Show" . _:genid2db8a32b51a2cb424f92c743efc389bf432db0 . _:genid2db8a32b51a2cb424f92c743efc389bf432db0 "2018-08-11T00:30:00+00:00"^^ . _:genid2db8a32b51a2cb424f92c743efc389bf432db0 "PT0H01M39S" . _:genid2db8a32b51a2cb424f92c743efc389bf432db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2db8a32b51a2cb424f92c743efc389bf432db0 . . "KOCE-TV" . "KOCE" . _:genid2d79e642e44f5942de856fa260deaee4812db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d79e642e44f5942de856fa260deaee4812db0 . _:genid2d79e642e44f5942de856fa260deaee4812db1 . "https://www.pbssocal.org/" . . _:genid2d79e642e44f5942de856fa260deaee4812db0 . _:genid2d79e642e44f5942de856fa260deaee4812db0 "Costa Mesa" . _:genid2d79e642e44f5942de856fa260deaee4812db0 "CA" . _:genid2d79e642e44f5942de856fa260deaee4812db0 "US" . _:genid2d79e642e44f5942de856fa260deaee4812db0 "92626" . _:genid2d79e642e44f5942de856fa260deaee4812db0 "3080 Bristol St. #100" . _:genid2d79e642e44f5942de856fa260deaee4812db1 . _:genid2d79e642e44f5942de856fa260deaee4812db1 "3.36846105E1"^^ . _:genid2d79e642e44f5942de856fa260deaee4812db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d79e642e44f5942de856fa260deaee4812db2 . _:genid2d79e642e44f5942de856fa260deaee4812db2 "Monday" . _:genid2d79e642e44f5942de856fa260deaee4812db2 "Tuesday" . _:genid2d79e642e44f5942de856fa260deaee4812db2 "Wednesday" . _:genid2d79e642e44f5942de856fa260deaee4812db2 "Thursday" . _:genid2d79e642e44f5942de856fa260deaee4812db2 "Friday" . _:genid2d79e642e44f5942de856fa260deaee4812db2 "08:00" . _:genid2d79e642e44f5942de856fa260deaee4812db2 "17:00" . _:genid2d58dcee95193d41dabbfbcd78339c59862db0 . _:genid2d58dcee95193d41dabbfbcd78339c59862db0 " VO: The USS Indianapolis. MAN: The first torpedo hits in the bow of the ship. MAN: The ship was going down. VO: 900 survivors drifted for days. MAN: You could hear shipmates screaming for help. VO: Now, an extraordinary mission... MAN: Woah! Yep, that's it! VO: To find the ship... MAN: That's fantastic! VO: Bring closure... MAN: This is hallowed ground for them. VO: And honor those who served. MAN: I want to keep the story alive. VO: USS Indianapolis: The Final Chapter. Tuesday at 10/9 central. Only on PBS. " . _:genid2d58dcee95193d41dabbfbcd78339c59862db0 "Follow a scientific detective story detailing the discovery of the USS Indianapolis wreck site three and a half miles below the Philippine Sea. The ship's sinking in the final days of WWII was the largest loss of life in US Naval history, and the harrowing survival story of 316 sailors drifting in failing life preservers is legendary." . _:genid2d58dcee95193d41dabbfbcd78339c59862db0 "Preview | USS Indianapolis: The Final Chapter | USS Indianapolis" . _:genid2d58dcee95193d41dabbfbcd78339c59862db0 . _:genid2d58dcee95193d41dabbfbcd78339c59862db0 "2018-08-22T21:19:39+00:00"^^ . _:genid2d58dcee95193d41dabbfbcd78339c59862db0 "PT0H00M30S" . _:genid2d58dcee95193d41dabbfbcd78339c59862db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2d58dcee95193d41dabbfbcd78339c59862db0 . . "KOCE-TV" . "KOCE" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db0 . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db1 . "https://www.pbssocal.org/" . . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db0 . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db0 "Costa Mesa" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db0 "CA" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db0 "US" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db0 "92626" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db0 "3080 Bristol St. #100" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db1 . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db1 "3.36846105E1"^^ . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db2 . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db2 "Monday" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db2 "Tuesday" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db2 "Wednesday" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db2 "Thursday" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db2 "Friday" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db2 "08:00" . _:genid2d7dc029d382a04eb6a3ce8c85ed53c02d2db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2d551bba454240447bb67c22ea1937930f2db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d551bba454240447bb67c22ea1937930f2db0 . _:genid2d551bba454240447bb67c22ea1937930f2db1 . "https://www.pbssocal.org/" . . _:genid2d551bba454240447bb67c22ea1937930f2db0 . _:genid2d551bba454240447bb67c22ea1937930f2db0 "Costa Mesa" . _:genid2d551bba454240447bb67c22ea1937930f2db0 "CA" . _:genid2d551bba454240447bb67c22ea1937930f2db0 "US" . _:genid2d551bba454240447bb67c22ea1937930f2db0 "92626" . _:genid2d551bba454240447bb67c22ea1937930f2db0 "3080 Bristol St. #100" . _:genid2d551bba454240447bb67c22ea1937930f2db1 . _:genid2d551bba454240447bb67c22ea1937930f2db1 "3.36846105E1"^^ . _:genid2d551bba454240447bb67c22ea1937930f2db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d551bba454240447bb67c22ea1937930f2db2 . _:genid2d551bba454240447bb67c22ea1937930f2db2 "Monday" . _:genid2d551bba454240447bb67c22ea1937930f2db2 "Tuesday" . _:genid2d551bba454240447bb67c22ea1937930f2db2 "Wednesday" . _:genid2d551bba454240447bb67c22ea1937930f2db2 "Thursday" . _:genid2d551bba454240447bb67c22ea1937930f2db2 "Friday" . _:genid2d551bba454240447bb67c22ea1937930f2db2 "08:00" . _:genid2d551bba454240447bb67c22ea1937930f2db2 "17:00" . _:genid2dafebd958c4b1462bb59f9681f1f085962db0 . _:genid2dafebd958c4b1462bb59f9681f1f085962db0 " NARRATOR: THROUGHOUT A VERY SOGGY BRITISH SUMMER, 12 BRAVE BAKERS BATTLED IT OUT OVER BAIN-MARIES AND BAKING TRAYS TO IMPRESS THE KING AND QUEEN OF CAKES, MARY BERRY AND PAUL HOLLYWOOD. THE STANDARD HAS GONE UP AND UP. PAUL: THAT TEXTURE IS EXCELLENT. WE RAISED THE BAR AND ALL OF THEM, FORTUNATELY, HAVE LEAPT OVER IT. NARRATOR: EACH WEEK, THE BAKERS FACED 3 CHALLENGES THAT TESTED THEIR BAKING EXPERIENCE... AHH! THEIR CREATIVITY, AND THEIR ABILITY TO WORK UNDER PRESSURE. DICING WITH DEATH IN THE MARQUEE. NARRATOR: AS THE HEAT WAS TURNED UP, SOME OF THEM STARTED TO CRACK. LOOK AT THE STATE OF ME. MY HANDS ARE SHAKING. I CAN'T DO IT. NARRATOR: BUT IT WAS THE SIGNATURE BAKES THAT SAID MOST ABOUT THE BAKERS THEMSELVES-- A TRIED AND TESTED RECIPE OF THEIR OWN THAT WOULD WOW MARY AND PAUL'S PALATE. I'M JUST MAKING THINGS TODAY THAT I LIKE. COULD GO GREAT, COULD GO CATASTROPHICALLY BAD. BUT YOU'VE WORKED ALL THAT OUT, HAVEN'T YOU? I THINK SO. IT DOES WORK QUITE WELL AT HOME AND EVERYBODY REALLY LIKES IT. NARRATOR: BUT NOW IT'S TIME FOR MARY AND PAUL TO DEMONSTRATE SOME OF THEIR OWN SIGNATURE BAKES AND SEE WHAT THEY WOULD HAVE DONE IN THE BAKERS' SHOES. I'M QUITE LOOKING FORWARD TO PUTTING MY OWN PERSONALITY INTO THE SIGNATURE CHALLENGES. I'VE GOT LOTS OF HINTS AND TIPS TO GIVE PEOPLE. AND I JUST HOPE EVERYBODY AT HOME LIKES IT AND WANTS TO BAKE IT THEMSELVES. NARRATOR: COMING UP: PAUL MAKES HIS OWN FLATBREADS WITH A TWIST, COMBINING A SMOOTH CAMEMBERT WITH QUINCE JELLY, PERFECT FOR ANY PICNIC; MARY'S OWN SIGNATURE RECIPE FOR THE PERFECT APPLE TARTE TATIN, CRISP APPLES AND GOLDEN CARAMEL WITH A PUFF PASTRY BASE; PAUL'S RECIPE FOR BEEF WELLINGTON, A FILLET OF BEEF WRAPPED IN PATE AND DELICIOUS LAMINATED REAL PUFF PASTRY; MARY'S SIGNATURE SPONGE PUDDING, A DELICIOUSLY LIGHT APPLE SPONGE SOAKED IN STICKY TOFFEE SAUCE; AND PAUL'S SIGNATURE REGIONAL BUNS. HIS TWIST ON THE CLASSIC CHELSEA BUN COMBINES DRIED FRUIT AND CINNAMON WITH ORANGE ICING. AND FINALLY, IF YOU'VE EVER WANTED TO KNOW HOW TO LINE A TIN, MARY WILL SHOW US ALL THE TRICKS. WITH BAKING, YOU NEVER STOP LEARNING. PAUL: THIS IS OUR CHANCE TO SHOW YOU GUYS HOW TO BAKE AT HOME PROPERLY. IF EVERYBODY FOLLOWS THESE STAGES, YOU'LL GET A PERFECT RESULT. LET IT BE YOUR SIGNATURE DISH. NARRATOR: WEEK TWO, AND THE BAKERS WERE BATTLING WITH BREAD. THEY CREATED A HUGE RANGE OF SHOW-STOPPING BAGELS AND GOT THEMSELVES INTO A KNOT WITH PAUL'S 8-STRANDED PLAITED LOAF IN THE TECHNICAL CHALLENGE, BUT THE DAY STARTED OFF FLAT WITH THE SIGNATURE CHALLENGE. SUE: TODAY, IT'S THE SIGNATURE BAKE, AND WHAT WE'RE LOOKING FOR ARE FLATBREADS. NOW, THESE CAN BE TORTILLA, NAAN, ROTI, ANYTHING YOU LIKE. MEL: YOU CAN BAKE THEM ANY WAY YOU WANT. SO... ON YOUR MARKS. GET SET. BOTH: BAKE. CATHRYN: I'M DOING A SPICED MANGO NAAN BREAD. VICTORIA: GARLIC, PARSNIP, AND BLACK CARDAMOM CHAPATTIS. STUART: A BOMBAY BREAD. SO IF YOU'VE EVER HAD BOMBAY MIX, IT'S KIND OF THE SAME FLAVOR. THIS IS TRADITIONAL CHINESE BREAD. I'M MAKING SOME ITALIAN-STYLE FLATBREADS. THIS IS MY MUM'S RECIPE THAT I'M USING, AND I'VE NOT CHANGED ANYTHING, SO IT HOPEFULLY SHOULD STILL WORK. FINGERS CROSSED. NARRATOR: PAUL'S TWIST ON THE SIGNATURE FLATBREAD CHALLENGE IS HIS RECIPE FOR FRESH DOUGH COMBINED WITH RICH CAMEMBERT AND QUINCE JELLY. I'VE BEEN MAKING FLATBREADS LIKE THIS, AND CERTAINLY THIS TECHNIQUE, FOR THE LAST... [GROANS] YEARS, A LONG TIME. FLATBREADS GO BACK RIGHT INTO HISTORY. THE ONE I'M GOING TO USE TODAY, I'M GOING TO BE USING YEAST. YOU CAN MAKE IT WITH A SOUR, BUT I'M GOING TO MODERNIZE IT BY ADDING CAMEMBERT AND QUINCE. VERY SIMPLE TO DO, ACTUALLY, AND GREAT FOR DINNER PARTIES. NARRATOR: WEIGH 500 GRAMS OF STRONG WHITE FLOUR INTO A MIXING BOWL, ADD 10 GRAMS OF SALT TO ONE SIDE AND 7 GRAMS OF FAST-ACTION YEAST TO THE OTHER. THE YEAST IS OBVIOUSLY THE LEAVENING BIT. THIS IS THE BIT THAT'S GOING TO PUT A BIT OF AIR IN IT AND GIVE IT A BIT OF PUNCH WHEN YOU PUT IT ON TO THE SKILLET TO BAKE IT. AND THEN A GOOD GLUG OF-- IT'S ABOUT 20, 30 GRAMS OF OLIVE OIL, STRAIGHT IN. THE NEXT THING I'M GOING TO ADD IS MY WATER, A LITTLE BIT TO START WITH. RIGHT. FINGERS LIKE A MIXER. JUST MIX IT IN, TURN THE BOWL ROUND. COULD I DO THAT IN A MIXER? YOU COULD DO IT IN A MIXER. USE A DOUGH HOOK, NOT A PADDLE. NOW, I'M USING COLD WATER. MOST PEOPLE WHEN THEY'RE MAKING DOUGHS WOULD USE WARM WATER, YOU KNOW. YES, I WOULD. BUT COLD WATER ACTUALLY WILL STILL RISE THE BREAD, IT JUST TAKES LONGER. AND IT'S THE LENGTH OF TIME THAT IT PROVES GIVES YOU THE FLAVOR. SO A LONG PROVE GETS THE BEST BREAD. LONG PROVE, MORE FLAVOR. LESS PROVE, LESS FLAVOR. SO ARE YOU DOING IT TO THE SAME CONSISTENCY THAT YOU WOULD DO FOR AN ORDINARY WHITE BREAD? A NORMAL WHITE BREAD, YEAH. NOW THAT LOOKS ABOUT RIGHT. I'VE PICKED UP MOST OF THE FLOUR NOW ON THE BOWL. NARRATOR: POUR SOME OLIVE OIL ONTO THE BENCH BEFORE KNEADING THE DOUGH. DON'T USE FLOUR, AS IT WILL TIGHTEN THE DOUGH AND RESTRICT IT FROM GROWING. WHAT YOU'RE TRYING TO DO IS SHAPE IT INTO SOME SORT OF STARTING POSITION, AND IT'S NEARLY THERE, A BIT OF POUNDING. WHEN YOU'RE MAKING BREAD, IT TAKES A LOT OF ENERGY OUT OF YOU, AND IF YOU'RE FEELING A BIT CROSS AND ANGRY... ABSOLUTELY. IT RELEASES IT, BUT YOU'RE FEELING ALL RIGHT TODAY. NO, I FEEL FINE TODAY. THAT'S ALL RIGHT. YOU KNEAD THIS FOR ABOUT 4 OR 5 MINUTES. IF YOU'RE GOING TO DO IT BY HAND, TAKE YOUR TIME IF YOU WANT TO. IT CAN TAKE UP TO 10 MINUTES. IT'S LITERALLY JUST THE WEIGHT OF YOUR HAND THAT'S DOING IT AND THEN A LITTLE BIT OF A STRETCH. AND THEN ROLL UP. IT'S A VERY SIMPLE TECHNIQUE. IT DOESN'T TAKE A LOT OF MUSCLE AT ALL. IT'S JUST THE WEIGHT OF YOUR ARM. AND THEN YOU'RE LOOKING FOR A SOFT CONSISTENCY LIKE THIS. YES, STILL QUITE STICKY. YEAH, IT IS. AND ALL YOU DO IS, ONCE YOU'VE MIXED IT FOR A BIT, YOU KNOW, 5 TO 10 MINUTES, DEPENDING ON HOW FAST YOU'RE GOING TO GO, YOU THEN PLACE THE WHOLE THING BACK IN THE BOWL, GET A BIT OF OLIVE OIL IN THERE, AND JUST LEAVE IT TO REST FOR ABOUT 10 TO 15 MINUTES. NARRATOR: BUT THE BAKERS WERE JUST AS DETERMINED TO PROVE THAT THEY COULD IMPRESS PAUL WITH THEIR DOUGH. SUE: I'M CAPTIVATED BY YOUR YEAST SLAPPING. IT'S VERY, VERY EASY TO OVERWORK DOUGH IF YOU USE THE DOUGH HOOK ON THE BLENDER, WHEREAS IT'S A LOT MORE DIFFICULT TO DO THAT WHEN YOU'RE DOING IT BY HAND. PAUL: NICE ACTION, BY THE WAY. JOHN: THANK YOU. VERY NICE ACTION. CHEERS. SARAH-JANE: JUST WAITING FOR EVERYTHING NOW. CALM BEFORE THE STORM. PAUL: WHAT YEAST HAVE YOU GOT IN THERE? WELL, THIS IS MY SHETLANDIC SOURDOUGH STARTER. CAN I HAVE A SMELL? YEAH, GO FOR IT. 8 YEARS OLD, THAT ONE. 8 YEARS OLD. SUE: NO WAY! YEAH, THAT'S NICE, THAT. IT'S NICE AND ACTIVE. BRENDAN: I'M WAITING FOR THE FLAVORS TO MELD IN THE ROTI, AND THEN IT STARTS THE COOKING. MARY, CAN YOU BRING THAT DOUGH FOR ME, PLEASE? THANK YOU. THAT LOOKS WELL-RISEN. YOU CAN SEE IN THAT SHORT SPACE OF TIME, IT'S RISEN. IT'S GOT SOME AIR IN IT. SOME FLOUR, TIP THIS DOUGH OUT. MARY: SO WHY HAVE YOU CHANGED TO FLOUR? BECAUSE I'M NOT MIXING NOW. THE DOUGH'S ALREADY DONE. NARRATOR: DESPITE BEING A FLATBREAD, THE DOUGH STILL NEEDS TO PROVE. ALTHOUGH YOU'RE GOING TO ROLL THIS THING OUT AND PUT IT ONTO A PAN AND TECHNICALLY FRY IT TO RISE IT UP, THE BUBBLES STILL NEED TO BE FORMED AND THE FLAVOR STILL NEEDS TO BE INCORPORATED INTO THE DOUGH. JUST STRETCH THE DOUGH OUT AND JUST CUT IT INTO ABOUT ROUGHLY 70 GRAM BALLS. I THINK YOU'VE DONE THIS BEFORE. A COUPLE OF TIMES. I'M JUST PUTTING IT INTO BALLS. IT MAKES IT EASIER WHEN YOU ROLL IT OUT WITH A ROLLING PIN SO YOU'VE GOT A BASIC SHAPE. SO 70 GRAMS IS GOING TO MAKE QUITE BIG ONES, ISN'T IT? BASICALLY, YOU CAN DO THEM TO THE SIZE OF YOUR FRYING PAN. IF YOU'VE GOT A BIG FRYING PAN, MAKE THEM BIGGER. IF YOU'VE GOT A SMALL FRYING PAN, MAKE THEM SMALLER. NARRATOR: ONCE YOUR DOUGH IS READY, PREPARE YOUR FILLINGS. YOU CAN CHOOSE ALMOST ANYTHING TO FILL THESE FLATBREADS, BUT PAUL IS USING CAMEMBERT AND QUINCE. I'M JUST GOING TO TAKE A BLOB OF THE CAMEMBERT AND POP IT INSIDE THE DOUGH. JUST GOING TO TAKE A LITTLE BIT OF THE QUINCE JELLY. AND NOW YOU'VE GOT TO MAKE A LITTLE PARCEL, BASICALLY, BY PINCHING UP THE SIDES AND PINCHING IT TOGETHER. ONCE YOU'VE GOT THE LITTLE PARCEL, USE A ROLLING PIN AND JUST GENTLY STRETCH IT OUT. YOU WILL GET A SLIGHT BURST AS THE CHEESE AND THE QUINCE TRIES TO GET OUT. NOW, WHEN YOUR PAN'S NICE AND HOT-- I ALWAYS TEST IT WITH A LITTLE FLICK OF FLOUR TO SEE IF IT ACTUALLY GOES BROWN. COULD YOU DO IT IN A NORMAL NON-STICK FRYING PAN? YEAH, YEAH. USE A LITTLE BIT OF OIL. AND NO MORE PROVING FOR THAT LIKE YOU WOULD WITH A ROLL? WELL, NO, IT'S FLAT. PROVED IT IN THE BOWL TO GIVE IT A BULK FERMENTATION TO GIVE IT FLAVOR. WHAT WE'RE DOING NOW IS ACTUALLY FORCING THE YEAST TO START TO GROW. IT WILL START TO BUBBLE VERY, VERY QUICKLY BECAUSE IT'S ON EXTREME HEAT. SEE THE BUBBLES BEGINNING TO APPEAR ALL THE WAY AROUND? OH, YES. ALL OVER THE TOP, THEY'RE BUBBLING. IT'S RISING, ISN'T IT? IT IS. IF YOU'RE GOING CAMPING AND YOU'VE GOT A FRYING PAN, YOU COULD EASILY MAKE THIS SORT OF BREAD. WHAT FUN TO DO OUT OF DOORS. YES, ABSOLUTELY, AND THE KIDS LOVE DOING THIS AS WELL. IT'S QUITE VERSATILE. YOU PUT STILTON, PUT GRAPES, PUT PECANS, PUT MUSHROOM, ONIONS, ANYTHING YOU WANT INSIDE THESE. NARRATOR: AND THE RANGE OF RECIPES WHICH THE BAKERS MADE SHOWED JUST HOW VARIED THESE BREADS CAN BE. VICTORIA: THAT'S HOW IT'S MEANT TO LOOK, SORT OF, ISN'T IT? IF THEY PUFF UP LIKE THEY ARE DOING HERE, THEN THEY'RE COOKED. THE PUFFING UP IS KEY, REALLY. NARRATOR: BUT YOU DON'T HAVE TO MAKE FLATBREADS IN A FRYING PAN. MANY OF THE BAKERS DID THEIRS IN THE OVEN, IN ALL KINDS OF DIFFERENT WAYS. CATHRYN: I'M TRYING TO JUGGLE LOTS OF THINGS. I'VE GOT THE GRIDDLE ON THE GO AND THE PIZZA STONE. THEY'RE CALLING YOU HOT ROCKS BRENDAN. BRENDAN: IT'S A BIT LIKE, I SUPPOSE, THE EQUIVALENT OF OUR STONE BAKE THEORY. STONE BAKE PIZZA? YEAH, EXACTLY. THERE'S JUST AN EXTRA QUALITY, ISN'T THERE? YEAH, YEAH, YEAH. THERE'S AN EXTRA TASTE. PAUL: THE CHEESE IS BEGINNING TO COOK, THE QUINCE IS BEGINNING TO MELT, AND IT'S BEGINNING TO BLOW BUBBLES, SEE, AND THEN STEAM POURS OUT. MARY: SMELLS WONDERFUL. AS A PARTY FOOD, IT WORKS REALLY WELL BECAUSE YOU JUST CHOP THEM INTO LENGTHS AND SERVE THEM WITH AN AUBERGINE GUACAMOLE DIP, WHICH IS ONE OF MY FAVORITES. THERE'S ACTUALLY COLOR IN THE DOUGH WITH SOME CURRY POWDER. IT TURNS IT GREEN. YOU ADD A SPOONFUL OF SULTANAS AND ADD SOME MANGO CHUTNEY TO THAT AS WELL. A WHOLE CURRY IN A FLATBREAD. I MEAN, ANYTHING WORKS INSIDE THESE THINGS. GET A GOOD, STRONG COLOR ON IT. DON'T BE AFRAID TO PUT THIS LITTLE BIT OF BLACK ON IT. THAT'S WHAT IT SHOULD BE. ABOUT 3, 4 MINUTES EACH SIDE. YOU LEAVE THAT TO COOL AND THEN CHOP IT UP WHILE IT'S WARM, AND THEN YOU'LL GET ALL THE OOZE COMING OUT OF IT. YOU KNOW, IT'S ABSOLUTELY DELICIOUS, BUT THAT IS HOW YOU MAKE A CAMEMBERT AND QUINCE FLATBREAD. STEAMING. I'VE GOT THE BIG HALF. SO THESE CAN BE DONE IN ADVANCE AND THEN WARMED JUST BEFORE A PARTY. I LIKE THE WAY IT'S SO FLEXIBLE, AND YOU CAN IMAGINE FILLING IT WITH ALL THINGS LIKE A LITTLE BIT OF CURRY IN THERE WITH A LITTLE BIT OF MANGO CHUTNEY. BUT YOU CAN TASTE THAT CAMEMBERT AS WELL. THE CAMEMBERT'S IN THERE, LITTLE BIT OF QUINCE I'VE JUST GOT AS WELL. AND TOGETHER WITH THE LOOK OF THEM, THEY'RE JUST, FOR ME, THEY'RE FANTASTIC FLATBREADS. AND SO EASY TO MAKE. WELL, I THINK THEY'RE ABSOLUTELY LOVELY. GOOD. MMM. NARRATOR: AND NOW MARY'S TOP TIP FOR PERFECTLY LINING A CIRCULAR CAKE TIN. FIRST OF ALL, I HAVE GOT TO GREASE THE TIN. RIGHT IN THE CORNERS AND THEN ALL THE WAY AROUND THE SIDES. SO YOU JUST TAKE A STRIP OF BAKING PARCHMENT, AND IT WANTS TO BE TALLER THAN THE TIN BECAUSE IT DEFLECTS THE HEAT FROM THE SIDE. AND TAKE THE STRIP AND THEN FOLD IN A PIECE AT THE BOTTOM, LIKE THAT. SO I'VE TURNED THAT IN, THEN I'M GOING TO CUT DIAGONAL SLICES ALL THE WAY DOWN. AS YOU PUT THAT IN THE TIN, EACH ONE WILL OVERLAP THE OTHER QUITE EASILY. SO LIFT THE PAPER UP, AND WHERE YOU'VE DONE THAT STRAIGHT FOLD, THAT'S GOT TO GO TO THE BOTTOM OF THE TIN. PRESS THAT ALL THE WAY AROUND. THAT'S PERFECT. THEN YOU JUST TAKE THE CIRCLE THAT YOU'VE CUT, POP THAT OVER THE TOP, AND IT'S AS NEAT AS CAN BE. TIN IS LINED, SO ALL YOU'VE GOT TO DO IS PUT THE MIXTURE IN AND JUST LEVEL IT OFF. NARRATOR: THE THIRD WEEK WAS ALL ABOUT TARTS. MARY'S TREACLE TART TANGLED THEM UP IN THE TECHNICAL CHALLENGE WHILST THEIR SHOW-STOPPING DESIGNER TARTS HAD THE WOW FACTOR. BUT IT WAS WITH THEIR SIGNATURE BAKE THAT THE BAKERS HOPED TO IMPRESS. MEL: NOW WE'RE GOING TO BE ASKING YOU TODAY TO RUSTLE UP A BIT OF A FRENCH CLASSIC, WHICH IS THE TARTE TATIN. SO WE'RE LOOKING FOR ONE LARGE TART, WHICH SOUNDS, OF COURSE, LIKE A PAUL HOLLYWOOD PERSONAL AD, BUT IT ISN'T. WE'RE LOOKING FOR A CLASSIC TARTE TATIN, SWEET OR SAVORY. SO... ON YOUR MARKS. GET SET. BAKE. NARRATOR: WHILST TRADITIONALLY APPLE, THE BAKERS PUT THEIR OWN TWIST ON THE CLASSIC TARTE TATIN. MANISHA: I AM MAKING AN APPLE AND PEAR TARTE TATIN. APPLE AND LAVENDER. APPLE AND VANILLA. AN APPLE AND GINGER TARTE TATIN. NARRATOR: OTHERS WENT EVEN FURTHER. BLUE CHEESE AND WALNUT AND A BIT OF THYME. PLUM, CHERRY, AND 5-SPICE TARTE TATIN. CARAMELIZED BANANA. OH, NICE. THAT'S MY FAVORITE ONE, THAT. OH, IS IT? YES. THAT WAS LUCKY. NARRATOR: BUT MARY'S SIGNATURE TARTE TATIN IS THE TRADITIONAL APPLE, GLAZED IN THEIR OWN JUICES AND LAYERED WITH A HOMEMADE ROUGH PUFF PASTRY. I THINK THIS IS ONE OF MY FAVORITE CHALLENGES, ACTUALLY, THE SIGNATURE TARTE TATIN. I COULDN'T AGREE MORE. IT'S A FRENCH CLASSIC. I'M DOING MY INTERPRETATION OF IT. NOW, I'M GOING TO START OFF WITH THE PASTRY, AND I'M DOING A QUICK ROUGH PUFF. NARRATOR: WEIGH OUT 100 GRAMS OF PLAIN FLOUR AND 50 GRAMS OF BUTTER AND 25 GRAMS OF LARD THAT YOU'VE FROZEN, READY TO GRATE. IF YOU DON'T HAVE IT REALLY, REALLY COLD, IT WON'T GRATE. PUT THE LARD INTO THE FLOUR, AND IN THIS WAY IT DOESN'T REALLY STICK TO YOUR HANDS, OTHERWISE YOU'LL GET IN A REAL MESS. NOW YOU SEE WHAT I'M DOING HERE IS KEEPING EVERY LITTLE BIT OF FAT SEPARATE, YOU KNOW, RATHER THAN HAVING BIG LUMPS, WHICH IS TRADITIONAL FOR ROUGH PUFF OR LITTLE PIECES FOR FLAKY. NARRATOR: DO THE SAME WITH THE FROZEN BUTTER UNTIL EVERYTHING IS GRATED AND INCORPORATED WITH THE FLOUR. THIS IS HOW I MAKE PASTRY AT HOME VERY QUICKLY, WHETHER IT'S A MINCE PIE, ANY PASTRY THAT I WANT NICE AND FLAKY. NARRATOR: THE COLDER THE BUTTER INSIDE THE PASTRY, THE MORE RISE AND PUFF YOU WILL GET. PEOPLE SAY YOU'VE GOT TO HAVE COLD HANDS FOR PASTRY. I'M NOT TOO FUSSY WHETHER MY HANDS ARE COLD, IT'S HAVING THE ACTUAL FAT COLD. NARRATOR: ADD ABOUT 4 OR 5 TABLESPOONS OF WATER TO THE GRATED MIXTURE. COMBINE THE INGREDIENTS UNTIL THE PASTRY HOLDS TOGETHER AND IT'S READY TO ROLL OUT. FLOUR THE BOARD. MY NAN USED TO USE A LOT OF LARD, YOU KNOW, IN A LOT OF HER BAKING, YOU KNOW, ESPECIALLY ROUND WORLD WAR I. DID YOU USE A LOT OF LARD THEN AS WELL? YOU'RE ALWAYS ON ABOUT ME COOKING THROUGH THE WAR. YOU ARE ROTTEN TO ME, AREN'T YOU? SORRY, MARY. ROLL IT INTO AN OBLONG, LIKE THAT, AND YOU CAN SEE HOW WELL THE FAT IS DISTRIBUTED. SO A GOOD INDICATION, ACTUALLY, IS LOOKING FOR A GOOD MARBLE IN THIS FROM THE VERY BEGINNING? THAT'S RIGHT. I'M GOING TO FOLD THAT IN 3, LIKE THAT, BRUSH OFF ANY SURPLUS FLOUR, THEN AGAIN LIKE THAT. SEAL THE ENDS TO KEEP THE AIR IN, AND THEN ONE IN THE MIDDLE, AND THERE, AND GRADUALLY YOU WILL BUILD UP LAYERS, JUST AS IF YOU WERE DOING REAL PUFF PASTRY. NARRATOR: REPEAT EXACTLY THE SAME FOLDING SEQUENCE FOR A SECOND TIME. I JUST PUT MY KNUCKLE IN LIKE THAT, SO WHEN I TAKE IT OUT OF THE FRIDGE, IT REMINDS ME THAT I'VE DONE TWO. NARRATOR: WRAP IT IN CLING FILM AND PUT THE PASTRY IN THE FRIDGE TO CHILL. YOU'LL NEED TO REPEAT THE FOLDING PROCESS ONCE MORE, CHILLING IT IN THE FRIDGE IN BETWEEN TO PREVENT IT FROM SHRINKING WHEN BAKED. IN THE MEANTIME, MAKE THE CARAMEL. NOW, WHEN MAKING CARAMEL, YOU HAVE TO HAVE A PAN THAT IS STAINLESS STEEL, NOT NON-STICK, OR IT WILL CRYSTALLIZE VERY QUICKLY. NARRATOR: ADD 6 TABLESPOONS OF WATER TO A PAN AND THEN DISSOLVE 175 GRAMS OF GRANULATED SUGAR. IT'S NO GOOD TRYING TO DO THIS WITH ANY OF THE BROWN SUGARS, IT DOESN'T WORK. YOU'VE GOT TO HAVE A WHITE SUGAR. NARRATOR: STIR UNTIL ALL THE SUGAR IS DISSOLVED AND THEN LEAVE ALONE TO BOIL RAPIDLY FOR A FEW MINUTES. AND YOU'LL IMMEDIATELY NOTICE THAT IT STARTS TO MAKE A ROW. WHEN IT REACHES THE CARAMEL STAGE, IT WILL GO PEACEFUL, BUT DON'T WANDER ROUND THE KITCHEN. STAY WITH IT AND WATCH IT. AND CAN YOU SEE IN THE MIDDLE THERE, IT'S JUST BEGINNING TO TURN THE PALEST CARAMEL COLOR? NARRATOR: ALTHOUGH SOME OF THE BAKERS DIDN'T FIND MAKING CARAMEL QUITE SO EASY. MANISHA: I THINK THE SUGAR CRYSTALLIZED, SO I'M GOING TO START AGAIN. THE PRESSURE IS DEFINITELY ON AT THE MOMENT AS THE CARAMEL IS GOING ON FOR THE FOURTH TIME. MEL: HOW MANY TIMES HAVE YOU DONE THAT? THIS IS THE FIFTH ONE, AND THIS IS THE SIXTH TIME. WATCH THESE LIKE A HAWK, MANISHA, PLEASE. I KNOW. THESE ARE IN SIGHT. I'VE GOT A GOOD FEELING ABOUT NUMBER 6. MANISHA: THIS SUGAR SYRUP IS BATCH 7. OH, PLEASE DON'T GO CRYSTALLIZE NOW. I DON'T THINK THE SUGAR LIKES ME TODAY. NOW, THAT IS JUST A GORGEOUS DEEP TOFFEE COLOR. POUR THAT IN QUITE QUICKLY. DON'T GREASE THIS. IF YOU GREASE IT, AS SOON AS THE CARAMEL GOES IN THERE, IT WILL CRYSTALLIZE. I WILL USE THAT PAN TO MAKE THE SORT OF SYRUP TO GO OFF THE TOP, SO I CAN JUST LEAVE THAT. THEN RUN THAT JUST ROUND THE BOTTOM AND LEAVE IT TO GET ABSOLUTELY COLD AND THEN YOU PUT THE APPLES ON TOP. NARRATOR: SLICE 900 GRAMS OF EATING APPLES INTO THIN WEDGES. DON'T USE COOKING APPLES, AS THEY WILL DISINTEGRATE WHILST BAKING. I'M USING PINK LADY BECAUSE I'M LEAVING THE SKIN ON AND THEY LOOK VERY PRETTY. YOU COULD USE COX'S. YOU COULD USE ANY EATING APPLE, AND THEY NEED TO BE FAIRLY EVENLY CUT INTO WEDGES, ESPECIALLY ON THE BOTTOM BECAUSE YOU'VE GOT TO MAKE THAT PATTERN, WHICH LOOKS SO PRETTY. NOW, WHEN YOU COME TO DOING THE APPLE, THE NATURAL THING TO DO IS TO PUT THEM IN LIKE THAT, BUT WHEN YOU THINK ABOUT IT, IT'S GOING TO BE TURNED OUT, SO WHAT YOU'VE GOT TO DO IS PUT THEM THAT WAY ROUND, AND THEN YOU GET THAT LOVELY PATTERN ALL THE WAY ROUND. TAKE THE SLICES AND JUST GO ALL THE WAY ROUND IN THE CIRCLE, OVERLAPPING. AND YOU ONLY NEED DO THIS FOR THE BOTTOM, OR RATHER IT WILL TURN OUT AS THE TOP. YOU CAN JUST CHUCK THE REST IN ON TOP. NARRATOR: ADD THE JUICE OF THE LEMON TO THE SLICED APPLES TO PREVENT THEM FROM GOING BROWN. I MUST SAY, YOU'RE DOING THIS VERY METICULOUSLY, AND I'M VERY IMPRESSED. THANKS VERY MUCH, MUM. DID YOU EVER SEE FANNY CRADOCK, MARY? SHE HAD JOHNNIE, OF COURSE, BUT I TREAT YOU MUCH NICER THAN FANNY CRADOCK TREATED JOHNNIE. NARRATOR: ADD THE LEMON ZEST TO THE REMAINING APPLE SLICES AND PILE THEM ALL INTO THE TIN. SO THERE IT IS FULL. NOW WE HAVE TO PUT THE PASTRY ON TOP. NARRATOR: REMOVE THE CHILLED PASTRY FROM THE FRIDGE. IT HAS ALREADY HAD 3 TURNS AND IS NOW READY FOR THE FINAL ONE. SO ONE MORE ROLLING IN THE TRADITIONAL WAY TO GET THOSE FOLDS AND ALL THE LAYERS. AND NOW ALL I'VE GOT TO DO IS ROLL IT TO THE SHAPE OF THE TIN. IT WANTS TO BE JUST A LITTLE BIT BIGGER. HOW YOU KNOW HOW BIG IT IS, TAKE THE LENGTH OF THE ROLLING PIN, PUT YOUR NAIL THERE, THAT'S PLENTY BIG ENOUGH. AND THEN JUST LIFT IT INTO THE MIDDLE AND GENTLY EASE IT IN, TUCKING IT IN. CAN YOU SEE THAT IT IS A LITTLE BIT ON THE BIG SIDE? BUT THAT'S HOW IT SHOULD BE. PUSHING IT DOWN, YOU DON'T NEED TO DO ANY FANCY EDGING WITH IT, TUCKING IT IN ALL THE WAY ROUND, AND TAKE A KNIFE AND JUST MAKE A LITTLE CROSS IN THE MIDDLE TO LET THE APPLES BREATHE AND SEND SOME STEAM OUT. NARRATOR: PUT IN A PRE-HEATED OVEN AT 220 DEGREES, 200 FAN, FOR ABOUT 40 MINUTES UNTIL THE PASTRY IS GOLDEN. THERE'S A LOT OF LIQUID STILL. JOHN: MOMENT OF TRUTH NOW. OHH! WHEW. [EXHALES] IT'S KIND OF COLLAPSED SLIGHTLY ON THIS SIDE, BUT... CATHRYN: WELL, THAT'S NOT TOO BAD. OH, MY DAYS. LOOK AT THAT. DANNY: YES! YES! HA HA HA! SORRY! YES! THE MAIN THING IS THE PASTRY IS COOKED THROUGH, THE APPLES ARE SOFT. IT'S SHRINKING AWAY FROM THE SIDES A LITTLE, AND I'M GOING TO DRAIN OFF ANY SURPLUS JUICES AND ADD A LITTLE MORE SUGAR TO IT. NARRATOR: ADD 75 GRAMS OF CASTER SUGAR TO THE PAN THAT YOU USED TO MAKE THE CARAMEL. MARY: PUT A CLOTH OVER THE TOP AND DRAIN ANY JUICES INTO THAT PAN. IN THAT WAY, YOU GET A NICE SYRUP. AND REDUCE IT. THERE'S A LITTLE BIT OF CARAMEL THAT WAS LEFT FROM THE CARAMEL THAT I PUT AT THE BASE. IT'S A NICE COATING CONSISTENCY NOW, AND THAT WILL GIVE A REALLY NICE SHINE ON TOP. SO THAT'S READY. WE'LL TURN IT OUT AND POUR THE SAUCE OVER THE TOP. YOU NEVER WANT TO TURN IT OUT UNTIL YOU'RE SERVING. SO EVERYBODY'S SITTING DOWN, EVERYBODY'S ANTICIPATING IT COMING IN, TURN IT OUT THEN. SO PUT THE PLATE OVER THE TOP LIKE THAT, A WING AND A PRAYER. 1, 2, 3. LIKE THAT. THERE WE ARE. LOOKS BEAUTIFUL. AND YOU SEE THE WAY WE HAD THAT PASTRY JUST PUSHED DOWN. PAUL: YEAH. IT MAKES A LOVELY RIM, AND THEN THE EXTRA SAUCE OVER THE TOP. NOW, DOESN'T THAT GIVE A LOVELY SHINE TO IT? CAN I EAT IT NOW, MARY? THERE'S NO SUGAR WITH THE APPLE. THAT'S INTENTIONAL. YOU HAVE THE CARAMEL AT THE TOP, AND THEN WHEN THE JUICES ARE DRAINED OFF, YOU ADD MORE SUGAR, AND THAT IS THE ONLY SWEETENER. THE FLAVOR OF THE APPLE REALLY COMES THROUGH ON THIS ONE. LOVELY CRISPY, BUTTERY BASE. AND I THINK IT WORKS. THAT WOULD BE LOVELY WITH CREAM AND STUFF. BEAUTIFUL. NARRATOR: WEEK 5, AND THE REMAINING 8 BAKERS WERE CHALLENGED TO MAKE PAUL'S TECHNICALLY TRICKY HAND-RAISED PIES AND WOW THE JUDGES WITH THEIR SHOW-STOPPING AMERICAN PIES. BUT IT WAS THE SIGNATURE CHALLENGE THAT SHOWED THEIR REAL TWIST ON A PUFF PASTRY FAMILY FAVORITE. BAKERS, WE'D LIKE YOU TO MAKE A WELLINGTON. THE FILLING HAS TO BE SAVORY. IT NEEDS TO BE COMPLETELY COVERED WITH PASTRY, BUT THE REST IS UP TO YOU. SO ON YOUR MARKS... GET SET. BAKE. CATHRYN: I'M CALLING IT A FULL ENGLISH WELLINGTON BECAUSE IT'S GOT EGGS AND SAUSAGE AND BLACK PUDDING AND TOMATO, AND MUSHROOM. CHICKPEAS, PEPPERS, AND SPINACH, AND THEN IT'S GOING TO HAVE SOME GARLIC MUSHROOM AROUND IT. I'M MAKING A SALMON COULIBIAC WITH LAYERS OF DIFFERENT TYPES OF VEGETABLES AND HERBS. WE ALL LIKE A CHALLENGE. NARRATOR: PAUL'S SIGNATURE WELLINGTON IS A CLASSIC BEEF WELLINGTON WITH PUFF PASTRY SPREAD WITH PATE AND WRAPPED AROUND A PRIME FILLET OF TENDER BEEF. SO, BEEF WELLINGTON. THIS IS ONE OF THE REAL LUXURY DISHES. I'M LOOKING FORWARD TO YOUR VERSION. TODAY, I'LL GO DOWN THE CLASSICAL ROUTE, BUT FOR ME, MY TWIST IS ADDING THE PATE, AND ALL THE FLAVORS TOGETHER ARE JUST STUNNING. NARRATOR: MEASURE OUT 150 GRAMS OF STRONG FLOUR AND 150 GRAMS OF PLAIN FLOUR. YOU'RE DUMBING DOWN THE GLUTEN IN THE STRONG, BUT YOU'RE UPPING THE GLUTEN FROM THE PLAIN, SO THE BALANCE ACTUALLY WOULD BE QUITE A ROBUST PASTRY THAT YOU CAN REALLY ROLL OUT AND SLAP YOUR BUTTER IN AND GET SOME RISE FROM. NARRATOR: ADD TO THE FLOUR A PINCH OF SALT AND TWO WHOLE EGGS AND 100 MILLILITERS OF WATER, A LITTLE AT A TIME. GET YOUR FINGERS IN AGAIN, BEGIN TO MIX THE PASTRY AROUND. YOU CAN DO THIS IN A MIXER. ESSENTIALLY, IT WILL JUST DO THIS, WHICH YOU CAN DO WITH YOUR HAND, TO BE HONEST. IT'S QUITE A ROBUST LITTLE DOUGH. AND ONCE YOU'VE TAKEN ALL THE FLOUR THAT'S IN THE BOWL, POP IT ON THE BENCH. A LIGHT DUSTING OF FLOUR AND THEN JUST ROLL IT UP INTO A BALL. AND ALL YOU DO IS MANIPULATE THIS, JUST FOR A COUPLE OF MINUTES, JUST UNTIL IT GOES SMOOTH, AND IT WILL GO SMOOTH. NOW AGAIN, THE TECHNIQUE, JUST FLATTEN IT DOWN AND THEN ROLL IT UP. FLATTEN IT DOWN AND ROLL IT UP. YOU ONLY LITERALLY HAVE TO BRING THE INGREDIENTS TOGETHER FOR A COUPLE OF MINUTES JUST DOING THIS, AND YOU CAN SEE THE DOUGH IS MUCH SMOOTHER. IT'S QUITE STRETCHY AS WELL. IT'S GOT A BIT OF RESISTANCE IN THERE. NARRATOR: PROPER PUFF PASTRY MUST BE CHILLED OR IT CAN BECOME TOUGH, SO WRAP IT IN CLING FILM AND CHILL IN THE FRIDGE FOR AS LONG AS POSSIBLE, OVERNIGHT, IF YOU HAVE TIME. IT'S QUITE ENJOYABLE TO MAKE YOUR OWN PUFF PASTRY, WHEN IT TURNS OUT RIGHT. SARAH-JANE: EVERYTHING IS TRICKY ABOUT THIS BAKE-- THE MEAT, THE PASTRY, THE BITS THAT YOU PUT WITH IT. AND THEY ALL HAVE TO BE GOOD. THE SECRET WITH MAKING... PUFF IS OBVIOUSLY TO KEEP YOUR INGREDIENTS AS COLD AS POSSIBLE. NOW, ALL I'M GOING TO DO, USE A BIT OF FLOUR AND A ROLLING PIN AND JUST SHAPE IT SO IT'S NICE AND SMOOTH INTO A RECTANGLE. NARRATOR: MEASURE OUT 160 GRAMS OF VERY COLD, UNSALTED BUTTER. PAUL: COAT IT IN FLOUR. IT IS HARD. YOU CAN PUT IT BETWEEN GREASEPROOF AND BANG IT OUT. JUST KEEP IT ON A BENCH AND BANG IT OUT. VERY GOOD TIP TO HAVE IT ON A FLOURED BOARD TO DO IT. YEAH. IT DOESN'T MAKE THAT MUCH MESS AS LONG AS YOUR BUTTER'S COLD. MAKE IT INTO A ROUGH RECTANGLE. WHEN YOU PUT THE BUTTER ON THE DOUGH, IT MUST COVER TWO THIRDS OF IT. I'M GOING TO FOLD OVER THE TOP BIT NOW OVER HALF THE BUTTER TO ABOUT THERE. BUT TO MAKE IT EVEN MORE ACCURATE, JUST CUT YOUR BUTTER, LIFT IT UP, POP IT ON THE TOP. STRETCH THE BOTTOM, THEN PLACE THAT OVER THE TOP. NOW, THAT LOOKS VERY NEAT. NOW, THE ONLY DIFFERENCE IS WHEN I MAKE PUFF PASTRY, I DO IT THE CLASSIC WAY OF EQUAL BUTTER TO EQUAL FLOUR AND NO EGG IN IT. SO, THIS IS A TOTALLY DIFFERENT VERSION. EGG IS ONE OF THE KEY INGREDIENTS FOR FLAVOR AND ALSO FOR THE SPRING AS WELL. IT'LL ALSO GIVE IT A NICE COLOR. YEAH, GOLDEN. I'M INTERESTED. TAP THE MIDDLE AND THEN TAP DOWN AND TAP UP. IF YOU START FROM THE TOP AND TAP, ALL THE BUTTER RUNS DOWN TO THE BOTTOM, SO YOU START TAPPING GENTLY FROM THE MIDDLE, UP AND DOWN, LITTLE BIT OF A ROLL. YOU'RE TAKING IT DOWN ROUGHLY TO ABOUT 10 MIL IN HEIGHT. ONCE YOU'VE GOT THAT NICE AND NEAT, AND TRY AND GET IT AS NEAT AS YOU CAN, AND THEN YOU FOLD IT ONE MORE TIME. THAT IS ONE TURN. TAP IT IN THE MIDDLE AGAIN, UP AND DOWN AND THEN ROLL OUT AGAIN TO EXACTLY THE SAME SIZE AS YOU DID A MINUTE AGO. FOLD IT AGAIN, AND ONCE MORE OVER THE TOP. NOW, THAT HAS HAD TWO TURNS. NOW, IT NEEDS ANOTHER TWO BEFORE YOU USE IT. NOW, THAT WILL GO STRAIGHT INTO A FRIDGE AND BE LEFT TO CHILL, AGAIN, FOR AT LEAST AN HOUR, OR EVEN A COUPLE OF HOURS, TILL THAT BUTTER BEGINS TO SOLIDIFY, AND THEN WE CAN DO A FINAL TWO TURNS, AND IT'S READY TO GO. THIS IS 750 GRAMS OF PRIME FILLET STEAK. THERE'S NO WAY OF DOING A SORT OF HALF-MEASURE WITH THIS. YOU HAVE TO GO FOR QUALITY. YOU CAN GET THE BUTCHER TO SORT OF CLEAN IT UP FOR YOU, BUT IF YOU DO SEE ANY SINEWS, JUST DROP YOUR KNIFE UNDERNEATH AND RUN IT THROUGH. NOW, THIS HAS BEEN OUTSIDE FOR A COUPLE OF HOURS JUST IN AMBIENT TEMPERATURE, ROOM TEMPERATURE, JUST TO RELAX THE MEAT, BECAUSE AS SOON AS IT GOES INTO THE FRIDGE, IT TIGHTENS UP. YOU WANT IT TO BE NICE AND LOOSE. AND MOST IMPORTANT OF ALL, IT MUST BE THE CENTER CUT BECAUSE THE TAIL COMES HERE. THAT'S THIN, AND YOU WOULDN'T GET THE EVEN SIZE ALL THE WAY DOWN. AND THE THICK END HERE COMES IN TWO PARTS, AND CLEVER BUTCHERS TIE IT ALL TOGETHER, BUT WHEN YOU TAKE A SLICE FROM IT, IT'S IN TWO PIECES. BREAKS APART, YEAH. SO, IT SHOULD BE THE CENTER CUT, WHICH, I'M AFRAID IS THE MOST EXPENSIVE CUT. UNFORTUNATELY, YES, IT IS. NOW, I'M JUST GOING TO SEAL THE STEAK OFF IN A PAN. RUB SOME SALT IN AND SOME PEPPER, GET IT INSIDE THE PAN. [SIZZLING] I'VE GOT SOME KITCHEN ROLL, POP SOME OF THAT ON HERE, AND JUST TO TAKE A LITTLE BIT MORE OF THAT JUICE OFF. AND YOU NEED TO LEAVE THAT TO COOL. STONE COLD, OTHERWISE IT WILL MELT THE BUTTER IN THE PASTRY. EXACTLY. NARRATOR: BUT THAT WAS THE LEAST OF THE WORRIES IN THE TENT. OH! IT'S A LITTLE BIT UNSTABLE. THIS LOOKS SO FUNNY! I CAN'T DECIDE WHETHER TO DECORATE OR TO SCORE. I'D DECORATE IT. YOU RECKON? I MIGHT DECORATE IT. AND YOU KNOW HOW MARY LOVES TO SEE WHAT'S ON THE INSIDE REPLICATED ON THE OUTSIDE? OH, NO, DON'T! I HAVEN'T GOT-- I THINK YOU SHOULD DO A FULL FARMYARD SCENE. PASTRY HERE, WHICH I'M NOW GOING TO ROLL OUT, READY TO HAVE THE STEAK PUT INSIDE. OK, YOU'VE GOT TO THINK OF THE SIZE OF THE FILLET, WHICH I'VE SORT OF GOT IN MY HEAD. NOW RELAX THE PASTRY. GET A BIT OF AIR UNDERNEATH IT. YOU CAN SEE IT'S NOT SPRINGING BACK AT ALL. NOW'S THE FUN BIT. I'VE GOT ABOUT 150 GRAMS OF PATE. JUST BEGIN TO SMEAR IT ONTO THE TOP OF THE PUFF PASTRY. AS LONG AS YOU GET THE MAJORITY OF IT SORT OF EQUALLY DOWN THE MIDDLE THAT WAY, IT DOESN'T MATTER TOO MUCH IN THE END 'CAUSE THAT'S THE BIT THAT'S GOING TO BE FOLDED OVER, SO YOU DON'T HAVE TO GO RIGHT TO THE END. DO YOU KNOW, ONE OF THE THINGS I LIKE ABOUT BEEF WELLINGTON IS THAT YOU CAN DO IT ALL AHEAD. YOU CAN ACTUALLY ASSEMBLE IT COMPLETELY, EVERYTHING EXCEPT FOR GLAZING IT, KEEP IT IN THE FRIDGE, DO IT THE DAY BEFORE, AND THEN COOK IT IN THE OVEN. IT WILL TAKE A LITTLE BIT LONGER. GOT MY RECTANGLE HERE. I'M JUST GOING TO TACK A LITTLE BIT DOWN ON THE TABLE. AGAIN, THIS JUST HELPS WHEN YOU FINALLY ROLL IT UP, YOU'VE GOT SOMETHING THIN TO ACTUALLY JOIN ON TO. SO GET YOUR FILLET, THE SIZE IS PRETTY GOOD, POP THAT INTO THE CENTER, GET THE TOP PIECE, AND THEN JUST TRY AND TACK THAT DOWN ON TO THE STEAK, KEEPING THAT QUITE TIGHT. FOLD YOUR ENDS IN, THE SAME ON THE OTHER SIDE. IT'S FUNNY HOW I LEARN SOMETHING EVERY DAY. I WOULD NEVER THINK OF DOING THIS BUSINESS OF PRESSING THE PASTRY LIKE YOU ARE THERE AND PRESSING IT DOWN SO IT DOESN'T MOVE. THAT'S A VERY GOOD TIP. BECAUSE, YEAH, IT PREVENTS IT FROM MOVING, BUT ALSO WHEN YOU SEAL IT UP, YOU'VE GOT A NICE THIN LINE, BECAUSE WHEN YOU ROLL THAT OVER NOW, YOU CAN PULL IT AND GET A BIT OF A TENSION, AND THEN YOU KNOW IT'S GOING TO BE NICE AND NEAT, AND YOU KNOW UNDERNEATH YOU'VE GOT THE ONE LINE WHICH IS ALREADY SELF-TACKED. NARRATOR: EGG WASH THE WELLINGTON SO THAT IT IS COVERED ALL OVER, GIVING THE PASTRY ITS GOLDEN COLOR. THAT'LL GIVE IT A NICE SHINE. AND YOU DON'T HAVE TO GREASE THE BAKING SHEET BECAUSE THERE'S PLENTY OF BUTTER IN THE PASTRY AND IT WON'T STICK. USE THE BACK OF YOUR KNIFE AND JUST RUN IT FROM THE TOP. DON'T PUT ANY WEIGHT ON IT AND JUST DROP IT DOWN, JUST DOING DIAGONALS. THAT'S A LOVELY, SIMPLE, SMART WAY OF DOING IT. YOU CAN PUT LEAVES AND THINGS ON TOP. YEAH, OF COURSE. AND ANY TRIMMINGS IF YOU WANT TO. WHATEVER YOU DO, DON'T USE THE SHARP PART OF YOUR KNIFE, 'CAUSE THE LAST THING YOU WANT TO DO IS CUT THROUGH THE PASTRY AND THEN CAUSE IT TO RIP IN THE OVEN. THAT WILL GIVE IT A LOVELY PATTERN ON TOP WHEN IT'S COOKING. NARRATOR: BAKE IN THE OVEN FOR 20 TO 25 MINUTES AT 200 DEGREES FAN UNTIL THE PASTRY IS CRISP AND GOLDEN AND COOKED ALL THE WAY THROUGH. BUT NOT ALL THE BAKERS WERE SO LUCKY. SARAH-JANE: OK, YOU NEED TO GO IN. OH, MY GOD ALMIGHTY. MY PASTRY HAS COMPLETELY MELTED AND IS FALLING OFF THE MEAT. [SIGHS] WELL, ACTUALLY-- OOH, HELLO. JOHN: THE PASTRY LOOKS GOOD. MARY: THAT LOOKS FANTASTIC. ONE OF THE REASONS WHY IT PUFFS UP SO MUCH, IF YOU TAKE IT STRAIGHT FROM THE FRIDGE AND PUT IT IN THE OVEN, THAT STING FROM BEING FROM THE FRIDGE WHERE IT'S COLD AND HITS THE HEAT, IT JUST WANTS TO EXPLODE BECAUSE ALL THE LAYERS OF BUTTER ARE REALLY COLD. THAT'S THE SECRET TO MAKING A GREAT PUFF PASTRY. AND THAT FOR ME IS THE BEST BEEF WELLINGTON. I MEAN, IT'S LOVELY. IT'S GOLDEN BROWN. YOU NEED TO REST THIS FOR A GOOD 10, 15 MINUTES BEFORE YOU ACTUALLY SERVE IT. AND THAT'S A VERY IMPORTANT PART, ISN'T IT? YEAH. IS YOUR PLATE READY? THANK YOU. OH, THAT'S JUST HOW I LIKE IT. THAT'S GRAND, THAT, MARY, ESPECIALLY WITH THE PATE. I THINK IT'S LOVELY. JUST GOING TO CARRY ON EATING 'CAUSE IT'S DELICIOUS. OH, IT'S GOOD. NARRATOR: THE FINAL 7 BAKERS HAD TO PUT THEIR MONEY WHERE THEIR MOUTHS WERE IN PUDDING WEEK, FROM A REGAL TECHNICAL CHALLENGE MAKING THE QUEEN OF PUDDINGS TO A SHOWSTOPPER THAT SAW THEM STRUGGLING TO MAKE STRUDEL PASTRY. BUT THE PROOF OF THIS PUDDING WAS IN THE SIGNATURE CHALLENGE. WE'D LIKE YOU TO MAKE TWO DIFFERENT FLAVORED SPONGES, PLEASE, WITH TWO DIFFERENT ACCOMPANIMENTS. THEY SHOULD BE INDIVIDUAL-SIZED PORTIONS, PLEASE, AND THEY CAN BE BAKED, BOILED, OR STEAMED. SO ON YOUR MARKS. GET SET. BAKE. I FEEL A BIT PANICKY ALREADY, WHICH IS NOT A GOOD WAY TO START. IF WE CAN'T KNOCK A COUPLE OF SPONGE PUDDINGS UP IN TWO HOURS, THEN WE DON'T DESERVE THE ACCOLADE OF EVEN BEING HERE. TODAY, I'M MAKING A GINGER SPONGE PUDDING WITH BRANDY CREAM AND ALSO A CHOCOLATE FONDANT WITH MALT ICE CREAM. DANNY: A CHOCOLATE PUDDING. MY ACCOMPANIMENT IS ACTUALLY GOING TO BE JUBILEE CHERRIES. JAMES: I CHOSE CLOOTIE DUMPLINGS BECAUSE THEY ARE TRADITIONALLY SCOTTISH. THERE ARE NO TWO RECIPES OF CLOOTIE DUMPLING THE SAME. EVERYONE'S GOT THEIR OWN DIFFERENT RECIPES. RASPBERRY AND WHITE CHOCOLATE PUDDINGS WITH A BASIL ICE CREAM. I'M NOT A MULTI-TASKER, BUT I'M DOING LITERALLY A MILLION THINGS. NARRATOR: MARY'S SIGNATURE SPONGE PUDDING IS HER STICKY TOFFEE APPLE AND PECAN PUDD-- A LIGHT APPLE STEAMED SPONGE SMOTHERED IN RICH TOFFEE AND PECAN SAUCE. SPONGE PUDDINGS, MARY, ONE OF MY ALL-TIME FAVORITES. SO TO START OFF, LET'S MAKE THE TOFFEE SAUCE. VERY EASY. NARRATOR: MEASURE OUT 300 MILLILITERS OF POURING CREAM INTO A SAUCEPAN, 100 GRAMS OF LIGHT MUSCOVADO SUGAR, AND 75 GRAMS OF SOFTENED BUTTER. SO SENSIBLE TO WEIGH THE BUTTER ON TOP OF THE SUGAR. IT'LL SLIP OUT EASILY, AND WE CAN USE THE PAN WITHOUT WASHING IT UP. IN GOES THE SUGAR, IN GOES THE BUTTER. IT'S JUST A MATTER OF STIRRING THAT TOGETHER UNTIL THE SUGAR DISSOLVES. YOU JUST DO IT ON A LOW HEAT AND YOU JUST COOK IT FOR ABOUT 5 MINUTES UNTIL IT'S A SAUCE CONSISTENCY. WHILE THAT'S GETTING GOING, I'M GOING TO WELL BUTTER A TWO-PINT BASIN. NARRATOR: WEIGH OUT 125 GRAMS OF LIGHT MUSCOVADO SUGAR AND THE SAME AGAIN OF BUTTER AND PLACE INTO A LARGE MIXING BOWL. SO IN GOES THE SUGAR AND LOVELY SOFT BUTTER. I'M GOING TO MAKE THIS THE CREAMING METHOD, THAT'S PUTTING THE BUTTER AND THE SUGAR TOGETHER, CREAMING IT UNTIL SMOOTH, AND THEN WE'RE GOING TO ADD THE EGGS. WHY ARE YOU DOING IT THAT WAY, THEN? JUST FOR A CHANGE, I ALWAYS DO THE ALL IN ONE. AND SOMETIMES PEOPLE SAY, "WELL, WHY DON'T YOU DO IT THE CREAMING?" IT TAKES A BIT LONGER, BUT MANY PEOPLE DO IT THIS WAY. SO MIX IT UNTIL IT'S SMOOTH. NARRATOR: MIX TOGETHER THE INGREDIENTS UNTIL EVERYTHING IS COMPLETELY COMBINED AND IT GETS LIGHTER IN COLOR. ADD IN A BEATEN EGG A LITTLE BIT AT A TIME AND WEIGH OUT 125 GRAMS OF SELF-RAISING FLOUR. AND YOU'RE DOING ME 125 GRAMS? I'M DOING IT RIGHT NOW. YEAH, OK. AM I NAGGING YOU? YEAH, YOU ARE. I'VE STILL GOT SOME EGG TO ADD. AT THIS STAGE, IT SOMETIMES CURDLES. THEREFORE, I'M GOING TO ADD A LITTLE OF THE FLOUR TO THE EGG, BUTTER, AND SUGAR MIXTURE, AND THAT WILL JUST STABILIZE IT. NARRATOR: WHISK IN THE REST OF THE EGG AND ADD A TEASPOON OF VANILLA EXTRACT. PEEL AND CHOP UP ONE LARGE COOKING APPLE OR ONE AND A HALF SMALLER ONES INTO VERY SMALL CHUNKS, ABOUT THE SIZE OF A PEA. SO YOU HAVE TO DO IT IN REASONABLY SMALL PIECES IN ORDER TO GET COOKED IN THE TIME. TO GET IT IN THERE. AND ALSO IT'S LOVELY TO COME ACROSS THE LITTLE PIECES OF APPLE IN THE SPONGE. I'M NOW GOING TO FOLD THE FLOUR IN. FOLDING IN, YOU SHOULD DO VERY CAREFULLY TO KEEP THE AIR IN. NARRATOR: ADD THE CHOPPED APPLE TO THE SPONGE MIXTURE AND ROUGHLY CHOP 75 GRAMS OF PECAN NUTS, WHICH WILL GO INTO THE SPONGE AND THE SAUCE. THE TOFFEE SAUCE HAS COOLED. I'M GOING TO PUT HALF OF THAT INTO THE BASIN, GIVE OR TAKE, THEN I'M GOING TO PUT HALF OF THESE PECANS OVER THE TOP OF THE TOFFEE SAUCE, AND THEN IN GOES THE SPONGE MIXTURE. PUT IT IN CAREFULLY TO START WITH FROM THE SIDE, BECAUSE OTHERWISE THE SAUCE WILL BUBBLE UP AND MIX WITH IT. THE BAKERS ALL MADE THEIR SPONGE PUDDINGS IN INDIVIDUAL ONES, AND IF YOU'RE GOING TO MAKE THESE INDIVIDUAL ONES, SORT OF THAT SIZE, IT'LL MAKE ABOUT 8. SO JUST PRESS THAT DOWN ALL THE WAY AROUND. THEN I'M GOING TO JUST PUT A DISC OF NON-STICK PAPER THERE. BECAUSE OF THE APPLE, YOU DON'T PUT THE ACID NEXT DOOR TO THE FOIL BECAUSE THERE'S SOMETIMES A REACTION. IT CAN EVEN GO PITTED IF IT'S COOKED FOR A LONG TIME. NARRATOR: TO MAKE A LID FOR THE BASIN, CUT A SQUARE OF FOIL AND FOLD A PLEAT INTO THE CENTER. THIS WILL GIVE YOU ROOM FOR THE STEAM THAT WILL BE CREATED. SEAL THE FOIL ALL THE WAY AROUND THE BASIN SO THAT NO STEAM CAN ESCAPE. ONCE IT'S COVERED WITH FOIL, IT'S READY TO GO ON THE HOB TO BE BOILED OR STEAMED. BUT FIRST OF ALL, I'M GOING TO PUT A LITTLE CRADLE ROUND IT SO I CAN LIFT IT OUT OF THAT PAN. NARRATOR: TO MAKE THE CRADLE, FOLD A THICK STRIP OF FOIL SO THAT YOU CAN LOWER THE PUDDING BASIN INTO THE SAUCEPAN. FIRST, PLACE IT ON A JAM JAR LID SO THAT THE PUDDING BASIN WON'T DIRECTLY TOUCH THE BASE OF THE HOT SAUCEPAN AND CRACK. THEN THE FOIL CRADLES AND IT'S REALLY EASY TO LIFT OUT OF THE PAN. AND MAKE SURE THE PAN IS TALL ENOUGH TO TAKE THE BASIN. NARRATOR: CAREFULLY POUR BOILING WATER INTO THE SAUCEPAN, ABOUT HALFWAY UP THE PUDDING BASIN. I'M GOING TO PUT THE LID ON, BUT DO KEEP CHECKING IT BECAUSE THE WATER CAN GO LOW. YOU CAN DO IT IN A STEAMER. IT MIGHT TAKE A LITTLE LONGER IN A STEAMER THAN IN SIMMERING WATER, AND IT WILL TAKE ABOUT 2 1/2 HOURS. NARRATOR: WHILST MARY IS STEAMING HER PUDDING ON THE HOB, THE BAKERS EXPLORE OTHER WAYS OF BAKING THEIR PUDDINGS. JAMES: WHEN IT COOKS, IT CREATES A SKIN. MEL: 3 THINGS GOING ON AT THE SAME TIME THERE-- POURING, DIPPING, MIXING. OH, LOOK AT THOSE. THEY LOOK GOOD. OH, MY GIDDY AUNT! DANNY: OHH...OH, NO! I COULD CRY. MARY: JUST LIFT IT OUT, AND WE TAKE OFF THAT LID. YOU SEE, IT'S A LOVELY COLOR, ISN'T IT? IT'S THAT MUSCOVADO SUGAR GIVES IT THAT FLAVOR. AND THEN LET'S JUST SEE THAT IT'S DONE. YOU SEE, THE KNIFE COMES OUT COMPLETELY CLEAN. AND SO PUT THE PLATE OVER THE TOP LIKE THAT, AND DON'T TURN IT OUT UNTIL YOU ACTUALLY NEED IT. I RATHER LIKE TURNING THINGS OUT. I LIKE THE SURPRISE. IT'S STILL VERY HOT. THERE IT IS. LOVELY. YOU CAN SEE THE PECANS THERE, BUT IT HASN'T GOT THAT SHINE. THE SAUCE HAS GONE IN TO MAKE THE TOP VERY MOIST. NARRATOR: ADD THE REST OF THE PECANS TO THE REMAINING HALF OF THE TOFFEE SAUCE AND POUR OVER THE SPONGE. AND LET IT JUST TRICKLE DOWN. YOU CAN MAKE THIS THE DAY BEFORE AND LET IT GET STONE COLD AND THEN REHEAT IT AGAIN IN A PAN OF SIMMERING WATER. IT WILL TAKE ABOUT AN HOUR TO REHEAT. SO THERE WE ARE. TOFFEE, APPLE, PECAN PUDDING. PAUL: I'M LOOKING FORWARD TO THIS ONE, MARY. GOOD ENOUGH TO EAT, THAT. SUPERB. DIG IN AND SEE WHAT YOU THINK. THAT'S WICKED, THAT. YOU'VE GOT THE TEXTURE OF THE PECAN, YOU'VE GOT THE FLAVOR OF THE TOFFEE, AND YOU'RE LEFT WITH THIS BEAUTIFUL FLAVOR OF APPLE. IT'S A LOVELY SPONGE. NARRATOR: WEEK 7, AND THE BAKERS WERE STRUGGLING WITH SWEET DOUGHS. THEY MADE SHOW-STOPPING ENRICHED DOUGH LOAVES AND THE TECHNICALLY-CHALLENGING FAIRGROUND FAVORITES, JAM DOUGHNUTS. THE PRESSURE WAS ON, AND IT WAS THE SIGNATURE CHALLENGE THAT PROVED DIFFICULT. SUE: SO, TODAY WE'D LIKE YOU TO MAKE 24 REGIONAL BUNS. THEY CAN BE BATH BUNS, CHELSEA BUNS, COLSTON BUNS, DEVONSHIRE REVEL BUNS. SO, ON YOUR MARKS. GET SET. BAKE. LARDY CAKES I'M MAKING TODAY, WHICH IS SIMILAR TO CHELSEA BUNS EXCEPT FOR YOU PUT PILES AND PILES OF LARD IN IT, SO NOT EXACTLY HEALTHY. BECAUSE I'M FROM SOUTH YORKSHIRE AND CLOSE TO BAKEWELL, IT'S ACTUALLY BAKEWELL INSPIRED. JAMES: I'M MAKING EASTER CHELSEA BUNS. IT'S BASICALLY HOT CROSS BUNS CHELSIFIED. NARRATOR: BUT PAUL IS KEEPING IT CLASSIC. HIS SIGNATURE REGIONAL SWEET BUN IS THE CHELSEA BUN, AN ENRICHED SWIRL OF DOUGH, ENCASING CHOPPED SULTANAS, APRICOTS, AND CRANBERRIES, LAYERED WITH A GORGEOUS ORANGE ICING. I'M GOING TO START BY MAKING THE BASE DOUGH. CAN I HAVE 500 GRAMS OF STRONG WHITE FLOUR, PLEASE? YOU CERTAINLY CAN. AND YOU ALWAYS USE STRONG FLOUR? MOST YEASTED BREADS WOULD BE STRONG WHITE FLOUR. AND 7 GRAMS OF FAST-ACTION YEAST. POP IN ONE EGG. WHILE I'M DOING THIS, COULD YOU WEIGH ME UP 40 GRAMS OF THE CASTER SUGAR, PLEASE? NARRATOR: ALONG WITH THE SUGAR, ADD 25 GRAMS OF SOFTENED BUTTER, THEN ADD A TEASPOON OF SALT, BUT DON'T PUT IT NEXT TO THE YEAST OR IT COULD DE-ACTIVATE IT. THAT'S ALL THE KEY INGREDIENTS, EXCEPT FOR MILK, WHICH HAS BEEN WARMING NICELY. BECAUSE IT'S AN ENRICHED DOUGH, BECAUSE IT'S GOT YEAST IN IT AND EGGS AND SUGAR AND BUTTER, THAT TENDS TO WHAT WE CALL RETARD THE YEAST, PREVENT IT FROM WORKING TO ITS FULL EXTENT. SO WARMING UP THE MILK ACTUALLY HELPS ACTIVATE IT MORE. THEN GET YOUR SPOON IN THERE. COULD I DO THIS WITH A DOUGH HOOK? COURSE YOU COULD. IF I'M NOT AROUND, MARY, YOU CAN USE A MIXER. WELL, WE DON'T ALL HAVE THE ENERGY AND THE SKILL THAT YOU'VE GOT WITH BREAD-MAKING. IT'S NOT ENERGY, IT'S TECHNIQUE. IT'S VERY SIMPLE TO DO. I MEAN, ENRICHED DOUGHS HAVE BEEN AROUND SINCE SORT OF TUDOR TIMES, YOU KNOW. ENRICHED DOUGHS, I THINK, ARE SO LOVELY, ALL THE CROISSANTS AND DANISH PASTRIES AND THINGS LIKE THAT. OH, YEAH. NOW, IF I GET MY HAND IN THERE NOW. I DIDN'T THINK IT WOULD BE LONG. A BIT OF FLOUR FOR ME, PLEASE. AND I'M GOING TO DOLLOP THIS MESS INTO THE MIDDLE, COAT IT ALL ROUND WITH SOME FLOUR, AND THEN BEGIN TO SHAPE IT INTO A BALL. THE FIRST THING THAT'S HAPPENED IS YOU'RE INCORPORATING ALL THE INGREDIENTS. THE SECOND THING IS KNEADING BUILDS UP THE GLUTEN FOR THE AIR TO BE ABLE TO SIT INSIDE THE SACK THAT IT CREATES. YOU CARRY ON DOING THIS FOR ABOUT 5 MINUTES, AND IT WILL GET SMOOTH. WHEN YOU'RE USING A PLAIN DOUGH, YOU VERY OFTEN PUT OLIVE OIL ON THE TABLE. YES. AND WHEN YOU HAVE AN ENRICHED DOUGH, IT SEEMS TO ME THAT YOU PUT FLOUR ON THE TABLE. I PUT FLOUR ON THE TABLE, YES. NOW ONCE YOU'VE DONE THAT FOR 5 MINUTES, YOU SEE HOW SMOOTH IT'S GONE. NOW THAT NEEDS TO REST. POP IT STRAIGHT IN THE BOWL. NO OILING AROUND UNDERNEATH? I DON'T WANT OIL. THIS IS AN ENRICHED SWEET DOUGH. THE LAST THING YOU WANT TO DO IS ADD OLIVE OIL TO IT. JUST NOTHING UNDERNEATH IT? JUST LEAVE IT ALONE. AMBIENT TEMPERATURE WE'VE GOT IT AT THE MOMENT. SO IT'S GOT NOT MUCH WIND, SO YOU CAN LEAVE IT UNCOVERED. IF YOU COULD POP THAT TO ONE SIDE FOR ME, AND WE'LL LEAVE THAT FOR ABOUT AN HOUR. IT SHOULD DOUBLE, IF NOT TREBLE IN SIZE IN THAT TIME. NARRATOR: BUT THE BAKERS HAD TO PROVE THAT THEY HAD WHAT IT TOOK TO MAKE THEIR ENRICHED REGIONAL DOUGHS. DANNY: THIS IS SUCH A STICKY DOUGH BECAUSE IT'S GOT EGGS AND BUTTER AND MILK IN. IT'S NOT LIKE NORMAL WHITE BREAD DOUGH. I DON'T REALLY KNOW ABOUT THE SCIENCE, BUT IT SEEMS TO WORK. YOU'LL LET IT RELAX FOR 5 MINUTES, AND THEN YOU START TO KNEAD IT. DURING THAT TIME, IT WILL ABSORB MORE OF THE MOISTURE AND THE LIQUID. JOHN: HOLDS ITS SHAPE WELL. YEAH, IT NEEDS TO DOUBLE IN SIZE TO PROVE, BUT IT'S TOO SOON TO TAKE A LOOK. I'M JUST WORRIED. THAT'S WHY I JUST KEEP ON LOOKING AT IT, BUT, I MEAN, IT'S TOO SOON TO ACTUALLY REALLY TELL. PAUL: YOU CAN SEE HOW MUCH IT'S GROWN. MARY: IT HAS. SO I'M USING FLOUR ON THERE, AND I'M GOING TO TIP THIS DOUGH ONTO THE BENCH AND THEN JUST COAT IT IN A LITTLE BIT OF FLOUR TO START WITH. I'M JUST GOING TO ROLL THIS DOUGH OUT. NOW, WHAT I'M DOING HERE IS ACTUALLY MAKING THE BASE TO ROLL UP LIKE A SWISS ROLL, YOU KNOW, OR A ROULADE? AND THEN THIS BIT HERE I JUST TACK DOWN TO THE TABLE ALL THE WAY ALONG. NOW, I'VE GOT SOME BUTTER HERE, IT'S ABOUT 50 GRAM. NOW I'M GOING TO LEAVE SOME BACK TO GREASE THE TIN I'M GOING TO BAKE IT IN, BUT SLAP THAT IN THE MIDDLE AND GET YOUR FINGERS IN THERE. NONE OF THIS SORT OF PALETTE KNIFE STUFF, USE YOUR FINGERS. AND THE DOORBELL RINGS? DOESN'T MATTER, LET THEM WAIT. SMEAR THE BUTTER ALL OVER THE TOP. I MEAN, THIS REALLY IS AN ENRICHED DOUGH. I LOVE YOUR TIP ABOUT FIXING IT TO THE TABLE JUST BY PRESSING YOUR FINGERS INTO THE DOUGH AND MAKING IT STICK. YEP, IT WORKS. NOW I'VE GOT 75 GRAMS OF SOFT BROWN SUGAR, SCATTER THAT OVER THE TOP LIKE SO. AND WHEN THIS MELTS, IT WILL ALMOST CARAMELIZE IN THE OVEN. NARRATOR: WEIGH OUT 100 GRAMS EACH OF CURRANTS, DRIED APRICOTS, AND CRANBERRIES AND SPRINKLE TWO TEASPOONS OF CINNAMON ALL OVER THE SUGARED DOUGH. THANK YOU VERY MUCH, MARY. JUST GIVE THAT A BIT OF A MIX AND THEN SCATTER THESE ALL OVER THE TOP SO THEY'RE NICE AND EQUAL. PUT A BIT OF PRESSURE ON THEM TO PUSH THEM INTO THE DOUGH. NOW YOU START ROLLING IT UP, YOU GET YOUR DOUGH, AND THEN YOU BEGIN TO FOLD OVER THE TOP BIT AS YOU WOULD A ROULADE. THEN THE NEXT BIT. I THINK THIS IS WHERE PEOPLE GO WRONG. THEY'RE NOT BOLD ENOUGH WHEN THEY ROLL IT UP. NOW YOU ARE DOING THAT QUITE TIGHTLY AND FIRMLY, PUSHING IT DOWN. YEAH, AND YOU CAN SEE YOU STRETCH IT SLIGHTLY. 'CAUSE IT'S TACKED TO THE TABLE, IT'S NOT GOING TO GO ANYWHERE. NOW, WHEN YOU GET TO THE END, YOU JUST QUICKLY ROLL UP AND ALL THE TACKED BIT DOWN AT THE BOTTOM JUST RELEASE. THAT WILL NOW BOND WITH THE REST OF IT, WHICH YOU PICK UP AND DROP IN THE FLOUR. THAT WAY YOU CAN ROLL IT SLIGHTLY AS WELL. IT DOESN'T REALLY MATTER IF A BIT OF THE FRUIT'S COMING THROUGH. ONCE YOU'VE CUT IT ALL UP, IT'LL STICK TOGETHER ANYWAY. EXACTLY. NARRATOR: BUT A DIFFERENT STORY WAS UNRAVELING IN THE TENT. JAMES: THE HARDEST THING ABOUT MAKING 24 SWEET BUNS IS PROBABLY MAKING THEM ALL THE SAME. STOP MEASURING THE SAUSAGE. BRENDAN: OK, SO HERE WE GO. 1, 2. 1, 2. JAMES: THERE'S ABSOLUTELY NO TECHNIQUE TO THIS AT ALL. I DON'T KNOW WHAT I'M DOING, BASICALLY. I'M JUST WORRIED 'CAUSE THIS ISN'T VERY, VERY SOFT. THE DOUGH MIGHT NOT ACTUALLY HOLD. STOP FIDDLING WITH THEM OR ELSE THEY'LL JUST NEVER BE DONE, WILL THEY? THIS IS THE DANGER POINTS FOR ME. FOLDING THESE ARE TAKING FOREVER. SUE: YOU COULD HAVE MADE A LOVELY SIMPLE PINWHEEL. WHAT HAVE YOU DONE? I SHOULD HAVE DONE CHELSEA BUNS. I KNEW I SHOULD HAVE DONE CHELSEA BUNS. JUST TRIM OFF THE ENDS AND YOU END UP WITH THE PERFECT CHELSEA BUN, FILLED WITH ALL THE FRUITS. NOW, YOU'RE GOING TO GET 12 FROM THIS, SO ROUGHLY MAKE A HALFWAY MARK. YOU KNOW, YOU'VE GOT TO GET ROUGHLY 6 FROM EACH. NO RULER FOR PAUL HOLLYWOOD. AND CUT ALL THE WAY THROUGH, RUBBING THE TABLE TO MAKE SURE THAT YOU'VE BROKEN IT ALL THE WAY THROUGH. AND THERE'S YOUR 12 CHELSEA BUNS. OK, I'M GOING TO BRING MY TIN IN. THIS IS A LOOSE BOTTOM TIN. NOW, I'VE GOT THE BUTTER THAT I LEFT OVER BEFORE. GRAB THAT IN YOUR HAND. GET IT IN THERE AND THEN JUST SMEAR IT ROUND THE BOTTOM. I'D ADVISE YOU DON'T USE OIL ON THIS. IT'S ESSENTIALLY A SWEET DOUGH, SO WHY WOULD YOU USE OLIVE OIL? BUTTER'S FINE AND YOU GET A NICE FLAVOR FROM THE BUTTER AS WELL. SO RUB IT ROUND INTO THE CORNERS. AND I WOULD SAY THAT'S ABOUT A 12x9 TIN, AND IF YOU HAVEN'T GOT THAT TIN, YOU COULD USE A SMALL ROASTING TIN. YEAH, YOU CAN, AS LONG AS IT'S CLEAN. IF IT'S DIRTY AND IT'S HAD A BIG ROAST IN IT FROM SUNDAY AND HASN'T BEEN CLEANED PROPERLY, AND I'VE BEEN ACCUSED OF THAT-- WHY ARE YOU LOOKING AT ME LIKE THAT? I'M NOT! YOUR ROASTING TINS I IMAGINE ARE SPOTLESS, MARY. NOW, I'VE GOT ALL MY 12 LINED UP. PICK THEM UP AND THEN DROP THEM, AND I'M GOING TO DO 4 ROWS OF 3, LIKE SO. SPREAD THEM OUT EVENLY, PUT A BIT OF PRESSURE ON THEM. SO IN PLACE, PRESS THEM DOWN A BIT. IT STOPS THEM FROM RISING UP TOO MUCH THAT WAY, BECAUSE IT'S QUITE A SOFT DOUGH, SO THEY TEND NOT TO BALLOON UP ANYWAY. THEY DO TEND TO FLOW OUT. SO THAT WILL FILL ALL THOSE GAPS AND YOU END UP WITH SQUARE CHELSEA BUNS. SO AT THIS STAGE, THEY NEED TO REST FOR AT LEAST AN HOUR. IF IT'S IN A DRAFTY ENVIRONMENT, COVER IT UP, BUT IF IT ISN'T, JUST LEAVE IT AS IT IS. PAUL: LOOK AT THEM, MARY. MARY: THEY'VE SPREAD BEAUTIFULLY INTO THE CORNERS. THE REST OF THOSE GAPS WILL BE FILLED WHILE IT BAKES, SO IT WILL START TO GROW A LITTLE BIT MORE. THEY'RE GOING TO GO INTO AN OVEN, 200 FAN, 220 NON, FOR ABOUT 20 TO 25 MINUTES UNTIL THEY'RE LOVELY AND GOLDEN BROWN. NARRATOR: WHEN BAKING ENRICHED DOUGHS, YOU MUST BE CAREFUL NOT TO BURN THE TOP, WHICH CAN COLOR VERY QUICKLY BECAUSE OF THE AMOUNT OF SUGAR AND BUTTER IN THE DOUGH. JOHN: GOOD LUCK, LITTLE BUNS. GOOD LUCK. NARRATOR: SO THE BAKERS HAD TO WATCH THEM CLOSELY. [TIMER BEEPS] THAT'S THE ONE. OH! THEY'RE ROBUST. WE'RE ALL RIGHT. THESE LOOK AWFUL. WHAT'S WRONG WITH THEM? HE'S GOING TO SAY, "THEY'RE UNDERPROVED. THEY'RE UNDERPROVED." SARAH-JANE: I'M QUITE PLEASED WITH THEM, ACTUALLY. I'M LOVING THIS SUGAR. PAUL: LOOK AT THOSE FELLAS. MARY: THEY LOOK WONDERFUL. ALL THE FRUIT INSIDE. IT'S A LOVELY COLOR, AND IT'S FILLED ALL THE GAPS, SEE? NOW, WHILE THEY'RE WARM, I HAVE TO FINISH THESE OFF. NARRATOR: WARM AND SIEVE SOME APRICOT JAM AND BRUSH IT ACROSS THE BUNS. GIVES THIS A LOVELY SHINE AS WELL AS FLAVOR. IT DOES. AND WHILE IT'S WARM, IT JUST DRIPS INSIDE THE CHELSEA BUN AS WELL. THEY SMELL FANTASTIC, AND THAT SUGAR IS CARAMELIZED INSIDE, GIVES IT A BEAUTIFUL FLAVOR. NOW WHAT I'M GOING TO DO IS PUT SOME ICING ON THIS AS WELL. I'M GOING TO MAKE AN ORANGE ICING, SO ICING SUGAR, A SPOONFUL OF SUGAR. I'M GOING TO BURST INTO SONG NOW. WE NEED MEL AND SUE. THEY'RE ALWAYS BURSTING INTO SONG. HEH HEH. I KNOW. IT'S VERY QUIET IN THE TENT, ISN'T IT, WITHOUT THEM? NOW I'M GOING TO GET A ZEST OF ONE ORANGE. AND, YOU KNOW, SO OFTEN WE'RE EATING THE ORANGE AND WE DON'T DO ANYTHING WITH THE ZEST. SO IT'S A PERFECT WAY OF USING IT. A LITTLE BIT OF ORANGE IN THERE IS BEAUTIFUL. NARRATOR: ADD JUST A LITTLE SPLASH OF WATER TO THE ICING SUGAR TO START WITH. PAUL: IF YOU TRY AND ADD TOO MUCH WATER, IT JUST GOES TO LIQUID AND IT DOESN'T ALL MIX IN. IT ALMOST LOOKS SPLIT. IT'S EASIER TO START WITH A STIFF BOWL AND JUST WEAKEN IT OFF SLIGHTLY. MAKE SURE YOU'VE GOT ALL THE ICING SUGAR IN THERE, THEN YOU BREAK IT DOWN A BIT. BEAUTIFUL FLAVOR, THIS ORANGE ICING. NOW LOOK AT THE CONSISTENCY. JUST POURING. LOVELY. SEE, IT JUST HOLDS SLIGHTLY. AND THAT WILL JUST DRIP DOWN AGAIN WITH THE APRICOT JAM. IT WILL GO IN THE GAPS. EXACTLY. AND THEN JUST DAB ALL AROUND. IT GIVES AN UNUSUAL COLOR, 'CAUSE IT'S NORMALLY WHITE ICING YOU HAVE ON THE TOP, ISN'T IT? YEAH, I LIKE TO BE SOMETHING DIFFERENT, AND THAT LITTLE BIT OF ORANGE GOES REALLY WELL WITH THE CHELSEA BUN. AS IT DRIPS DOWN THE CRACKS, THAT WILL BE EXTRA FLAVOR. ABSOLUTELY, YEAH. IT'S FANTASTIC, THIS STUFF, IT REALLY IS. IT'S GOT A LOOSE BASE. POP IT ON THE TOP, AND THEN JUST FORCE DOWN THE OUTSIDE. LOOK AT THAT. WHAT A BEAUTIFUL BAKE. THAT LOOKS WONDERFUL. THEN JUST TEAR AND SHARE AFTER THAT, ISN'T IT? EXACTLY. SO WHAT YOU'VE GOT THERE ARE MY CHELSEA BUNS TOPPED WITH A GORGEOUS ORANGE ICING. LOOKS SO TEMPTING. WOULD YOU HAVE PUT ME THROUGH IF I GAVE YOU THEM? I THINK I'D GIVE YOU 10 OUT OF 10. WELL, 9 1/2. NOW I'M GOING TO RIP INTO THIS FELLOW HERE. YOU'VE LEFT THE PIECES OF APRICOT CHUNKY AND MASSES OF FRUIT. THAT'S QUITE SOMETHING. REALLY GOOD. FOLLOW THE RECIPE ORIGINALLY, AND THEN BEGIN TO TWEAK THE FLAVORS TO THE WAY YOU LIKE IT. IF YOU DON'T LIKE ORANGE, USE LEMON. USE LIME IF YOU WANT. YOU CAN CHANGE THE FRUIT INSIDE. YOU KNOW, YOU COULD PUT NUTS IN THERE. I THINK YOU COULD ACTUALLY DO THE SAME THING WITH ANY OF OUR BAKES. BUT FIRST OF ALL, FOLLOW WHAT WE SAY FROM BEGINNING TO END, AND THEN YOU CAN START TO EXPERIMENT. AND ALL WE'VE DONE IS HELP PEOPLE ONTO THE ENTRY LEVEL OF BAKING AND THEN SEND THEM ON THEIR WAY. AND GOOD LUCK. " . _:genid2dafebd958c4b1462bb59f9681f1f085962db0 "Armed with sieves and spatulas, they show their signature sponge puddings, flat breads, wellingtons, sweet buns and tarte tatins. They go through every step of their recipes, with no soggy bottoms in sight, proving that anybody can give baking a go if they follow their advice." . _:genid2dafebd958c4b1462bb59f9681f1f085962db0 "S5 E13: Masterclass, Part 3 | The Great British Baking Show" . _:genid2dafebd958c4b1462bb59f9681f1f085962db0 . _:genid2dafebd958c4b1462bb59f9681f1f085962db0 "2018-12-30T05:00:00+00:00"^^ . _:genid2dafebd958c4b1462bb59f9681f1f085962db0 "PT0H54M51S" . _:genid2dafebd958c4b1462bb59f9681f1f085962db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2dafebd958c4b1462bb59f9681f1f085962db0 . . "KOCE-TV" . "KOCE" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db0 . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db1 . "https://www.pbssocal.org/" . . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db0 . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db0 "Costa Mesa" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db0 "CA" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db0 "US" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db0 "92626" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db0 "3080 Bristol St. #100" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db1 . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db1 "3.36846105E1"^^ . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db2 . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db2 "Monday" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db2 "Tuesday" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db2 "Wednesday" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db2 "Thursday" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db2 "Friday" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db2 "08:00" . _:genid2db62a46aabd5c49ac83df0ad2c5b0b2a12db2 "17:00" . _:genid2d48d829b6b60344d89c40aca9bd882fb82db0 . _:genid2d48d829b6b60344d89c40aca9bd882fb82db0 " [ Vehicle rumbling ] [ Explosion ] [ Debris clattering ] [ Tires squealing ] -[ Grunting ] [ Dogs barking in distance ] [ Laughter ] -Huh? [ Snow crunching ] [ Bird cawing in distance ] -[ Whispering ] -[ Crying ] [ Sniffles ] [ Sniffles ] -[ Sighs ] -[ Sighs ] [ Dog barking in distance ] [ Television playing indistinctly ] [ Dogs barking in distance ] -[ Gasps ] [ Tapping on window ] -[ Giggles ] [ Vehicle rumbling ] [ Vehicle rumbling ] [ Laughter ] -[ Imitates gunfire ] [ Bottles shattering ] -[ Exhales sharply ] Aah! Aah. [ Clanking ] [ Hammer pounding ] -[ Singing ] [ Rumbling in distance ] [ Birds chirping ] [ Explosions in distance ] -[ Chuckles ] [ Television playing indistinctly ] -[ Sighs ] Mm. -[ Laughs, speaks indistinctly ] [ Laughter ] -Rah! [ Laughter ] Aah! -[ Laughs ] [ Laughs ] [ Laughs ] [ Dogs barking in distance ] -Hmm? -[ Chuckles ] [ Chuckles ] [ Sniffles ] [ Insect buzzing ] [ Birds singing ] [ Rumbling in distance ] [ Clippers buzzing ] [ Buzzing stops ] -[ Sniffling ] [ Rapid gunfire in distance ] [ Vocalizes ] [ Spits ] [ Explosion in distance ] [ Branch snaps ] [ Explosion in distance ] [ Explosions in distance ] [ Explosions continue in distance ] [ Branch snaps ] [ Explosions continue in distance ] [ Explosions continue in distance ] -[ Exhales sharply ] [ Fire crackling ] [ Explosions continue in distance ] [ Explosions continue in distance ] [ Dog barking in distance ] -[ Sniffles ] [ Explosions continue in distance ] [ Loud explosion in distance ] -[ Indistinct ] [ Explosions continue in distance ] [ Loud explosion ] [ Explosions continue in distance ] [ House rattling ] [ Explosions in distance ] -[ Sighs ] -[ Indistinct ] [ Dog barking in distance ] [ Fire crackling ] -[ Grunts ] [ Radio static ] [ Radio static ] -[ Sighs ] [ Rumbling in distance ] [ Television playing indistinctly ] [ Dog barking in distance ] [ Clock ticking ] [ Chuckles ] [ Bag rustling ] [ Explosion in distance ] [ Explosions in distance ] -[ Whispering ] [ Explosions continue in distance ] -[ Giggles ] [ Giggles ] [ Spitting ] [ Giggles ] [ Giggles ] -[ Laughing ] [ Laughter ] [ Door closes ] -[ Sighs ] [ Both whispering ] [ Cat meows ] [ Explosions in distance ] [ Dogs barking in distance ] [ All whispering ] [ Explosions in distance ] [ Explosions continue in distance ] [ Loud explosions ] [ Loud continue explosions ] -Mm-hmm. [ Coughs ] [ Clock ticking ] [ Cat meows ] [ Cat meows, dogs barking in distance ] [ Cat purring ] [ Cat meows ] [ Dog barking in distance ] -Mm. Mm. [ Dishes clattering ] [ Soup splatters ] -[ Gasps ] [ Trickling ] [ Gulps loudly ] [ Radio static ] [ Dogs barking in distance ] -[ Gasps ] -[ Gasps ] [ Gunshot fires ] [ Gunshot fires ] [ Gunshot fires ] -[ Exhales ] -[ Exhales sharply ] Ahh... [ Rustling ] [ Rustling ] -[ Exhales ] -[ Laughs ] -[ Exhales sharply ] [ Dog barking ] [ Gunshot fires ] Oh! [ Gunshot fires ] Oh! -Oh! -Ugh! -Ugh! -[ Breathing heavily ] Aah. [ Gunshot fires ] [ Dogs barking in distance ] [ Gunshot fires ] [ Insects chirping ] -[ Vocalizing ] [ Gasps ] -[ Chuckles ] [ Laughs ] -Hmm? -[ Chuckles ] [ Dog barking in distance ] -[ Sighs ] -[ Sighs ] -Mm-hmm. [ Utensils clattering ] [ Explosion in distance ] [ Cat meowing ] [ Explosion in distance ] [ Explosion in distance ] [ Explosion in distance ] [ Explosion in distance ] " . _:genid2d48d829b6b60344d89c40aca9bd882fb82db0 "The Distant Barking of Dogs follows the life of 10-year-old Ukrainian boy Oleg over a year, witnessing the gradual erosion of his innocence beneath the pressures of the on-going war in Eastern Ukraine. Having no other place to go, Oleg and his grandmother Alexandra stay and watch as others leave the village, showing just how crucial\u2014and fragile\u2014family is for survival." . _:genid2d48d829b6b60344d89c40aca9bd882fb82db0 "S32 E7: The Distant Barking of Dogs | POV" . _:genid2d48d829b6b60344d89c40aca9bd882fb82db0 . _:genid2d48d829b6b60344d89c40aca9bd882fb82db0 "2019-08-05T21:30:00+00:00"^^ . _:genid2d48d829b6b60344d89c40aca9bd882fb82db0 "PT0H52M58S" . _:genid2d48d829b6b60344d89c40aca9bd882fb82db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2d48d829b6b60344d89c40aca9bd882fb82db0 . . "KOCE-TV" . "KOCE" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db0 . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db1 . "https://www.pbssocal.org/" . . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db0 . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db0 "Costa Mesa" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db0 "CA" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db0 "US" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db0 "92626" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db0 "3080 Bristol St. #100" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db1 . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db1 "3.36846105E1"^^ . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db2 . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db2 "Monday" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db2 "Tuesday" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db2 "Wednesday" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db2 "Thursday" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db2 "Friday" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db2 "08:00" . _:genid2dc9081e3c29cc4c28b8a66cfacd9bd4062db2 "17:00" . _:genid2dd74b8013a2824b67a50f038a9be17ce32db0 . _:genid2dd74b8013a2824b67a50f038a9be17ce32db0 " NARRATOR: 12 HOME BAKERS BATTLE IT OUT OVER CAKES, PIES, AND PASTRIES IN A BID TO BECOME BRITAIN'S BEST AMATEUR BAKER. SOME RISE TO THE CHALLENGE WHILE OTHERS FALL APART. AHH. IT'S A SHAME, IT'S A SHAME. TECHNICALLY, THIS IS ABSOLUTELY RUBBISH. RYAN: UH, RECOVERY FROM DISASTER. NARRATOR: EACH WEEK, THE BAKERS ARE ASKED TO COMPLETE 3 CHALLENGES, BUT THE MOST FEARED BY FAR AND THE MOST REVEALING IS THE TECHNICAL CHALLENGE. WHO KNOWS HOW IT'S GONNA GO? IT'S LIKE THE WORST NIGHTMARE, THIS IS. NARRATOR: ALWAYS A CLOSELY GUARDED SECRET, SUCCESS IN THIS CHALLENGE RELIES UPON THEIR BAKING SKILLS... OH, MY DAYS! NARRATOR: EXPERIENCE... BRENDAN: THE NUMBER OF DECADES I'VE BEEN BAKING, IT DOES HELP. NARRATOR: AND INTUITION IN THE CONTEXT OF A CLASSIC RECIPE. I DO KNOW WHAT IT SHOULD BE LIKE IN THE END. JUST NOT ENTIRELY SURE HOW TO GET IT TO THAT POINT. NARRATOR: BUT NOW IT'S THE TURN OF OUR VERY OWN JUDGES TO GET BAKING THEMSELVES. QUEEN OF CAKES MARY BERRY AND MASTER BAKER PAUL HOLLYWOOD HAVE SO FAR BEEN JUDGING OTHER PEOPLE'S EFFORTS. GOOD FLAVOR. LOOKS LIKE A CHOCOLATE BREEZE BLOCK. THAT IS ABSOLUTELY DELICIOUS. I THINK IT WORKS. IT'S DIFFERENT. I DON'T KNOW THAT I LIKE IT. PAUL: TO SAY IT WAS A DISASTER WOULD BE A HUMILIATION TO DISASTER. COME ON. SAY SOMETHING NICE. NARRATOR: BUT NOW IT'S TIME FOR MARY AND PAUL TO SHOW OFF THEIR SKILLS AND MAKE ALL OF THE TECHNICAL CHALLENGES SO THAT YOU CAN GET THE PERFECT RESULT EVERY TIME. MARY: WELL, PAUL AND I HAVE HAD IT PRETTY GOOD JUST JUDGING, BUT NOW, IT'S ALL ON US, SO WE'VE GOT TO SHOW YOU EXACTLY WHAT TO DO STEP BY STEP TO GET EVEN BETTER RESULTS THAN THE BAKERS. NARRATOR: PAUL WILL BE MAKING HIS RUM BABAS, A LIGHT AND FRAGILE SPONGE DESSERT SOAKED IN RICH RUM SYRUP; A MIND-BOGGLING 8-STRAND PLAITED LOAF WITH ITS PERFECTLY GOLDEN CRUST; AND PAUL'S TRADITIONAL HAND-RAISED PIE PACKED FULL OF TENDER CHICKEN AND JUICY APRICOTS. MARY BRINGS US HER RECIPE FOR TREACLE TART, A REAL CLASSIC WITH THE PERFECT BALANCE OF THIN PASTRY AND DECADENT FILLING, AND CREÈME CARAMEL; A FREESTANDING, SWEET CUSTARD WITH A LAYER OF MOIST CARAMEL ON TOP; AND FINALLY, IF YOU'VE EVER WONDERED HOW TO CREATE SPUN SUGAR, PAUL WILL SHOW YOU HOW TO GET THE PERFECT RESULTS. FINALLY, A CHANCE FOR MARY AND I TO GET BAKING OURSELVES IN THE TENT AND SHOW YOU GUYS EXACTLY HOW TO DO ALL THE TECHNICAL CHALLENGES PROPERLY. GAME ON. NARRATOR: THIS YEAR BEGAN WITH CAKES. THE BAKERS STARTED BY CREATING COLORFUL CONCOCTIONS WITH THEIR OWN TAKE ON THE UPSIDE-DOWN CAKE BEFORE WOWING THE JUDGES WITH THEIR INGENIOUS AND TECHNICALLY DIFFICULT HIDDEN DESIGN CAKES, BUT WHAT CAUGHT MANY OF THEM OUT WAS PAUL'S HALF-CAKE, HALF-DOUGH TECHNICAL CHALLENGE. BAKERS, ADOPT THE BRACE POSITION. THIS IS YOUR FIRST TECHNICAL CHALLENGE. THIS RECIPE IS FOR A CLASSIC 1970s STAPLE-- RUM BABA. 4 PERFECT BABAS WITH CREAM IN THE MIDDLE AND PERFECTLY SLICED FRUIT ON TOP. ON YOUR MARKS... GET SET... BAKE BAKE. JOHN: I'M QUITE AFRAID OF THIS RECIPE. SARAH-JANE: I'VE GOT NO IDEA WHAT I'M DOING! NARRATOR: RUM BABAS ARE CAKES MADE FROM LEAVENED DOUGH, A HIGHLY ENRICHED BATTER THAT IS SOAKED IN RUM SYRUP, DECORATED WITH FRUIT AND CHANTILLY CREAM. RUM BABA. IT'S THAT STRANGE HYBRID BETWEEN CAKE AND BREAD. BUT IT'S SOMETHING VERY SPECIAL BUT A LITTLE BIT TRICKY. VERY TRICKY. BUT YOU'RE GONNA SHOW US THAT IT'S EASY. LET'S JUST SEE HOW EASY IT IS, SHALL WE? WHAT WOULD YOU LIKE? CAN I DO ANY WEIGHING FOR YOU? CAN YOU WEIGH UP 220 GRAMS OF STRONG FLOUR, PLEASE? SOMETIMES, PLAIN FLOUR IS USED FOR RUM BABA, ISN'T IT? I TEND TO USE STRONG FLOUR BECAUSE IT'S QUITE A WET DOUGH, AND SO A STRONG FLOUR WILL GIVE YOU THAT SPRING IN THE OVEN TO GIVE YOU THAT DOME ON THE TOP OF THE RUM BABA ITSELF. THAT'S IT. THANK YOU. COULD YOU ALSO GIVE ME 7 GRAMS OF FAST-ACTION YEAST AND 1/2 TEASPOON OF SALT. NARRATOR: KEEP THE SALT AND YEAST SEPARATE IN THE BOWL TO START WITH, AS THE SALT WILL SLOW THE DEVELOPMENT OF THE YEAST. MEASURE OUT 50 GRAMS OF SUGAR, 2 MEDIUM EGGS, AND 70 MILS OF MILK. ADD A LITTLE BIT OF MILK TO START WITH. I WANT TO DEVELOP THE DOUGH FIRST BEFORE I ADD THAT BUTTER. RIGHT. SO, JUST START STIRRING IN THE MIXTURE, JUST TAKING IT FROM ROUND THE SIDE. MORE MILK. SO, CARRY ON WORKING THIS DOUGH, MANIPULATING IT, BUILDING UP THAT GLUTEN, AND MOVING THE BOWL AROUND, KEEPING IT ACTIVE. NARRATOR: THERE'S ALWAYS A DANGER OF GIVING UP TOO SOON, BUT THE BATTER NEEDS AS MUCH AIR IN AS POSSIBLE TO CREATE THE SPONGE. AND WHAT YOU COULD START DOING NOW, PLEASE, MARY, IS BEGIN TO ADD THE BUTTER. NARRATOR: MEASURE OUT 100 GRAMS OF SOFTENED BUTTER. IT'S IMPORTANT TO DEVELOP THE DOUGH FULLY BEFORE ADDING THE FAT, AS FAT SLOWS THE GLUTEN DEVELOPMENT AND MAKES IT WEAKER, WHICH IS WHY ENRICHED DOUGH IS SOFT AND FRAGILE. RUB THAT BUTTER INTO THAT DOUGH. THIS IS THE MOST IMPORTANT STAGE WHEN MAKING RUM BABA. SEE, IT'S GETTING MORE GELATINOUS NOW, IT'S GETTING MORE STRINGY. YOU HAVE TO INCORPORATE ALL THE BUTTER PROPERLY BECAUSE OTHERWISE YOU'LL GET STREAKS IN THERE. NOW YOU ARE EXTREMELY STRONG AND HAVE GOT VERY GOOD ARMS. UH, COULD I PLEASE DO THIS IN A MACHINE WITH A DOUGH HOOK? YEAH, OF COURSE YOU COULD. YEAH. JUST TAKE YOUR TIME. IT'LL TAKE ABOUT 10 MINUTES, SO IMAGINE HOW LONG IT SHOULD TAKE DOING THIS. WELL, I THOROUGHLY RECOMMEND USING A DOUGH HOOK THEN. IT'S BEGINNING TO COME NOW. IT'S LOVELY AND SHINY, NOT A LUMP IN SIGHT. NO. WHAT I'M GONNA DO IS COAT THAT IN A LITTLE BIT OF FLOUR NOW. YOU GET MOISTURE MOLECULES SITTING ON THE OUTSIDE OF THE DOUGH/BATTER, AND THE MOISTURE IS SOAKED UP BY THE FLOUR, AND IT JUST HELPS YOU TO MANIPULATE IT A LITTLE BIT EASIER. LET'S GIVE IT A LIGHT COATING IN THE FLOUR. SO YOU'RE TAKING IN QUITE A BIT OF EXTRA FLOUR TO THE FLOUR THAT YOU'VE USED. I'M COATING THE OUTSIDE OF IT. ANY MOISTURE THAT'S HOLDING THERE... RIGHT. WILL SOAK UP. NOW AT THAT STAGE, I'D LEAVE THAT THEN FOR NATURE TO TAKE ITS COURSE. A GOOD HOUR IN A WARM ENVIRONMENT, AND THAT WILL START TO GROW. CAN I JUST FEEL IT? YEAH, OF COURSE. NOW, WHEN YOU PRESS IT, THE INDENTATION STAYS THERE... THAT'S RIGHT. AND WHEN YOU'VE PROVED IT, IT SHOULD SPRING BACK? IT WILL, BUT DON'T FORGET THAT'S A VERY SOFT BATTER. IT'S LIKE IF YOU HAVE A RISEN BATTER AND PUT YOUR FINGER IN IT, IT WILL STILL LEAVE AN INDENTATION. IT COULD COLLAPSE. IT'S VERY DELICATE. RIGHT. NARRATOR: COVER IN CLING FILM AND LEAVE FOR AN HOUR TO DOUBLE IN SIZE. OK, MARY. HERE ARE OUR 4 RUM BABA MOLDS. WOULD YOU MIND BRUSHING THE INSIDE WITH PLENTY OF BUTTER AND THEN JUST A LIGHT COATING OF SUGAR, PLEASE? NOW THIS IS THE MIX WHICH HAS BEEN RESTING NOW FOR ABOUT AN HOUR. IT'S SORT OF ABOUT DOUBLE THE AMOUNT. IT'S QUITE AERATED ALREADY, AND IT'S PERFECT FOR GOING STRAIGHT INTO A PIPING BAG, AND THEN WE'RE GONNA PIPE THAT INTO THE BOWLS THEMSELVES. SO I'VE WELL-BUTTERED THAT. OBVIOUSLY, I DON'T HAVE TO DO IT IN THE MIDDLE, DO I? YOU CAN DO A LITTLE BIT IN THE MIDDLE BECAUSE I'M TRYING TO GET A LITTLE BIT OF A LIP ON IT, AS WELL. OH. WELL, I'LL MAKE SURE I'LL DO IT WELL BECAUSE OTHERWISE I'LL GET BLAMED, WON'T I? YES, YOU WILL. RIGHT. AND THEN SUGAR? YEAH. JUST A LIGHT DUSTING OF SUGAR, PLEASE. NARRATOR: SUGARING THE MOLDS HELPS GET THESE FRAGILE CAKES OUT OF THE TINS ONCE BAKED, BUT FOR SOME, IT DIDN'T GO TO PLAN. JOHN: OHH. I'VE RUINED IT COMPLETELY. DO YOU KNOW WHAT I'VE GONE AND DONE, DANNY? DANNY: WHAT? USED SALT IN MY TIN. IT'S... OHH, NO! I WANT TO GO HOME. HEH. OH, I'VE MESSED UP BIG STYLE, YEAH. THIS IS GONNA PUT ME IN THE BAD BOOKS FROM THE START, REALLY. IT'S GONNA, YOU KNOW-- "JOHN'S THE BOY WHO MESSED AROUND WITH THE SALT." SO. YEAH. YOU DO THAT. THAT'S SUGAR. IT'LL GIVE A NICE CRUST, WON'T IT, IF YOU HAVE THIS SUGAR AROUND. ABSOLUTELY, AND ALL YOU DO IS PIPE ROUND THE MOLD ABOUT HALFWAY UP BECAUSE THAT WILL GROW, SNIP IT OFF, AND THERE YOU HAVE IT. JOIN THE REST UP WITH YOUR FINGERS. AND ANOTHER ONE. KEEPING UP WITH HOLLYWOOD IS QUITE DIFFICULT. COME ON, MARY. HURRY UP. THANK YOU. AND AGAIN, PIPE THE LAST ONE IN. THERE YOU GO. SO THEY NEED TO RISE FOR ABOUT AN HOUR IN A WARM PLACE, AND THEN THEY'RE GONNA BE BAKED. YOU NEED TO COVER IT, BECAUSE WHAT YOU DON'T WANT AT THIS STAGE IS FOR THE TOP TO GET A SKIN ON. SO YOU TAKE A POLYTHENE BAG, PROP IT UP WITH A COUPLE SPICE JARS OR SOMETHING... THAT'S THE PROVE. AND CAN TUCK THE REST UNDERNEATH. WHAT WE'VE GOT HERE, THOUGH, WE'VE ACTUALLY GOT PROVING DRAWERS, WHICH IS ESSENTIALLY A HUMIDIFIER. WE JUST SET IT AROUND 32, 33 DEGREES. THEY'RE VERY LOVELY. SO THESE ARE GONNA GO IN THERE, AND WE'LL LEAVE THEM TO RISE, HAVE A LOOK IN ABOUT AN HOUR. MARY: WOW! PAUL: YES. THERE WE GO. THEY LOOK ABSOLUTELY BEAUTIFUL, REALLY WELL-RISEN, AND YOU WERE QUITE WISE TO SUGGEST THAT IT WAS BUTTERED ALL OVER BECAUSE IT'S JUST COME OVER THE RIM THERE, HASN'T IT? IT'S JUST GOT-- AND THAT WILL GIVE YOU THE LITTLE RIDGE THAT YOU PUT YOUR CREAM ON, BUT YOU SEE IT'S SOFT, IT'S DELICATE. YOU'VE GOT TO BE REALLY CAREFUL AT THIS STAGE. IT'S AN ENRICHED DOUGH. ANY FORM OF KNOCKING WILL DROP THAT, AND IT'LL LOSE ITS DOME. SO THESE ARE GONNA GO STRAIGHT INTO THE OVEN NOW. 160 FAN, 180 NON-FAN, FOR ABOUT 20-25 MINUTES TILL THEY'RE BEAUTIFUL AND GOLDEN BROWN. NARRATOR: BECAUSE OF THE AMOUNT OF BUTTER AND SUGAR IN THIS ENRICHED DOUGH, THE TOPS CAN COLOR QUICKLY, AND THE BABAS MAY LOOK BAKED BEFORE THEY'RE ACTUALLY DONE INSIDE. HERE'S HOPING. IF OVERBAKED, THE BABAS WILL BECOME CRISPY ON THE OUTSIDE. UNDERBAKED, AND THESE DELICATE SPONGES WILL COLLAPSE, A CHALLENGE THE BAKERS FOUND TRICKY. OH. IT'S ALL GONE WRONG. HO HO! THEY'RE ALL STUCK TO THE DISH. MARY: THEY LOOK A BIT ALL RIGHT. NICE AND GOLDEN BROWN. THEY'VE RELEASED ACTUALLY QUITE WELL. DO IT WHILE IT'S WARM BECAUSE THE BUTTER'S STILL WARM IN THE MOLD, AND ACTUALLY, THEY'LL COME OUT EASIER. WHAT I'VE GOT TO MAKE NOW IS THE SYRUP TO GO WITH THIS AND LET IT SOAK IN WHILE IT'S STILL WARM. NARRATOR: FOR THE SYRUP, MEASURE OUT 250 GRAMS OF CASTER SUGAR, 20 MILS OF HOT WATER, AND THEN ADD THE RUM. HOW MANY TABLESPOONS? UH, 3-4. 1... 2, 3. YOU CALL THAT A TABLESPOON?! THAT'S LOVELY. ABSOLUTELY PERFECT. DON'T WANT IT TOO WEAK. MARY, THAT'S BRUTAL. NO. JUST RIGHT. OK. ALL I'M GONNA DO IS HEAT THIS UP NOW. I CAN FEEL THAT'S ACTUALLY ALL DISSOLVED IN THERE... YOU WANT TO TASTE IT? AMONGST YOUR HALF A BOTTLE OF RUM. NO. YOU MIGHT NEED A LITTLE MORE RUM, SO I'VE PUT THE SPOON THERE. I'M NOT PUTTING ANY MORE RUM IN THERE. ALL RIGHT. LET ME JUST HAVE A LOOK AND SEE. ACTUALLY, IT'S PRETTY GOOD. HEH. SO WE'VE GOT WARM BABAS, HOT SAUCE, AND ON IT GOES. IF YOU FIND THAT IT'S NOT SOAKING IN, WE CAN TURN IT UPSIDE DOWN. IT'S JUST TO MAKE SURE THAT IT'S EQUALLY SPREAD. IF THAT WAS A NORMAL CAKE MIXTURE AND YOU TRIED TO TURN IT UPSIDE DOWN, IT WOULD ALL BREAK APART. IT WOULD COLLAPSE. EXACTLY, YEAH. THIS IS QUITE STRONG WITH BIG HOLES IN... YEAH. AND SO IT WILL TAKE BEING TURNED OVER. I MEAN, THE OTHER WAY OF DOING IT IS YOU LITERALLY JUST TILT IT, TAKE MORE SYRUP, AND THEN JUST DRIZZLE IT OVER THE TOP AGAIN. AND THEN YOU SERVE IT WHEN EVERYTHING IS VERY, VERY COLD. YES. NARRATOR: ALLOW THE HOT BABAS TO COMPLETELY SOAK UP ALL OF THE RUM SYRUP. THEN PUT THEM IN THE FRIDGE TO COOL FOR ABOUT HALF AN HOUR SO THAT THEY ARE READY TO DECORATE. IT'S LOVELY. JUST THE RIGHT AMOUNT OF RUM. NOW I'VE GOT SOME CREAM IN HERE WHIPPED UP WITH SOME VANILLA AND SOME ICING SUGAR. ALL I'M GONNA DO IS PIPE AROUND, KEEPING IT IN THE CENTER. AFTER THAT, FRUIT ON THE TOP. LOVELY. NOW THE FINISHING TOUCH. SOME ICING SUGAR. THIS IS MY MOST USEFUL THING IN THE KITCHEN. YOU KNOW WHEN YOU BURN THE SIDE OF AN APPLE PIE, WHICH I'M SURE YOU NEVER DO, YOU PUT AN AWFUL LOT ON THAT SIDE AND A LITTLE BIT LESS ON THE OTHERS, BUT THESE ARE PERFECT, AND OF COURSE, ONCE YOU'VE DONE IT, IMMEDIATELY BECAUSE THEY'RE MOIST, THEY DO TAKE UP. JUST SOAK IT BACK UP. HOW SIMPLE IS THAT? A RUM BABA... I THINK THEY LOOK WONDERFUL. MADE BY HAND, PIPED CREAM IN THE MIDDLE, FRUIT ON THE TOP, COVERED IN A STOCK SYRUP WITH RUM INSIDE IT. THAT'S HOW SIMPLE IT SHOULD HAVE BEEN. WELL, THIS WAS THE FIRST OF OUR TECHNICAL CHALLENGES, MARY, AND OBVIOUSLY, THERE WAS A BIT OF A RUMGATE BETWEEN ME AND YOURSELF, SO THE ONLY WAY TO SEE IF THE RUM WAS THE RIGHT LEVEL IS TO EAT IT. ABSOLUTELY. THIS IS THIS STRANGE HYBRID BETWEEN CAKE AND BREAD, AND THAT'S WHAT CAUGHT THEM OUT, I THINK. ENOUGH RUM? OH, I WOULDN'T MIND A LITTLE BIT MORE. UNBELIEVABLE. IT'S MOIST. IT'S SHARP WITH THE FRUIT, AND THEN YOU'VE GOT THAT BEAUTIFUL CHANTILLY CREAM INSIDE. IT'S UNUSUAL, AND IT'S DIFFERENT, AND IT'S SO GOOD. MMM. MMM! LOVELY. NARRATOR: WEEK TWO SAW THE BAKERS DOING BATTLE WITH BREAD. THEY WERE ASKED TO MAKE SIGNATURE FLATBREADS... AND A SHOWSTOPPING BATCH OF BAGELS, BUT IT WAS PAUL'S TRICKY TECHNICAL CHALLENGE THAT REALLY GOT THE BAKERS IN A TWIST. WE ARE CALLING THIS THE RAPUNZEL CHALLENGE. MEL: WE'RE ASKING YOU TODAY TO PREPARE AND BAKE AN 8-STRAND PLAITED LOAF. SUE: WE WANT EACH PLAIT TO BE THE EVEN WIDTH AND LENGTH WITH A NICE GOLDEN CRUST AND A SOFT CRUMB. ON YOUR MARKS... GET SET. BAKE! BAKE! TIME TO EXPERIMENT A BIT. I DIDN'T EVEN KNOW THERE WAS SUCH A THING. NARRATOR: A COMPLICATED 8-STRAND PLAITED LOAF WITH A CRUNCHY GOLDEN CRUST AND DENSE CRUMB STRUCTURE. 8-STRAND PLAIT. TO ME, IT SEEMS A VERY DIFFICULT CHOICE. THAT'S PRECISELY WHY I CHOSE IT. I WANTED TO SEE THEM SWEAT A LITTLE BIT ON THE TECHNICAL CHALLENGE, AND IT WAS NICE TO CHOOSE SOMETHING THAT EVEN A BAKER WOULD FIND DIFFICULT. SO, TO START WITH, WE NEED TO MAKE THE BASE DOUGH, SO CAN YOU PUT 500 GRAMS OF FLOUR INTO THERE FOR ME, PLEASE? AND STRONG FLOUR OF COURSE. STRONG FLOUR. HIGH IN GLUTEN. THAT GIVES YOU THE ELASTICITY AND THE STRENGTH TO HOLD THE BUBBLES INSIDE AS THE BREAD GROWS. 7 GRAMS OF FAST-ACTION YEAST, PLEASE. IF YOU CAN ONLY GET THE FRESH YEAST, THEN YOU NEED TO ADD 12 GRAMS. GIVE ME 10 GRAMS OF SALT. THAT GOES IN THERE TO THE OTHER SIDE OF THE BOWL. WHY DO WE DO THAT? BECAUSE IF YOU PUT IT OVER THE OTHER SIDE WITH THE YEAST, IT SLOWS DOWN THE ACTION. AM I GETTING THERE? YOU ARE GETTING THERE, MAR. COME AND WORK FOR ME ANYTIME. OK. THE NEXT INGREDIENT I'M GONNA ADD---OLIVE OIL. DOES THAT HAVE TO BE A GOOD OLIVE OIL? YOU DON'T NEED TO USE VIRGIN OLIVE OIL. JUST ANY OLIVE OIL IS FINE. NOW I'M ADDING ABOUT 320 MIL OF WATER. COOL WATER IS ABSOLUTELY FINE. START OFF BY ADDING HALF OF IT. FINGERS LIKE A MIXER. IN YOU GO AND THEN JUST TURN IT. SO OFTEN, BREAD RECIPES SAY WARM WATER. YEAH. YOU WERE SAYING COOL. IF YOU WANT TO USE WARM WATER, THAT'S ABSOLUTELY FINE. IT JUST SPEEDS IT UP, AND THE THING ABOUT MAKING BREAD IS THE SLOWER THE PROVE, THE MORE INTENSE THE FLAVOR, THE BETTER THE FERMENTATION. ALL I'VE DONE THERE IS CRUSH THE DOUGH TOGETHER, AND YOU END UP WITH A SOFT DOUGH LIKE THAT. THAT STILL NEEDS WORK. OLIVE OIL ONTO THE BENCH, POP YOUR DOUGH INTO THAT, AND JUST COAT THE OUTSIDE WITH THE OLIVE OIL. ONE THING I'VE LEARNT FROM YOU IS NOT TO ADD TOO MUCH EXTRA FLOUR AND ALSO HAVING A NICE, OILY SURFACE. IT'S MUCH EASIER TO WORK. IF I ADD LOTS AND LOTS OF FLOUR TO THAT, IT'LL TAKE FOREVER TO RISE, AIR HOLES WILL BE VERY TIGHT, AND IT WILL END UP LIKE A HOUSE BRICK. SO AS I WORK IT MORE, I BEGIN TO SPEED UP, AND YOU DO THIS FOR ABOUT 10 MINUTES. BUT IT IS IMPORTANT AT THE VERY BEGINNING TO HAVE THAT FAIRLY WET DOUGH, WHICH LOOKED AS THOUGH IT WOULD STICK TO THE TABLE AND EVERYTHING ELSE, BUT BECAUSE OF THAT OLIVE OIL, IT'S COMPLETELY FREE. IT'S VERY DIFFICULT FOR BAKERS TO TEACH PEOPLE HOW TO KNEAD. EVERYONE'S GOT THEIR OWN WAY. I HOLD THE BOTTOM, GRAB THE TOP. YOU'VE INITIALLY STRETCHED IT. THEN YOU ROLL IT UP. SO YOU'RE IN, YOU RIPPED, AND THEN YOU'RE ROLLING UP, AND THAT'S THE MOTION I'VE USED FOR MANY, MANY YEARS, AND IT WORKS. EVERYTHING'S BEEN INCORPORATED IN. IT'S GOT A LOVELY SHINE FROM THE OLIVE OIL. IT'S QUITE STRETCHY AND RESISTANT, AS WELL. SO POP THAT IN A BOWL, CLING-FILM THAT, AND LEAVE THAT FOR ABOUT AN HOUR. HERE IT IS THEN, MARY. THAT'S FULLY PROVED? WELL, YEAH. I MEAN, IT COULDN'T GET ANY MORE PROVED. IT'D BE CLIMBING OUT THE BOWL AND TRYING TO GET OFF THE TABLE. IT WILL CARRY ON GROWING. SO THE AIM IS TO GET IT TO DOUBLE ITS SIZE? AT LEAST DOUBLE IN SIZE, AND YOU CAN SEE IT'S JUST FULL OF AIR. [POP] SINKING BACK IN. YOU BURST ALL THE BUBBLES, AND IT STARTS TO DROP. THOSE LITTLE CREASES THERE ARE ACTUALLY SIGNS THAT THE BREAD HAS RISEN AND THEN FALLEN BACK. WE CALL IT "THE DROP." IF YOU WALKED IN AND SAW YOUR DOUGH LIKE THAT, YOU'D INSTANTLY GO "IT'S FULLY PROVED." IT'S EXHAUSTED ALL THE FLOUR, AND IT'S FALLEN BACK AND CREATED CREASES. SO THE NEXT MOVE? THE NEXT MOVE IS TO TIP IT OUT. SO JUST STRETCH IT SLIGHTLY. BANG IT DOWN A LITTLE BIT. NOW YOU WANT TO DIVIDE IT INTO 8. SO FIND ROUGHLY HALFWAY AND THEN DIVIDE THAT AGAIN, AND THEN ONCE YOU GOT YOUR PIECES, LAY THEM OUT. THAT ONE'S A BIT SMALL. THAT ONE'S A BIT BIG. THIS IS THE BIT THAT WAS QUITE TRICKY, AND I KNOW THE BAKERS ALL STRUGGLED WITH THIS. NARRATOR: THE BAKERS WERE ASKED TO DIVIDE THE DOUGH INTO 8 EQUAL PORTIONS, WHICH SOME TOOK MORE LITERALLY THAN OTHERS. BRENDAN: IT'S 106 GRAMS PER PORTION. OK. THAT'S PRETTY PRECISE. YEP. SO THIS IS PER STRAND, IS IT? PER STRAND. LET'S MAKE THE OCTOPUS. NARRATOR: THE 8 STRANDS MUST BE EVENLY ROLLED OUT, OR ELSE YOU'LL GET AN UNEVEN, LOPSIDED PLAIT. CATHRYN: I HAVEN'T DONE ANY OF THE KIND OF FANCY WEIGHING OUT, BUT I FIGURE IF THEY'RE ALL ROUGHLY THE SAME THICKNESS, BUT I MIGHT HAVE COMPLETELY STUFFED IT UP. YOU'VE GOT TO ROLL EACH PIECE OUT NICE AND NEAT AND EQUAL. YOU START IN THE MIDDLE, ROLLING IT, AND THEN YOU ROLL OUT. YOU PUT QUITE A BIT OF WEIGHT ON YOUR HANDS, AND YOU CAN SEE I OPEN AND FLAY OUT MY SORT OF FINGERS LIKE THAT, AND SOMETIMES, YOU'LL HIT AN AIR POCKET LIKE THAT ONE THERE. THAT WOULD AFFECT THE GROWTH, YOU SEE, IF IT WASN'T KNOCKED OUT, AND YOU CAN SEE ACTUALLY ON THE BENCH THERE'S NOT A LOT OF FLOUR, IS THERE, BECAUSE YOU WANT THAT DOUGH TO STICK. IF IT'S TOO MUCH FLOUR, IT JUST--IT JUST SKIDS. YOU NEED THAT BIT OF A ADHESION. YOU NEED THAT-- YEAH. YOU NEED THAT BIT OF BITE. SO WE ROLL IT OUT. NO. YOU WENT SOMETHING LIKE THAT, DID YOU? I'M NOT DOING KARATE ON IT, MARY. I HAVE EVERY SYMPATHY WITH OUR BAKERS. I CAN TELL YOU IT'S PRETTY DIFFICULT. IT'S HARD. NARRATOR: ROLL OUT 8 EQUAL STRANDS, AND THEN YOU'RE READY TO ASSEMBLE. SO ALL I'M GONNA DO IS LINE THEM UP LIKE AN OCTOPUS. I THINK IF I WERE DOING IT, IT WOULD STAY A BIT LIKE AN OCTOPUS. HEH HEH HEH. OK. GATHER THE ENDS AND THEN JUST TUCK THEM TOGETHER AND TACK THEM TO THE TABLE SO YOU'VE GOT SOMETHING TO PLAIT WITH. THAT'S YOUR STARTING POINT THERE. EACH ONE OF THEM IS NUMBERED. 1, 2, 3, 4, 5, 6, 7, 8. WHAT YOU'VE GOT TO BE CAREFUL OF-- AND NO MATTER WHO YOU ARE, YOU WILL NEED THE SEQUENCE TO DO THIS. IF YOU HAVEN'T GOT THE SEQUENCE, YOU WON'T GET IT. MMM. NARRATOR: AND EVEN WITH THE SEQUENCE TO FOLLOW, THE BAKERS FOUND THEMSELVES IN A BIT OF A KNOT. MANISHA: "8 OVER 5 UNTIL THE DOUGH IS ENDED." I'M FEELING LIKE THIS COULD GO HORRIBLY, HORRIBLY WRONG. "8 UNDER 7 OVER 1." 1, 2, 3, 4, 5. "8 OVER 5." "2 UNDER 3." DANNY: THAT LOOKS A BIT WEIRD. NOW HOW COME I MESSED THAT UP? 8? AND THEN 8 OVER 5. SO 1, 2, 3, 4, 5. SO THAT GOES THERE. 8 UNDER 7 AND THEN 7 OVER 1. I'VE GOT NO IDEA WHAT I'M DOING. VICTORIA: 6 OVER 1. 3 OVER 8. 3 OVER 8. WHAT I LOVE ABOUT THIS PARTICULAR CHALLENGE IS THAT AFTER A WHILE EVERYONE SOUNDS LIKE RAIN MAN. OK. 3. 8 OVER 5, 5 OVER 2. CATHRYN: OH, DEAR! MEL: THIS IS LIKE "THE GENERATION GAME" GONE BAD. 7 OVER 1. IS THAT 7? I HAVE NO IDEA. 7 OVER 1. I'M--I'M GOING AGAIN I'M GOING AGAIN. OK. SO WHAT YOU'VE GOT IS 8 STRANDS LAID OUT. MM-HMM. AS YOU MOVE IT, YOU THEN RECOUNT. 1, 2, 3, 4, 5, 6, 7, 8. THE FIRST MOVE IS THE ONLY MOVE YOU DON'T REPEAT. SO YOU START OFF 8 UNDER 7 OVER 1. OK. SO WHEN WE COUNT AGAIN, THAT'S 1, 2, 3, 4, 5, 6, 7, 8. THE NEXT MOVE IS YOUR START OF YOUR FULL SEQUENCE. SO 2 GOES UNDER 3 AND OVER 8. SIMPLE. SIMPLE. AND THEN 1 OVER 4. THE NEXT MOVE IS 7 UNDER 6 OVER 1 AND THEN 8 OVER 5. THERE. I'M KEEPING VERY QUIET SO AS NOT TO MUDDLE YOU. THEN IT'S 2 UNDER 3 OVER 8, AND YOU REPEAT THAT TILL YOU FINISH. 7 UNDER 6 OVER 1. 8 OVER 5. 2 UNDER 3 OVER 8, 1 OVER 4. NARRATOR: PAUL MIGHT HAVE BEEN DOING THIS FOR YEARS, BUT TO MAKE THIS COMPLICATED PLAIT YOURSELF, MAKE SURE YOU HAVE THE SEQUENCE WRITTEN DOWN IN FRONT OF YOU BEFORE YOU START. ALL THE WAY... DOWN... TO... THE BOTTOM. HEH. LIKE THAT! SQUEEZE. UGH. THERE YOU HAVE IT. AN 8-STRAND PLAIT. VERY SIMPLE--ISH. THAT IS MAGNIFICENT. EASY. EASY PEASY. EASY PEASY. I MEAN-- HOW OLD WERE YOU WHEN YOU FIRST DID YOUR FIRST ONE LIKE THIS? 16. WHAT YOU'RE LOOKING FOR-- YOU'VE GOT YOUR LINE RUNNING ACROSS THE TOP, YOU'VE GOT THE TWO EITHER SIDE, AND THEN YOU ROLL IT OVER, THERE'S YOUR SEQUENCE AGAIN. YOU NEED TO PROVE THAT UP. NARRATOR: ALLOW THE DOUGH TO PROVE AGAIN FOR ABOUT AN HOUR, ALTHOUGH THE PLAITED STRUCTURE WILL PREVENT THE DOUGH FROM RISING AS MUCH AS IT MIGHT NORMALLY. ONCE IT'S READY, BRUSH IT WITH EGG WASH AND A PINCH OF SALT TO HELP FORM THE CRUNCHY GOLDEN CRUST. BAKE IN THE OVEN FOR AT LEST 25 MINUTES UNTIL THE DOUGH IS FULLY BAKED INSIDE. PAUL MIGHT MAKE IT LOOK SIMPLE, BUT THE BAKERS GOT THEMSELVES IN A BIT OF A TWIST OVER THIS CHALLENGE. OH, GO IN. THERE'S NO TURNING BACK NOW. BONNE CHANCE. DANNY: TECHNICALLY, THIS IS ABSOLUTELY RUBBISH. IT'S JUST--THERE IS NOTHING GOOD ABOUT THIS LOAF. CATHRYN: IS IT STUCK, SARAH-JANE? I DON'T KNOW IF IT'S RIGHT OR NOT. I KIND OF FREESTYLED A BIT TOWARDS THE END. OH, MY GIDDY AUNT. SUE: WHAT'S WRONG WITH THAT? COOKED. YAY! OK, MARY. LET'S HAVE A LOOK. WELL, THAT'S GOT THE WOW FACTOR FOR ME. LOOKS AMAZING. IF YOU KNOCK IT... [THUMPING] IT'S A LOUD, HOLLOW SOUND, AND IF YOU LIFT UNDERNEATH-- I'VE GOT ASBESTOS FINGERS-- YOU'VE GOT ALL THE BEAUTIFUL COLORS UNDERNEATH, THE GOLDEN BROWN, AND YOU CAN SEE WHERE IT'S ALL INTERLACED ALL THE WAY DOWN, AND IT SMELLS DIVINE. WELL, CAN I HAVE A TASTE THEN? NO. WHY NOT? YOU WANT TO LEAVE IT FOR AT LEAST HALF AN HOUR, 3/4 OF A HOUR JUST BECAUSE THE INSIDE OF THAT IS STILL GONNA BE VERY, VERY HOT. EVEN THE VERY SORT OF END. LEAVE IT ALONE. NOW IT'S TIME TO EAT THE PLAITED LOAF. SEEMS A LONG WAIT. YEAH. ABSOLUTELY. YOU WANT THE CRUST? DEFINITELY. THAT JUST LOOKS WONDERFUL. LOOK AT THE STRUCTURE INSIDE, HOW EVEN IT IS CONSIDERING IT'S ALL BEEN PLAITED INDIVIDUALLY. IT'S SUCH A BEAUTIFUL LOAF. ONCE IT'S BAKED AND IT'S COOLED, WHICH IS THE BEST WAY OF KEEPING BREAD? FOR ME, I JUST WRAP IT UP IN LOOSE PAPER AND PUT IT IN A BREAD BIN. NOT IN A FRIDGE? NO, NO, NO. IF YOU PUT IT IN A FRIDGE, ACTUALLY THEY STALE 3 TIMES QUICKER. THE COOL AIR IN THE FRIDGE DRAWS ALL THE MOISTURE OUT FROM IT. I LOVE IT BECAUSE IT'S CRUSTY. MMM. IT TASTES LIKE BREAD OUGHT TO TASTE LIKE. MMM, MMM. REALLY LOVELY. NARRATOR: WEEK 3 TESTED THE BAKERS' KNOWLEDGE OF TARTS. FROM FRUITY TARTE TATINS TO SPECTACULAR DESIGNER FRUIT TARTS, THE BAKERS BATTLED AND BAKED TO IMPRESS THE JUDGES, BUT IT WAS AN OLD CLASSIC TART RECIPE THAT MARY CHOSE TO TEST THEM ON IN THE TECHNICAL CHALLENGE. THIS WEEK, THE TECHNICAL CHALLENGE IS GOING TO BE A TREACLE TART WITH A WOVEN LATTICE TOP. OK. THIS IS MARY BERRY'S RECIPE, OK? NO PRESSURE. IT'S GOT TO BE PERFECT, SO... ON YOUR MARKS... AND GET SET. BAKE. MANISHA: I'VE NEVER MADE A TREACLE TART EVER, SO-- I'VE PROBABLY SEEN ONE, BUT I'VE NEVER, LIKE, "OH! TREACLE TART. I NEED ONE." MARY BERRY'S RECIPE, SO IT'S PRESSURE. IT'S GOT TO BE PERFECT. NARRATOR: A TRADITIONAL ENGLISH DESSERT MADE WITH SHORT-CRUST PASTRY AND A THICK FILLING OF GOLDEN SYRUP, BREAD CRUMBS, AND LEMON JUICE. WHY DID YOU PICK THIS AS THE TECHNICAL CHALLENGE? I CHOSE TREACLE TART BECAUSE IT'S PRETTY TRICKY TO MAKE, BUT IT'S AN ABSOLUTE BRITISH CLASSIC. NARRATOR: FIRST OFF, PUT A HEAVY BAKING SHEET IN A PREHEATED OVEN AT 200 DEGREES, 180 FAN. WHEN YOU COME TO BAKE THE TART, THIS WILL BAKE THE PASTRY BASE PERFECTLY. WITH CAKE TINS AT HOME, YOU FORGET THE EXACT SIZE, SO I ALWAYS WITH A WATERPROOF PEN WRITE, "7 INCHES, 18 CENTIMETERS," AND YOU KNOW EXACTLY WHERE YOU ARE. YOU'RE--SERIOUSLY, IS THAT WHAT YOU DO? YOU GO ROUND YOUR WHOLE KITCHEN? ALL MY CAKE TINS. NEXT TIME ROUND AT YOURS, I'M GONNA CHECK ALL YOUR TINS TO MAKE SURE... MOST OF THEM ARE DONE. NUMBERS AT THE BOTTOM. BUT IT DOES HELP. SO THERE IT IS, READY FOR ACTION. WE'VE GOT TO MAKE THE PASTRY FIRST. SO 250 GRAMS OF PLAIN FLOUR. 250. 130 GRAMS OF BUTTER. AND THEN JUST PROCESS THAT UNTIL IT BECOMES LIKE BREAD CRUMBS. THEN I'M GOING TO ADD JUST OVER 3 TABLESPOONFULS OF WATER, AND THAT I FIND IS JUST ABOUT RIGHT, AND OFF WE GO. [WHIRRING] THAT'S IT, AND I'M GOING TO GATHER THOSE BITS UP BY HAND. I LIKE DOING IT BY HAND, THE WHOLE THING, BECAUSE I FEEL MORE IN CONTROL. I FEEL VERY IN CONTROL WITH THIS, AND I CAN NIP AND DO OTHER THINGS AT THE SAME TIME. I KNOW BY THE SOUND WHEN IT'S DONE. YOU'RE A PROFESSIONAL BAKER, AND I'M A HOME COOK. SO I'M JUST GOING TO KNEAD THAT FIRST OF ALL. CAN I FEEL THAT? OK. I MEAN, IT'S STILL QUITE SHORT, ISN'T IT? THAT'S WHAT I WANT. I WANT IT SHORT, BUT I DON'T WANT IT TO ALL BREAK APART WHEN I ROLL IT OUT. SO THAT'S COME TOGETHER VERY NICELY, AND I'M JUST GOING TO CHILL THAT. IT'LL BE EASIER TO HANDLE. NARRATOR: CHILL IN THE FRIDGE FOR 20 MINUTES TO RELAX THE PASTRY. NOW, I'M GOING TO TAKE OFF 150 GRAMS OF THAT FOR THE LATTICE. PUT THAT TO ONE SIDE, FLOUR THE BOARD, AND THEN ROLL IT OUT, AND I WANT IT TO BE NICE AND THIN. WE DO NOT WANT A SOGGY BOTTOM. NO. ABSOLUTELY NOT. SO THE AIM IS TO KEEP IT FAIRLY ROUND AND KEEP FREEING IT. STILL, I WANT THAT THINNER. THERE. SO I'VE GOT MY TIN HERE. I TAKE THAT BASE AND SLIP THAT UNDERNEATH THERE TO THE MIDDLE AND THEN FOLD THE SIDES IN, SO ALL THE WAY ROUND, AND IT'S VERY EASY TO TRANSPORT IT INTO THE MIDDLE HERE. AND THEN JUST FLICK THE SIDES OVER. SO I'M JUST GOING TO PUSH THAT IN ALL THE WAY ROUND FIRST OF ALL WITH MY FINGER LIKE THAT PRESSING IT IN AND THEN TAKE A LITTLE LUMP OF PASTRY, AND YOU PRESS THAT IN. KEEP FLOURING IT LIKE THAT ALL THE WAY ROUND SO YOU GET THE INDENTATIONS OF THE TIN. THAT'S IT, AND I'M READY TO ROLL OUT THE LATTICE. NARRATOR: ROLL OUT THE SET-ASIDE PASTRY FOR THE LATTICE SO THAT IT'S VERY THIN AND BIG ENOUGH TO FIT OVER THE TART. PLACE ON CLING FILM AND LEAVE IN THE FRIDGE TO CHILL, WHICH WILL MAKE IT EASIER TO CUT INTO STRIPS LATER. THEN WE'LL GET ON TO THE FILLING. THERE'S ABOUT 6 SLICES HERE OF WHITE BREAD. IT'S A DAY OLD. YOU CAN ALWAYS USE THE CRUSTS, MAKE BREAD CRUMBS OF THEM AND USE THEM PERHAPS FOR YOUR CAULIFLOWER CHEESE OR SOMETHING LIKE THAT. [WHIRRING] THAT'S PERFECT. LOVELY AND FINE. IF YOU USE ONE- OR TWO-DAY-OLD BREAD, YOU'LL BE ABLE TO GET IT FINE. IF YOU USE REALLY FRESH BREAD, YOU CAN'T REALLY GET IT FINE. NARRATOR: FOR THE FILLING, MEASURE OUT 400 GRAMS OF GOLDEN SYRUP INTO A PAN AND PUT ON A GENTLE HEAT. ADD THE ZEST AND JUICE OF TWO LEMONS AND FULLY MIX IN YOUR BREAD CRUMBS. PRICK THE THIN PASTRY BASE WITH A FORK SO THAT IT DOESN'T RISE DURING BAKING AND POUR THE SMOOTH TREACLE FILLING INTO THE LINED PASTRY CASE. IF THE MIXTURE LOOKS RUNNY, ADD A FEW MORE BREAD CRUMBS UNTIL YOU HAVE A THICK, SMOOTH MIXTURE. MANISHA: IT'S AWESOME. IT LOOKS REALLY, REALLY GOOD. SUE: IT'S GONE VERY "KRYPTON FACTOR," HASN'T IT? UGH! LET'S TRY THAT AGAIN. NARRATOR: TO MAKE THE PERFECT LATTICE, REMOVE THE CHILLED, ROLLED-OUT PASTRY FROM THE FRIDGE AND EGG WASH. I AM GOING TO GLAZE THIS NOW RATHER THAN TRY TO DO IT ON THE ACTUAL TART. WELL, THAT'S A NICE TIP BECAUSE IT JUST STOPS IT GOING STRAIGHT INTO THE TREACLE, DOESN'T IT? IT DOES. THEN WET ALL THE WAY ROUND THE EDGE THERE. THAT'S READY FOR THE LATTICE TO STICK. YEAH. I'M NOT LETTING IT DRIP DOWN THE SIDES BECAUSE I KNOW THERE'S A BIT OF PASTRY LEFT THAT SOME LITTLE PERSON WOULD BE MAKING JAM TARTS. SO I'M GOING TO CUT THOSE STRIPS, AND YOU CAN MAKE THEM AS THIN OR AS WIDE AS YOU LIKE, BUT I LIKE THEM FAIRLY THIN, AND YOU NEED 10, 5 ACROSS ONE WAY AND 5 ACROSS THE OTHER WAY. NARRATOR: CAREFULLY LINE THE VERTICAL STRIPS ACROSS THE TART AND WEAVE THE HORIZONTAL STRIPS THROUGH THEM. I'M QUITE NERVOUS WITH HAVING YOU LOOKING OVER THE SIDE OF ME. NARRATOR: MAKE SURE THE STRIPS ARE LONGER THAN THE TART TIN SO THAT THEY HANG OVER THE EDGE, PREVENTING ANY SHRINKAGE DURING BAKING. WE WANT THESE STRIPS TO STICK TO THE PASTRY, AND I'M JUST GOING TO PRESS DOWN GENTLY AND LET THE ACTUAL TART TIN DO THE CUTTING. JUST GO ROUND PUSHING IT DOWN, AND I KNOW THAT ALL THOSE PIECES OF LATTICE ARE STICKING TO THE ACTUAL PASTRY UNDERNEATH. SO YOU CAN GATHER ALL THOSE TOGETHER INTO A BALL AND USE THEM LATER. THERE WE ARE. NARRATOR: BAKE IN THE PREHEATED OVEN ON THE HOT BAKING TRAY FOR ABOUT 10 MINUTES UNTIL THE PASTRY HAS STARTED TO COLOR, THEN REDUCE THE OVEN TEMPERATURE TO 180, 160 FAN, UNTIL THE PASTRY IS GOLDEN AND THE FILLING IS SET. OUCH! JOHN: THIS JUST LOOKS LIKE THE CAT'S BEEN SICK ON. JAMES: IT'S QUITE NICE. I'VE GOT NOT A CLUE WHETHER THAT'S DONE OR WHETHER THAT'S NOT. PAUL: I THINK YOUR LATTICE WORK WAS PROBABLY THE NEATEST ONE I'VE SEEN AND CERTAINLY OUT OF ALL THE BAKERS THAT DID IT. DO YOU THINK I MIGHT HAVE WON? I THINK YOU MIGHT HAVE GOT THROUGH TO THE NEXT ROUND. NUMBER ONE? MAYBE. NARRATOR: YOUR TREACLE TART IS PERFECTLY BAKED WHEN IT IS A RICH GOLDEN COLOR AND THE FILLING IS SET, NOT WOBBLING INSIDE. ALLOW TO COOL A LITTLE SO THAT THE PASTRY EDGES SHRINK AWAY FROM THE SIDES SO YOU CAN LIFT IT OUT OF ITS CASE CLEANLY. SLIDE THE TART OFF THE BASE OF THE TIN ONTO YOUR PLATE AND SERVE WARM WITH A LITTLE CREAM OR CUSTARD. MARY: AND LET'S HAVE A LOOK AT THE BOTTOM. HOW'S THAT? NO SOGGY BOTTOM THERE, MARY. THAT'S BECAUSE WE PUT IT ON A VERY, VERY HOT BAKING SHEET, AND WE HAVEN'T BAKED IT BLIND, AND IT'S GOT WAFER-THIN PASTRY. THAT'S IT. NOW, THAT, AS YOU CAN SEE, LOOKS LOVELY AND SOFT IN THE MIDDLE. IT LOOKS SO GOOD. I MEAN, THAT PASTRY IS WAFER-THIN. THAT'S LOVELY. IT'S LIGHT. BEAUTIFUL LEMON COMING THROUGH. AND THE GOOD THING ABOUT THIS TREACLE TART IS YOU CAN MAKE IT AHEAD, JUST SERVE IT WARM, AND IT'LL KEEP, TOO, SO YOU DON'T HAVE TO EAT IT ALL IN ONE DAY, THOUGH PERHAPS WE MIGHT. A TRUE CLASSIC. MMM. NARRATOR: DESSERTS WAS THE BATTLEGROUND FOR WEEK 4. THE BAKERS CREATED FLOURLESS TORTES IN ALL SHAPES AND SIZES AND INCREDIBLE LAYERED, GRAVITY-DEFYING MERINGUES, BUT DESPITE THESE ELABORATE BAKES, IT WAS THE TECHNICAL CHALLENGE THAT BROUGHT ON A BIT OF A WOBBLE. SUE: TODAY'S TECHNICAL CHALLENGE IS THE MAINSTAY OF FRENCH CUISINE, CREÈME CARAMEL. YOU GOT TO MASTER A BAKED CUSTARD AND THE CARAMEL, AND YOU'VE GOT TO TURN IT OUT AND GET THAT NICE WOBBLE WE'RE LOOKING FOR. ON YOUR MARKS... GET SET... BAKE! BRENDAN: THIS WAS A POPULAR THING IN THE SEVENTIES LIKE BLACK FOREST GATEAU. STUART: THERE'S QUITE A LOT THAT CAN GO WRONG, SO IT IS ACTUALLY QUITE DIFFICULT. CATHRYN: I DO KNOW WHAT IT SHOULD BE LIKE IN THE END. JUST NOT ENTIRELY SURE HOW TO GET IT TO THAT POINT. NARRATOR: A FREESTANDING, SWEET, BAKED CUSTARD TOPPED WITH A LAYER OF MOIST CARAMEL. EASY WHEN YOU KNOW HOW, BUT THE TECHNIQUE IS NOTORIOUSLY HIT OR MISS. FIRST OF ALL, YOU NEED TO MAKE THE CARAMEL THAT GOES IN THE BOTTOM OF THE DISH. NARRATOR: MEASURE OUT 160 GRAMS OF GRANULATED SUGAR AND PLACE INTO A STAINLESS STEEL PAN WITH 6 TABLESPOONS OF WATER. 2, 3... NARRATOR: AVOID USING AN NONSTICK PAN, BECAUSE THE MIXTURE WILL CRYSTALIZE. I CAN STILL FEEL A LITTLE BIT OF GRIT AT THE BOTTOM THERE. NARRATOR: ONCE ALL THE SUGAR HAS DISSOLVED, DO NOT STIR IT, BUT WAIT FOR THE MIXTURE TO BECOME CLEAR AND BOIL RAPIDLY, WATCHING IT THE WHOLE TIME. DON'T BE TEMPTED TO PUT A SPOON IN THERE BECAUSE IT WILL IMMEDIATELY CLOUD OVER AND BEGIN TO CRYSTALIZE. NARRATOR: WHEN SUGAR IS HEATED, EACH CRYSTAL IS BROKEN DOWN INTO CARBON, HYDROGEN, AND OXYGEN. THE HYDROGEN AND OXYGEN RECOMBINE TO FORM WATER, WHICH EVAPORATES, LEAVING THE CARBON, WHICH BECOMES CARAMEL. NOW YOU CAN SMELL THE CARAMEL. YOU CAN. AND NOTICE IT WAS MAKING THAT RAPID NOISE. IT'S NOW QUIETENED DOWN. DON'T LET IT GET TOO DARK. HAVE EVERYTHING READY. AND I HAVE NOT BUTTERED THE RAMEKINS. IF YOU BUTTER THE RAMEKINS FIRST, WHAT HAPPENS IS YOU PULL THE CARAMEL IN, AND IT WILL GO CLOUDY AND CRYSTALIZE. HMM. THEN JUST GENTLY POUR THAT IN EACH ONE. NOW THIS WILL COOL VERY RAPIDLY, WON'T IT? YOU'RE PUTTING-- STARTS TO SOLIDIFY WITHIN MINUTES. AND IT IS--THIS IS VERY, VERY HOT, AND IT IS VERY IMPORTANT TO BE AWARE HOW HOT THIS IS. DON'T HAVE ANY CHILDREN AROUND YOU AT THIS TIME. DO YOU KNOW THE WAY I GET THE SUGAR OFF? HOW? PUT WATER INTO THAT. YOU JUST FILL IT HALFWAY FULL, BOIL IT, AND WITHIN 30 SECONDS, YOUR PAN'S CLEAN. I'LL POP THAT ONE OVER THERE. WELL, THAT'S A JOLLY GOOD TIP. SO THESE ARE A SORT OF A DEEP CARAMEL COLOR, AND WE'LL LEAVE THOSE JUST ON THE TOP HERE. THEY DON'T NEED TO GO IN THE FRIDGE, AND THEY WILL SET. THEN I WILL BUTTER THEM. NARRATOR: MAKING CARAMEL CORRECTLY IS SOMETHING THAT CAN REALLY IMPRESS, BUT THE BAKERS DIDN'T FIND IT AS EASY AS MARY MAKES IT LOOK. PANICKING HERE A LITTLE BIT NOW. OH, BLOODY HELL. IS THAT BURNT? LET'S SMELL IT. IT SMELLS BURNT. THAT'S BURNT. DON'T SEEM THAT CLEAR. SO WE NOW MAKE THE CUSTARD. 4 MEDIUM EGGS... 25 GRAMS OF SUGAR. PERHAPS YOU CAN GET THAT READY FOR ME. CASTER SUGAR? CASTER SUGAR. YEAH. AND THEN I'M GOING TO ADD SOME VANILLA EXTRACT. NOW THERE ARE ALL SORTS OF KINDS OF VANILLA YOU CAN DO FOR THIS. YOU CAN INFUSE A VANILLA POD IN THE MILK, YOU CAN USE VANILLA PASTE. I PREFER NOT TO USE ESSENCE. IT'S NOT AS GOOD. THIS IS EXTRACT, AND I'M GOING TO ADD A GOOD TEASPOONFUL, AND THAT WILL GIVE A GOOD FLAVOR. SO I'M GOING TO BEAT THAT TOGETHER UNTIL IT'S SMOOTH. NARRATOR: GENTLY WARM 600 MILS OF FULL-FAT MILK IN A PAN. WHEN I PUT MY FINGER IN AND I CAN'T KEEP IT IN, THAT IS THE TEMPERATURE. THAT'S PERFECT. I COULD JUST HOLD IT IN THERE. YES, OK. RIGHT. SO JUST BEAT LIKE THAT. NARRATOR: FOR CUSTARD, IT IS IMPORTANT TO ADD THE HOT MILK TO THE COLD MIXTURE AND NOT THE OTHER WAY AROUND. WE POURED THE HOT MILK ONTO THE EGGS. THAT'S THE RIGHT WAY AROUND. IF YOU DO IT THE OTHER WAY AROUND, THE EGG WOULD OVERCOOK. BECAUSE YOU'RE PUTTING EGG MIXTURE INTO ESSENTIALLY A HOT PAN, AND IT WOULD START TO SCRAMBLE IT, WOULDN'T IT? NARRATOR: TO MAKE SURE THAT THERE ARE NO LUMPS AT ALL IN YOUR CUSTARD, YOU CAN STRAIN IT. ONCE THE CARAMEL HAS COMPLETELY SET, BUTTER THE RAMEKINS GENEROUSLY. THE ONE THING THAT I LIKE ABOUT CARAMEL CUSTARD IS YOU CAN MAKE IT AHEAD, AND IT IS GREATLY IMPROVED BY MAKING AHEAD, AND WE'RE GOING TO COOK THEM BAIN-MARIE, AND BAIN-MARIE SIMPLY MEANS THAT YOU'RE COOKING IT IN BOILING WATER. NARRATOR: DIVIDE THE CUSTARD EQUALLY BETWEEN THE RAMEKINS BEFORE ADDING THE BOILING WATER FOR THE BAIN-MARIE. WHATEVER HEAT THE OVEN REACHES, THE WATER CAN NEVER GO ABOVE 100 DEGREES, AND THE EVAPORATING WATER SIMULTANEOUSLY COOLS IT. THE HEAT IS DISPERSED EVENLY BY THE WATER, BAKING THE CUSTARD GENTLY SO THAT IT IS PERFECTLY TENDER. IT'S IMPORTANT THAT WHEN YOU'RE PUTTING THE WATER IN THAT IT DOESN'T GO INTO THE CUSTARD BECAUSE IT WOULD WEAKEN IT. NARRATOR: PUT THEM IN A PREHEATED OVEN AT 150 DEGREES, 130 FAN. WE'RE AIMING TO GET A CUSTARD THAT DOESN'T HAVE A BUBBLE IN SIGHT. IF THERE ARE BUBBLES ALL THE WAY ROUND, IT MEANS THAT THE CUSTARD IS TOUGH, AND WE DON'T WANT A TOUGH CUSTARD. NARRATOR: BAKE FOR 20-30 MINUTES UNTIL THE CUSTARD IS PERFECTLY SET WITH JUST A VERY SLIGHT WOBBLE. [TAPPING] MANISHA: NOT GOOD. SO I'M HOPING IF THIS STARTS COOLING THEN IT SHOULD SET A TINY BIT. HA HA HA! SARAH-JANE: CAME OUT IN ONE PIECE, AND IT'S GOT CARAMEL ON THE TOP. HA HA! [BANG BANG] CATHRYN: OH, NO. I--OH! SUE: WE'RE GOING TO SMASH PORCELAIN. OH, MY GOODNESS! THERE'S LITTLE BITS OF BROKEN CHINA ON THERE AND EVERYTHING. STUART: YEAH. THAT'S WHAT I THOUGHT. HEH HEH. OH, WELL. MARY: RIGHT. LET'S SEE IF THEY'RE DONE. SO THEY SHOULD NOT BE COLORED. I'M JUST GOING TO TEST WHETHER IN THE VERY CENTER HERE THERE'S A WOBBLE. NOW CAN YOU SEE THERE'S A WOBBLE? THERE'S DEFINITELY A WOBBLE THERE, MARY. THAT'S RIGHT. LEAVE THEM IN THE WATER JUST FOR ANOTHER 10 MINUTES OR SO, AND THEY WILL JUST GENTLY GO ON COOKING RIGHT THROUGH TO THE MIDDLE. LET THEM GET STONE COLD IN THE FRIDGE, AND THEN THE CUSTARD MAKES THE HARD CARAMEL UNDERNEATH SOFT SO THAT WHEN YOU TURN IT OUT YOU GET THAT LOVELY, RUNNY SAUCE. NOW WE'VE MADE 6. YOU COULD EASILY HAVE MADE JUST ONE IN A TWO-PINT DISH. AGAIN, YOU WOULD DO IT IN THE BAIN-MARIE, BUT IT WOULD TAKE ANOTHER 10 OR 15 MINUTES TO COOK. NARRATOR: ONCE COOL, LEAVE THEM TO SET IN THE FRIDGE FOR AS LONG AS YOU CAN, PREFERABLY OVERNIGHT, SO THAT THE CUSTARD ABSORBS THE CARAMEL FLAVOR AND THEY ARE READY TO BE TURNED OUT. TIP THEM FORWARD SO THAT THE WEIGHT OF THE CUSTARD WILL DROP DOWN A BIT. CAN YOU SEE THE CARAMEL COMING UP? CARAMEL. YEAH. NOW WE'VE BEEN ALL THE WAY ROUND, AND THEN YOU SIMPLY TAKE THE PLATE LIKE THAT, AND I'M GOING TO GIVE THAT A REALLY GOOD SORT OF SHAKE FIRST OF ALL AND THEN OVER THERE ANOTHER SHAKE. DO YOU WANT ME TO HAVE A GO, MARY? NO BECAUSE I WOULD BE AT HOME WITHOUT YOU OR WITHOUT MY PAUL, AND YOU HAVE TO BE ABLE TO COPE ON YOUR OWN, SO I'M GOING TO MAKE QUITE SURE IT'S COMING OUT. OH, I HEARD A PLOP. I THOUGHT I DID. SO LET'S JUST LIFT THAT UP. THERE IT IS. NOW THAT IS A PERFECT COLOR. IT IS SORT OF A DEEP CARAMEL. IF IT'S LOOKING ANY DARKER THAN THAT... MMM. IT WILL BE BITTER. YEAH. AND THAT'S JUST LOVELY, AND YOU'VE GOT YOUR CUSTARD. NOW IF YOU DO THAT TOO SOON, THE VERY TOP HERE BECOMES PALE. IT LOSES ITS COLOR, SO BY ALL MEANS, LOOSEN THEM, BUT TURN THEM OUT JUST BEFORE. PAUL: I THINK THEY LOOK ABSOLUTELY FANTASTIC, MARY. ABSOLUTELY PERFECT, AND I CAN'T WAIT TO TRY ONE. THAT'S DELICIOUS. IT MELTS IN THE MOUTH. IT'S SMOOTH, TEXTURE'S SUPERB, CARAMEL'S EXCELLENT, NOT A BUBBLE IN SIGHT. THEY'RE GORGEOUS. MMM! NARRATOR: AND NOW PAUL'S TOP TIP FOR PERFECTLY SPUN SUGAR. ALL I'VE GOT IN A PAN IS SUGAR THAT'S BEEN CARAMELIZED WITH A LITTLE BIT OF WATER. MAKE SURE YOU'VE GOT A GOOD LUMP OF SUGAR ON THE END OF YOUR WHISK. GET A STEEL READY... AND QUICKLY. AS IT COOLS, IT CRYSTALIZES. THIS IS BASICALLY CANDY FLOSS, AND YOU END UP WITH A NEST OF SUGAR THAT ON TOP OF ANY GATEAU LOOKS FANTASTIC. NOW WHAT I'VE GOT HERE IS A BOWL THAT I'VE BRUSHED WITH OLIVE OIL, AND I'M JUST GONNA DRAW A LINE ACROSS THE TOP. AND YOU NEED TO DO THIS A FEW TIMES TO BUILD UP THE STRENGTH OF THE CAGE ITSELF, AND YOU CAN SEE NOW THE STRUCTURE'S BEGINNING TO FORM. SO JUST CRACK THE BOTTOM TO RELEASE THE CARAMEL. AND THERE YOU HAVE IT, A SUGAR BASKET THAT WILL MAKE ANY PUDDING OR CAKE LOOK A MILLION DOLLARS. NARRATOR: IT WAS HALFWAY THROUGH THAT OUR BAKERS FACED PIE WEEK. THEY PITTED THEMSELVES AGAINST PUFF PASTRY FOR THEIR SIGNATURE WELLINGTONS AND WENT ALL STARS AND STRIPES WITH THEIR SHOWSTOPPING AMERICAN PIES, BUT THIS WEEK SAW ANOTHER OF PAUL'S TECHNICAL CHALLENGES WHEN HE SET THEM THE NOTORIOUSLY TRICKY HAND-RAISED PIE. FOR TODAY'S TECHNICAL CHALLENGE, WE WOULD LIKE YOU TO MAKE A HAND-RAISED PIE. NOW THIS IS MADE WITH A HOT WATER CRUST, WHICH IS A KIND OF PASTRY THAT BASICALLY DEFIES ALL THE RULES OF PASTRY MAKING. HAND-RAISED PIES WERE ACTUALLY USED BY SWEENEY TODD AND MRS. LOVETT TO CONCEAL THEIR VICTIMS, SO PAUL AND MARY BETTER WATCH OUT IF THE JUDGING IS UNFAVORABLE. ON YOUR MARKS... GET SET... BAKE! SARAH-JANE: "AND MIX IN WITH THE FLOUR UNTIL IT COMES TOGETHER, AND TURN OUT." SHOULD I JUST STICK IT-- I'M JUST GONNA STICK IT ALL IN. I'M JUST--I'M TOTALLY PERPLEXED BY THIS. [SIGHS] DANNY: IT'S GONNA BE AN INTERESTING EXPERIENCE. NARRATOR: A SAVORY PIE MADE WITH HAND-RAISED HOT-WATER CRUST PASTRY AND A JUICY CHICKEN, BACON, AND APRICOT- LAYERED FILLING. IT'S BASICALLY A HAND-RAISED PIE AROUND A DOLLY JUST LIKE THIS, CRIMPED ROUND THE OUTSIDE, EGG WASHED, AND BAKED. PRETTY STRAIGHTFORWARD YOU THINK, BUT THE DIFFICULTY IS ACTUALLY MAKING THE HOT-WATER CRUST PASTRY ITSELF BECAUSE YOU'RE USING BOILING HOT WATER. NARRATOR: FOR THE PASTRY, WEIGH OUT 50 GRAMS OF BUTTER, 200 GRAMS OF PLAIN FLOUR, AND 40 GRAMS OF STRONG FLOUR. STRONG FLOUR GIVES IT THAT LITTLE BIT OF STRENGTH TO KEEP THE WALLS OF THE PIE STRAIGHT. NARRATOR: THEN USE YOUR HAND TO CRUMB THE MIXTURE TOGETHER INTO BREAD CRUMBS. WEIGHT OUT 60 GRAMS OF LARD AND LEAVE IT TO MELT IN A 100 MILS OF HOT WATER. ADD TO THE FLOUR MIXTURE AND MIX TOGETHER WITH A WOODEN SPOON. COMES TOGETHER QUITE NICELY. STILL QUITE WARM. IT FEELS LOVELY, BUT IT NEEDS A LITTLE BIT OF MANIPULATION. TRADITIONALLY, A HOT-WATER CRUST PASTRY WAS MADE OF FLOUR AND LARD, WASN'T IT? YOU'VE ADDED A BIT OF BUTTER TO IT. IS THAT FOR FLAVOR? I THINK IT ADDS TO IT, YOU KNOW, AND GIVES IT A LOVELY FLAVOR AND COLOR, AND IT'S VERY WARM. FEEL THAT. LOVELY. IT'S A TOTALLY DIFFERENT PASTRY, ISN'T IT? ABSOLUTELY. YEAH. THE MORE YOU WORK THIS, TWO THINGS HAPPEN. ONE, IT BECOMES MORE GLUTINOUS, BUT SECONDLY IT BEGINS TO COOL. WHEN IT BECOMES COOL, IT BECOMES VERY RIGID. SO WHAT WE WANT TO DO IS TRY AND MANIPULATE THIS AROUND A DOLLY NOW WHILE IT'S SOFT. RIGHT. JUST CUT THAT IN HALF. JUST TAKE OFF A LITTLE BIT. YOU'RE GONNA MAKE TWO LITTLE BALLS FOR THE LIDS. SO IT'S JUST A VERY SMALL AMOUNT FOR THE LID, A THIN LID. YES. IT'S ONLY BASICALLY THE WIDTH OF THE DOLLY. I'M GONNA RUB SOME OIL INTO THE SIDE OF THE DOLLY. BUT I HAVEN'T GOT ONE AT HOME, AND WHEN I MAKE THIS SORT OF THING, I USE A JAM JAR. YEAH, YOU CAN USE A JAM JAR. THE ADVANTAGE OF USING A JAM JAR IS WHEN YOU COME TO GET IT OFF, YOU CAN PUT VERY HOT WATER IN THE JAM JAR, AND THAT MELTS THE LARD A BIT, AND IT PULLS IT OUT QUICKLY. THAT'S A GOOD IDEA ACTUALLY. JUST GENTLY SHAPE THE BOTTOM OF IT. MM-HMM. PLACE YOUR DOLLY INTO THE MIDDLE AND THEN DRAW IT UP THE SIDE OF THE DOLLY ITSELF, MAKING SURE WE HAVEN'T GOT TOO MUCH OF A FAT BOTTOM, TRYING TO MAKE IT LOOK NEAT AS POSSIBLE AND AS EQUAL AS YOU CAN UP THE SIDE. NARRATOR: SHAPE THE PASTRY EVENLY AROUND BOTH OF THE DOLLIES AND PLACE THEM ON A NONSTICK BAKING TRAY. TRIM THE TOP OF THE PASTRY SO THERE'S A SMOOTH, NEAT EDGE TO THE TOP OF THE PIES. DON'T MAKE THEM TOO TALL, AS THE WALLS COULD SAG DURING BAKING. ALL I'M DOING IS FLATTENING DOWN THE LID. YOU CAN USE YOUR FINGERS, ROLL IT OUT WITH A ROLLING PIN IF YOU WISH AND THEN CUT IT WITH A CUTTER, BUT AS LONG AS IT'S ROUGHLY THE SIZE OF THE DOLLY. SO I'M GONNA POP THESE IN THE FRIDGE AS THEY ARE. WOULD YOU LIKE ME TO DO THAT FOR YOU? YES, PLEASE, MARY. WHAT'S IT WORTH NOT TO DROP IT? HA HA HA! YOU'LL DO THEM AGAIN. HA HA HA! NARRATOR: BUT DROPPING THEM WAS THE LEAST OF OUR BAKERS' WORRIES. MANISHA: I'VE NEVER SEEN ONE OF THESE BEFORE IN MY WHOLE LIFE. I DON'T KNOW IF THIS IS RIGHT. THIS IS GONNA GO REALLY WRONG. I'M GONNA START AGAIN. DANNY: HOW DO YOU GET THESE THINGS OFF? CATHRYN: SO FAR, WE ARE ALL IN EXACTLY THE SAME PREDICAMENT. NOBODY WAS ABLE TO GET THEIR PASTRY OFF OF THE DOLLIES. MEL: IS KNOCKING GONNA HELP? WHY USE A STUPID THING LIKE THIS? MUST BE A TECHNIQUE. THIS CAN'T BE RIGHT. SARAH-JANE: OHH! IT'S OUT! IT'S OUT, IT'S OUT, IT'S OUT! HA HA! RIGHT. HOW DID I DO THAT JUST THEN? SOMETIMES, THEY CAN BE A BIT TRICKY TO GET OUT. I WOULD HAVE THOUGHT IT'S A QUITE A GOOD IDEA TO PUT CLING FILM FIRMLY ROUND THE DOLLY BEFORE YOU PUT IT IN. ABSOLUTELY. I MEAN, YOU CAN USE CLING FILM, YOU CAN USE PAPER, BAKING PARCHMENT. VERY NEAT AND NICE, THIN PASTRY THERE YOU'VE GOT. NARRATOR: FOR THE FILLING, CHOP UP SMOKED BACON, CHICKEN, AND DRIED APRICOTS. THE AMOUNT YOU NEED WILL DEPEND ON THE HEIGHT THAT YOU'VE MADE YOUR PIE. MAKE SURE YOU CUT THE RAW MEAT ON A DIFFERENT BOARD TO THE APRICOTS. YOU'RE MAKING CHICKEN AND BACON. YEAH. YOU COULD MAKE THEM ALL SORTS OF FLAVORS. BEEF'S FANTASTIC. PORK AND APPLE WORKS EXTREMELY WELL. AS LONG AS YOU'VE GOT THEM CUT UP INTO ENOUGH CHUNKY PIECES, THEY'LL GO WELL. NARRATOR: SEASON WITH PEPPER, SALT, AND FRESH THYME. OH, THERE'S NOTHING LIKE FRESH THYME. YOU CAN GROW IT IN A WINDOW BOX. IS IT EASY TO GROW? TERRIBLY EASY TO GROW. YOU CAN GROW IT FROM CUTTINGS... ABSOLUTELY. AND IT'S GOT SUCH A LOVELY FLAVOR. SO WE'RE GONNA PUT A LINE OF BACON AT THE BOTTOM. HOW MANY LAYERS ARE YOU DOING? WE'RE GONNA DO TWO. MAKE SURE IT'S PUSHED IN RIGHT THE WAY DOWN TO THE SIDES. THE NEXT THING TO ADD IS CHICKEN, AND AGAIN, PUSH IT ALL TO THE WALLS. THESE ARE GONNA BE THE SUPPORT OF THE PIE AS IT'S BAKING BECAUSE OBVIOUSLY IT'S NOT IN A MOLD, SO IT'S GONNA NEED SOME SUPPORT FROM THE FILLING. THAT WILL KEEP IT UPRIGHT, WON'T IT? YEAH. ABSOLUTELY. NARRATOR: THEN ADD A LAYER OF APRICOTS AND REPEAT WITH ALL 3 LAYERS UNTIL THE PIES ARE FULL AND COMPACT. NOW WHAT WE HAVE TO DO IS PUT OUR LIDS ON. JUST GONNA CUT OUT A LITTLE CIRCLE BECAUSE WHEN IT COMES OUT OF THE OVEN, THAT'S WHERE THE GELATIN WILL GO INSIDE AND SET THE INTERIOR. NARRATOR: PUT THE LIDS ONTO THE PIES, MAKING SURE THAT THEY FEET NEATLY INSIDE THE EDGES. CRIMP THE EDGES TO SEAL THEM, LEAVING NO GAPS FOR THE FILLING TO LEAK OUT. MAKE A GAP WITH YOUR FINGER AND THEN PUSH WITH THE OTHER ONE IN AND THEN AGAIN A GAP AND PUSH IN. GAP AND PUSH IN. GAP AND PUSH IN. AND SO NON-MEAT EATERS COULD USE ALL BUTTER IN THE PASTRY IF THEY WANTED TO... YEAH. AND DO ALL SORTS OF ROASTED VEGETABLES AND THINGS LIKE THAT. YEAH. MUSHROOMS WOULD WORK REALLY WELL IN THERE. YOU WANT SOME FORM OF SUBSTANCE IN THERE TO MAKE THE PIE A PROPER PIE. NARRATOR: EGG WASH THE TOP OF THE PIES AS THIS WILL BOND THE WALLS TO THE LIDS AND GIVE THE PASTRY A LOVELY GOLDEN COLOR. OK. AN HOUR IN THE OVEN. 160 FAN, 180 NON-FAN. CAN'T WAIT. NARRATOR: WHILST MARY MIGHT BE LOOKING FORWARD TO THEM, THE BAKERS WEREN'T ENJOYING MAKING THE PIES ANYWHERE NEAR AS MUCH. ISN'T THIS JUST THE MOST HORRIBLE CHALLENGE YOU'VE EVER DONE IN YOUR LIFE? THEY LOOK ABSOLUTELY AWFUL. DANNY: MINE DO LOOK BAD. MARY: THEY LOOK A BIT OF ALL RIGHT. FINAL THING TO PUT IN THERE IS OF COURSE THE GELATIN, AND WHAT I'VE GOT IN HERE IS WATER, VEGETABLE STOCK CUBE, AND GELATIN. THAT HAS TO GO IN WHILE THIS IS HOT BECAUSE AS IT DRIES, IT CONGEALS AND THEN SOLIDIFIES. NARRATOR: THE JELLY IS CRUCIAL, KEEPING ALL THE LAYERS IN PLACE BY FILLING THE GAPS AND KEEPING THE PIE MOIST, BUT IT'S ALSO CRUCIAL THAT THE JELLY STAYS INSIDE THE PIE. PLEASE DO NOT LEAK. STOP DRIPPING. CATHRYN: IT'S GOING DOWN AND THEN OUT THE BOTTOM! [JAMES SIGHS] PAUL: THEY'VE BEEN RESTING OVERNIGHT. THE GELATIN'S NOW BEAUTIFULLY SET. THERE WE GO. IT'S MOST-- YOU SHOULD SEE ALL THE LAYERS. MOST EXCITING. THAT IS A PICTURE IN ITSELF-- THE APRICOT THE CHICKEN, THE BACON ALL IN BEAUTIFUL PROPORTIONS, AND THE PASTRY'S CRISP ALL THE WAY THROUGH. OH, LOOK. THE JELLY IS ABSOLUTELY FILLING EVERY GAP. EVERYBODY'S GONNA HAVE A GO AT THIS. GREAT PASTRY, EASY TO MAKE. I THINK IT'S A FANTASTIC PIE. IT'S A WONDERFUL COMBINATION, AND I'M ENJOYING EVERY MOUTHFUL. 5 TECHNICAL CHALLENGES DONE AND COMPLETE, AND WE'VE STILL GOT 5 MORE TO GO, WHICH I THINK GET HARDER AND HARDER. THIS ONE IS A REAL WINNER. SAY THAT AGAIN, MARY. NARRATOR: NEXT TIME, MARY AND PAUL TAKE ON 5 MORE OF THE TECHNICAL CHALLENGES THAT THEY SET THE BAKERS. MARY: I DON'T THINK ANYBODY COULD EVER RESIST THOSE. PAUL: THAT'S THE ONE. NARRATOR: THE KING AND QUEEN OF THE KITCHEN WILL TAKE YOU THROUGH EACH OF THE RECIPES STEP BY STEP... MARY: IT IS ONE OF THE MOST DELICIOUS CAKES YOU'LL EVER MAKE. NARRATOR: OFFERING ALL THE HINTS AND TIPS TO GET THE PERFECT RESULT EVERY TIME AT HOME. PAUL: AND I HOPE EVERYBODY AT LEAST TRIES TO MAKE ONE. NARRATOR: JOIN US FOR THE NEXT MASTERCLASS. CAN I HAVE SOME MORE, PLEASE, MARY? " . _:genid2dd74b8013a2824b67a50f038a9be17ce32db0 "Mary and Paul demonstrate step by step baking tips for a handful recipes. This Masterclass features Rum Baba, Eight-Strand Plaited Loaf, Treacle Tart, Cr\u00E8me Caramel, Spun Sugar, and Hand-Raised Pies." . _:genid2dd74b8013a2824b67a50f038a9be17ce32db0 "S5 E11: Masterclass, Part 1 | The Great British Baking Show" . _:genid2dd74b8013a2824b67a50f038a9be17ce32db0 . _:genid2dd74b8013a2824b67a50f038a9be17ce32db0 "2018-12-16T00:00:00+00:00"^^ . _:genid2dd74b8013a2824b67a50f038a9be17ce32db0 "PT0H54M51S" . _:genid2dd74b8013a2824b67a50f038a9be17ce32db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2dd74b8013a2824b67a50f038a9be17ce32db0 . . "KOCE-TV" . "KOCE" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db0 . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db1 . "https://www.pbssocal.org/" . . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db0 . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db0 "Costa Mesa" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db0 "CA" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db0 "US" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db0 "92626" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db0 "3080 Bristol St. #100" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db1 . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db1 "3.36846105E1"^^ . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db2 . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db2 "Monday" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db2 "Tuesday" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db2 "Wednesday" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db2 "Thursday" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db2 "Friday" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db2 "08:00" . _:genid2dff9c64f959854d60a2ec18aa3c93e8ba2db2 "17:00" . _:genid2d9f8cf6dace20488dbb08f59d383f610f2db0 . _:genid2d9f8cf6dace20488dbb08f59d383f610f2db0 " [ Suspenseful music plays ] -I'd like to show you around our farm. [ Guitar strums tranquil tune ] [ Birds squawking ] We're located in Southeastern Ohio, in Gallia County. The farm is secluded on a dead-end road. We've lived here for 42 years and we have always had a dairy. [ Mooing ] -Whenever somewhere has a hold of you, it's kind of a powerful thing. It's like when you're in love with somebody and this place right here has a hold on me like that. Whenever I was a little kid, it was several hundred dairy farms within 30, 40 miles of here. -[Lowing] -[Speaking indistinctly] Ah! -My grandfather, he milked cows twice a day, seven days week. It was our way of life. -It's a nice place to live and raise a family. -Family dairy farms start fallin' to the wayside. The big people got bigger and the smaller got pushed out of the way. -One, two, three. Fif-- Mnh! Fifteen! Missin' one. -You ready, Edgar? -It looks like we're missin' one. I couldn't see it. I couldn't see a 16th. How many do you have? -I got 16. -Sixteen? -You might've been missin' one and she was up here. -Yeah. Anh, anh! Oh, anh, anh! [ Dirge plays ] -If I can do what my grandfather did, build this farm up and stay on it and raise a family, like he did, then, I'd be a success. [ Wind blowing ] People think that they're gamblin' when they go to a riverboat casino. Gamblin's puttin' everything you got on the line when you go out there every day. That's what farming is, really. Oh, god. -You a little wet? -We risk everything. You ever see the way a farm fails? It's not pretty. It's an auction. All the stuff you worked your life to accomplish is sold off to the highest bidder. I'm never gonna let that happen. [ Lowing ] [ Birds chirping ] [ Indistinct conversation ] -Alright. -Ouch. -[Indistinct]. -Oh, yeah. [ Guitar strums tranquil tune ] [ Fireworks exploding ] -I see one! I saw one! I saw one! I see some! I see some! -[Speaks indistinctly] [ Fireworks exploding rapidly ] [ Children exclaiming ] [ Cheering and applause ] [ Whistling ] [ Birds trilling ] -[Grunting] [ Cranking ] -This is Celeste Nolan with Laurel Valley Creamery. How are you this morning? Yeah, I sent a tracking number to your email, but it should be there today. -Hmm, but I wanna watch "Caillou." -Well, I thought we would watch it when we come back in. -No, wait, no! -No, we're going out to help Dad! -I want to watch two shows. -Well, you can watch another show. We're gonna unload that milk and then Mom's gonna come in and clean the kitchen and make lunch and stuff. -But, Mom, here you go. I will carry that out to throw them all away. -Here. [ Lowing ] -I'm helping you. -You are helping me, aren't you? [ Machinery chugging ] [ Hissing ] [ Chugging ] -I never thought I would be a farmer. When we moved here, I'd never been to a dairy farm. I like to jump into something and then I find out everything I can. When we got cows and started milking, that kind of gave me confidence in myself that I could do something that was hard. When we started, we milked for four years, at a loss. You cannot make a living milking the number of cows that we milk and selling your milk wholesale. We borrowed money, maxed out all of our credit cards, got a second mortgage, and then maxed out all the credit cards again. I would run every check that we'd get to the bank as soon as we'd get it. [ Whirring ] The way that we made farming work for us is through cheese. We're five years into our cheese-making business and we still struggle, but, I don't feel like I'm drowning. -Come on. Let's go! Yup! - She swallowed the bird to catch the spider Tha...t -[Giggling] - Wiggled and jiggled and rattled inside her She swallowed the spider to catch the fly I don't know why she swallowed a fly -[Gasp] -Can you say Daddy? -[Indistinct] -Say da-da. -[Indistinct] -[Vocalizing raspily] [ Laughter ] I gotcha. I'm going to getcha on your tender underbelly. -[Giggling] -[Growling] -Hello. -Hello. How are you? -That looks fabulous. -Yeah, I know. -So this is...? -This is the first pepper Jack. -New crop? New crop -Yep. of jalapeños and -- -Exactly. -From your garden, or...? -Nope, these came from across the creek. -Okay. -Yeah. Yep, exactly. But, no, I'm super-excited to sell. -We may go through a wheel in a week. -Yeah. -[laughing] Yeah. -Good. I'll get it back on there just as fast as I can. -Okay, and Cloverton, too. -And Cloverton, too? -Yeah. I hope you're vested in it just as much as we are. -Yep. No, absolutely. -Because we can't do it without you guys. -Right, I know, and symbiosis. [ Crickets chirping ] [ Dog barks ] [ Indistinct conversation ] -Brush your teeth while you're in there, Edgar! I'm gonna take Lilah and Harlan upstairs. -I'll be there in 20. -Take a shower, you guys, and -- -New pajamas on? -Yep, exactly. [ Voice on television ] -And then, they turn a double play behind -- -So you guys got book bags ready? -Yeah. -Yep. -Big man in the Ph illies's order. -Can't wait. -Clothes picked out that you're wearin' tomorrow? -Yep, we got shoes. -Socks? -I know you guys are all excited, but you oughta try to get right to sleep. -Yeah. I love you, Edgar. I'll see you in the morning, okay? -Good night. -Sleep tight. -Sleep tight. -Good night, Mom. -See you, guys. -Good night. Don't wake up your brother and sister, please. -[Crunching] [ Crickets chirping ] [ Radio plays blues ] [ Indistinct lyrics ] [ Whirring, chugging ] [ Indistinct lyrics ] -Where'd you go, Nick Nolan?! -You don't need a flashlight? -[yawning] I don't. It's a bright light. - Hey hey [ Birds chirping ] -Have a good day. -Shot-Shotgun! -Shotgun! -[Laughing] -[Speaking indistinctly] -[Speaking indistinctly] -Alright, you guys. Go in between the buses there. -See ya! -I love you. You have a good day. See ya, guys. See ya, Edgar. [ Birds chirping ] [ Lowing ] -The definition of farmstead, for us, is trying to live within the resources that you have. The farmstead is where everything happens, where your life happens. All of the joys, all of the sorrows, for me, it all happens right here on this 110 acres. There's no escaping. Come on, girls, yup, yup! There are so many people that have raised their family here for hundreds and thousands of years. I imagine that they worried about the same things that I do. [ Moos ] -[Crying] -Go get in your bed, there, pretty girl. -Hey! -Put your head on your pillow. Put your head on your pillow. -[Fussing, crying] -You read a poem. -No, no story tonight. I'll sing a song, if you want. [ Crickets chirping ] You are my sunshine My only sunshine You make me happy When skies are gray You'll never know, dear How much I love you Please don't take My sunshine away [ Birds chirping ] -Don't get it on me. [giggle] -I ain't gonna get it on you. Rrrh! [ Metal clanging ] [ Grunts ] There we go. See? That was like twice the size. You don't realize how big they are until you put 'em right beside each other. Alright. -Anh! -Ahh! -Anh! [ Lows ] -Ah! That thing's almost as big as you, little heifer. -[Laughs] -It's almost as big as you, little heifer. -[Speaks indistinctly] -What's this cow's name? -I don't know. Maybe her name is Maybelle. Bob Evans, the real Bob Evans, he farmed and, you know, built a local business, but then they are a corporation and this is, like, their dog and pony show there. Lookit. You're down on the farm with all these crafty people and these farmer people, us being the farmer people. I guess it's still a big deal for the community. It drives a lot of tourism. There's probably, what, 30,000 people that go in? It's gonna be a lotta city folk. Ah, Laurel Valley Creamery. I guess that's where we'll be. [ Lowing ] [ Indistinct conversations ] -I'm gonna turn this over to Celeste and she's gonna tell ya a little bit about what we're doing here right now. -Thank you, Hank. Good morning, everybody. My name's Celeste Nolan. This is my husband, Nick. This is our cow Maybelle. She was born on our farm. We have a small, grass-based dairy farm about 10 miles from here. Nick is the farmer and I am the cheese-maker. We milk cows twice a day, every day, 365 days a year. We do it on our birthdays. We do it on Christmas. Cows. We milk cows all the time. We've got time for some volunteers. Does anybody wanna milk cows this morning? -I wanna do it. -I wanna do it! I wanna do it! -You guys will have to come back this afternoon. We'll do it again at 12:30. -Is that a cow? -Yeah, it's a cow. This is a Jersey cow. -Hi, Jersey! -Yeah, this is my girl Maybelle. She lives at our farm. -What's that one's name? -That one over there don't have a name yet. What you think I should name it? -What about we call him Bill? -Princess! -Bill! -Bill? -Princess! -Princess, that's probably a better name. It's a girl. -Yeah! -It's a heifer. -I'll stay in here. -You stay in here. Watch the cow, make sure she don't get out. [ Indistinct shouting ] -Up now, Wade Evans. On deck, Celeste Nolan. -Gus! -Go around to the [indistinct]. -This way. Get 'er movin', get 'er movin', get her movin'! -Alright! Get her movin', Gus! Go, go! Down the track! Keep it movin'! -My grandfather, I was closer to him than I ever was any of my family. To a lot of people, I was a dumbass little kid, but, I always had all the potential in the world to him. He was found lyin' out here on the side of a hill. A line buggy slid sideways and pulled his tractor over. He died all of a sudden. I didn't really have a chance to tell him how I felt about him. [ Birds chirping ] I live in this place where, you know, they lived at. I milk into the same milk compartment that I grew up milkin' in with him. Maybe, if I was off, doin' somethin' else, somewhere else, I wouldn't think about it as much, but, not all pain is that terrible. Sometimes it's worse not to remember. Most of the time, it's happy. Think about what he would've done or something he would've said. Try and live up to what his expectation of me was. -Daddy and Mommy. Daddy, Mommy. -Before I found Celeste, I was really lost. Seems like I met her fell in love with her, and all that just melted away. [ Crickets chirping ] [ Suspenseful music plays ] -We're following breaking news out of Athens. Several fire departments are fighting a large fire. -Several buildings in the popular stretch of uptown Athens are reduced to ruins after an early morning fire Sunday that affected several businesses. -Jack Neal Floral, the Campus Sundry, the Smoke Zone, the Union, and Jackie O's public house. -No, I mean, it sucks. -Yeah. [ Radio plays country ] -[Sigh] -We're gonna have to make up $4,000 a month. -I can sell hard cheese to Hubbard Grill, if I had it. I can sell hard cheese. Sycamore, I can switch them from cheddar to country Jack. -Yeah. You better start it on Wednesday, then. -I'm gonna. I'm gonna start it today. Well, the people that are gettin' blue Jack get stuff from a distributor. If I can meet that price, then they'll buy it from us, which is 8 bucks a pound. [ Crunching ] [ Birds chirping ] [ Melancholy tune plays ] [crying] The past 10 years, it's been climb and reach and struggle and work as hard as you can so that you can pay your bills. Over the past year, I was able to start to make a dent in some of the past debt. It felt, like, "Oh, I can breathe." But, that was before Jackie O's burnt down. It's kinda devastating. I don't know. I want things to be easy. I could go for easy. -You know, it ain't winter, yet, but it's comin'. Everything's gonna go back, lay fallow for a little while. Frost gonna kill a lotta things. It'll help you for the next year. You just gotta react to it, you know, you gotta bend out around it. You're not gonna change the elements and change the Earth. I think it kinda falls back into what, you know, Nietzsche said: "Man tries to organize the chaos that he lives around." I mean, is that what you're truly trying to do? -[Crying] [ Wailing ] -Oh, my gosh, Harlan! [laughing] You're stuck in your shirt, again? -Button it. -Why don't you? -I can't button that yet. I tried. Oh, there. -[kiss] I love you. -I want another one. -[Speaks indistinctly] -Another one. -[Laughs] -Another one. Another one! -Alright. -Another one. -Good night. -I want cover. I want covers! Unh. -Uh! -Covers. -Uhh! -Covers. -There you go. -Covers! -"Wild on Wheels: Motorcycles Then and Now." Alright. Him? That's Gottlieb Daimler. -Yeah. [indistinct] -Yeah, you see that? You see that motorcycle? It has this motor down here pushing that wheel. -[crying] I'll be up all night. Staying up late, making cheese, it's kind of my MO. [ Laughing ] Standard operating procedure around here. [ Melancholy tune plays ] Making cheese, it's magic. I just kinda guide it and let it do its thing. I like the quiet and the repetitiveness, but, if you do it every day, you touch it, you're knee-deep in it, then [crying] the magic wears off. -Wahh! Aah! -[Giggle] -Mommy, you got to button it. -I know. You look like a little farmer. -Mom, do you see my back button? -I do. Do you feel it when I pinch your butt? -[laughing] Yeah. -Don't hit me. You need a toboggan? -Boom. -Oh! That hurt. And gloves? How about this? Is this hat cool? -Oh, nah. -This is a good hat. -Okay. -[Sniffle] Oh... Yeah, I better get up and get dressed. Gotta start movin' and shakin'. Damn it. [ Exhales ] Phew! [ Thud ] Oh... [ Rattling ] Be a good to say, "I'm already late..." "Skip doin' it." [ Coughing ] [ Hacking cough ] [ Birds chirping ] -One, two, and four. Six. [ Sigh ] We have to decide how we're gonna grow our business. We can't take on any new customers until we got more cows. There's no question buying cows turns into cash, but, when you buy cows, then you have to work harder. So I have mixed feelings. You know, milk turns into money, but, gonna be more work for everybody. -Whoa! Whoa-oa! -Whoa! -Whoa-oa-oa! -Whoa! [ Indistinct ] -Oh, oh, whoa. -[Grumble] [ Lowing ] I like that tiger-striped one. See that, her? -Yeah, looks like a tiger, doesn't it? [ Laughing ] I like that one, too. That's a good-lookin' heifer. She looks like she's gonna push out some milk. Go! [ Lows ] Ayup! Ayup! Go on, get! -You're gonna be okay. Looks like it hurts. -Lilah hurt herself? -Yeah, she fell down. -[crying] I fell like all the way down. -Shh shh shh shh shh. I ain't put milkers out yet. -Oh, okay. -I just came down here and, you know, she fell down. I went to get a paper towel. -[Sniffle] -Daddy, I. -Okay, that's four. [Indistinct] Don't high-five me for a while. -I won't. I'll hug you! [ Laughs ] -Daddy loves you. Ohh, sugar pie. -Daddy, how old are you? -What? -How old are you, Dad? -How what? How old am I? -How old. -Yeah. -I'm 45. -No, 44! -44, and I'll be 45 on her birthday. -Yeah. -[chuckle] 'Cause your birthday's my birthday. -Oh! Your mom got some pizza. -Good for her. -[Laughs] You can't go really eat any? -[Speaking indistinctly] -Well, I guess, then, I'm gonna go get that...done, then I'll start. -Yeah. Let's just not start. -Yeah. -Let's just go outside and... -And what? -Forget about all of this. -Yeah, just lay down. [ Radio playing in distance ] -My hair gets the amazing flip up [laughing] and then sunglasses. Wipe off the sweat and move on. We got a big, giant check from Jackie O's. -What'd you say? -We got a big, giant check for two weeks' worth. I had a whole plan. I guess it worked. We made cheese all winter. We borrowed money to buy cows. We were able to cultivate a few new customers and Jackie O's opened a kitchen back up and...jumped right back in to orderin' cheese. Now, we have more orders than we have cheese, every week. -They keep on makin' new restaurants. -They keep on making new restaurants? -Yeah. -Who? -I don't know. -You don't know? -Yeah, people keep on making restaurants. -Yep. People keep on eatin'. -Yeah. [ Laughs ] -Hi! -Hello. -How are you? -Good. Hi. -Hi! -Hi. What's going on? -Not much. How are you? Oh. Hi! -Hi! -This is the way. -Hello. -Hi. -How are you doin'? -Good. How are you? Yeah. Edgar's in middle school. He goes to middle school now and then he'll go to high school. Yeah, then he'll go to college, if that's what he wants. [ Turn signal clicking ] Mm, I don't know. [ Ethereal tune plays ] [ Bird tweets ] [ Motor rumbles, stops ] [ Water lapping ] -That's like I taught him to swim. He's out in the deep water now. Come on, Dan, get. That's it. My grandparents taught me all the skills and I watched them dairy-farm and, really, it wasn't what my grandfather wanted me to do. They wanted me to go out and get a job and a career and follow that path. [ Bird chirping ] And I think back: Did he think I wasn't capable of doin' it? I wasn't gonna work hard enough? He knew the sacrifices you had to make and the hardship and probably wanted somethin' else for me. It kind of makes me think: What do I want for my kids? Do I want them to have the same struggle? [ Creature trilling ] -I think that anything that you tell a kid, they're gonna wanna do the opposite of at some point in their life. I don't want 'em to hate this place 'cause they've never been anywhere else or 'cause they feel strangled or held back by it. And, if they have to leave the farm, I want them to be happy, whatever that means. [ Thunder rumbling ] [ Crickets chirping ] -You're gonna see it. -That hot. -No, it's super-cold. See that? Then you take it and thaw it. Right? And I got this sheath that slides over top of it. Arhh! Get in there. Now, to the business end. -Ahh. -You gotta work hard, Dad. -You gotta reach into her ass and reach down to where you can feel, through that wall, her cervix. Then, once you get a hold of it, take this, and you gotta watch out and not slip it into her bladder, or they'll jump and kick and tear off. Easy, easy. Right, there it is. Then you kinda lean into the money shot. There we go. -I want my -- -Watch out. I think I got 'er. You wanna reach up in there, too? -No. Shoot. There you go. -That's cheddar curd? -That's it. -I think I'm gonna try the pepper Jack. -Pepper Jack, for sure. Four ounces is good, there, Lilah. -What do you think? -Be 5 and 5, be 10 bucks even. Good math, Lilah. That's some fresh mozzarella we just made last night. Then we have Aphrocheesiac. The wildly popular Aphrocheesiac. Let's call it 5 bucks right here. There you go. -Alright! -You goin' Saturday? -Yeah. -Yeah. -Alright. We'll see ya. All us old people are gonna go see Rusted Root on Saturday. [ Laughing ] -That sounds so fun. -It's gonna be so fun, yeah. That's were me and Celeste went on our first date, to see Rusted Root play in Orlando. -Well, thank you. -Thank you. -Say, "Thank you, Nick." Phew! Wow. Can't high-five me? [ Indistinct conversation ] -Are you wearin' eye makeup? -What? -What's that on your eyes? -Makeup. -[Laughs] -[Indistinct] -Huh? Look at her. -[chuckle] Did you put it there? -Oh. Don't get it in your eye. -Eye ducts. -Here, look at me. Shut your eyes there. You need to kinda smooth out here a little bit. -They don't grab your shirt! Have you ever seen rugby? -Lilah, you wanna wrestle me? -Sure. -I bet I could take you down. -Oh, yeah? -Whoa. -Hey, Edgar! -What? -By calling him a girl, are you trying to insult him? -Yeah. -No. -Well, I'm not really sure what -- -I'm saying he's weaker than me. -And all girls are weaker than you? -Why do you have to be like this? -Why do you have to be like that?! A girl is not an insult! And, every time you say it is, I'm gonna tell you you're wrong. A girl is not an insult. You can call him an ass... You can call him a wimp. -Wait, he can call me an (...)? -But, girl is not synonymous with anything negative, so if you wanna insult him, work harder. -Jeez! -Jeez. -[Snarling] -Princess, come on! Stop! Ah! I bit my tongue. [ Spits ] -Uh-oh. -Nick, this is Jeff fr om Jackie O's. I wanna place an order: 15 pounds of mozzarella, 15 pounds of curds. -Fifteen? -. ..country Jack. -Two pounds of country. -10 pounds of Cloverton, ha lf a wheel of Gruyère, four packages of your hot dogs an d, if you got it, a quarter-wheel of pepper Jack. Thank you. -Good job. -Send copy. Press 6. Cancel. Deleted. -Yeah, that's a bunch. -[crying] I started out really early [laughing] this morning, [sniffle] like I could do something and be prepared for the next, what, three days? And it's gonna be 9:00. Like 12 hours to do something that I had 4 hours budgeted for. [ Sniffle ] In those 8 hours, if I'm not sleepin', I'm crying about it. [ Cry-laughing ] 'Cause I need them, so. Like, and there's nowhere to make them up. Ah. -Yeah, we tried to get that up. [ Crickets chirping ] I mostly need a time that I can just...not worry about -- I mean, not not worry about time, but just accept it for what it is, but it's like I can't free four [laughing] or five days in a row and that's where... like now is. [ Sniffle ] So. -Yup! -Ayup! [ Sniffle ] -How? [ Footsteps crunching gravel ] -She was laying like right here. I got behind her. That ain't the one. She don't look as far along. She's gonna calf, definitely, but not like tonight. Which one is it? 774. She's a couple days over. Yeah, girl. Let me see. You can tell she's got the mucus coming out of her. I bet she's gonna calf tonight. Hey, Edgar, Gus! -What? -Yeah! -What are you guys doin'? You going with me? [ Engine starts ] Get back here, cow. Ah, easy. Easy, easy, easy, easy, easy, easy, easy. -[Speaks indistinctly] -Yeah, get off there. -I want that -- [ Lows ] -Nah, you don't have to chase the cow back. We're gonna milk her a little later. Oh! Easy! Damn it! -He's a big calf. -This is a big calf. Can you imagine carrying this inside of you, -I can tell it's big. -walkin' around? See, Cricket keeps thinkin' all these calves are hers. -What is it? -I don't know. I went to look and -- [ Lowing ] Bull. -Oh. [ Lows ] -Get outta here, Cricket! [ Lowing ] -Get outta here, Cricket. [ Engine rumbling ] -Close the gap behind me. -Is that flour? Mm. -Yes it's flour. Please don't do anything...rash. -What's rash mean? -Stupid, un-thought-out. I think that's what it means, un-thought-out. So, like, I can't -- I mean, what can you see happening by playing with that flour? -Spilling it? -Right. What else can you picture happening? -Um, makin' a mess? -[laughing] Okay. Anything else? -Um... making you mad? -So what are you doing it for, if those are the only possible outcomes? -Don't, Harlan. Just stay out of it. -[laughing] Don't. Don't, Har. She was just talkin' to me about not doin' it. -That's butter? -Do you see that? -You have to make your happiness with what you're doing every day. -Like that? -You have to build in that joy. Edga-a-a-r! Time to eat! -I'll accept that. -What do you think I should wear tonight? -Let me see. Come on! -Come on! -Mother! -Ooh, that one would be cool. -Which one?! -I have to clunk in one of these. This is what I'm gonna wear. [ Playing upbeat, whistling tune ] - Now pick me up with Golden hand I may see you I may tell you to Run [ Indistinct ] Alright, one more time. You sing it. [ Cheering ] I would like to Reach out my hand I may say I may tell you [ Cheering and applause ] [ Whistling ] -We love you. We'll see you again soon. Thank you so much. [ Radio playing me llow jazz tune ] I knew the strange Delight That only You in love Could bring [ Ethereal tune plays ] -[Shouting] -You look at your childhood and all these memories kinda piece together into this myth that you created about yourself. And you think about the things that made you happy and the things that made you sad and the things that made you feel loved. -Aaaaaaah! -And you wanna take that forward into your life and try and recreate it. -One, two, three, four, five, six, seven, eight, nine, 10, 11, 12, 14, 15, 16. Two, three, four, five, six, seven, eight, nine, 10. -It's how hard you're willin' to work, what you're willin' to sacrifice... what risk you're willin' to take. The hardest struggle is still within yourself. [ Upbeat tune plays ] -And aaaaaaaaaaah! -I'm gonna try to see you through the camera. [ Thump ] -Ow! -Yeah, hold on. I'll coast to the end. [ Dog barking nearby ] -PBS -- your home for independent film. " . _:genid2d9f8cf6dace20488dbb08f59d383f610f2db0 "Clear-eyed and intimate, Farmsteaders follows Nick Nolan and his young family on a journey to resurrect his late grandfather's dairy farm as agriculture moves toward large-scale farming. A study of place and persistence, Farmsteaders points an honest and tender lens at everyday life in rural America, offering an unexpected voice for a forsaken people: those who grow the food that sustains us." . _:genid2d9f8cf6dace20488dbb08f59d383f610f2db0 "S32 E9: Farmsteaders | POV" . _:genid2d9f8cf6dace20488dbb08f59d383f610f2db0 . _:genid2d9f8cf6dace20488dbb08f59d383f610f2db0 "2019-09-03T01:30:00+00:00"^^ . _:genid2d9f8cf6dace20488dbb08f59d383f610f2db0 "PT0H53M24S" . _:genid2d9f8cf6dace20488dbb08f59d383f610f2db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2d9f8cf6dace20488dbb08f59d383f610f2db0 . . "KOCE-TV" . "KOCE" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db0 . _:genid2d93c13124baa840ecbe73d5e31e6db1202db1 . "https://www.pbssocal.org/" . . _:genid2d93c13124baa840ecbe73d5e31e6db1202db0 . _:genid2d93c13124baa840ecbe73d5e31e6db1202db0 "Costa Mesa" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db0 "CA" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db0 "US" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db0 "92626" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db0 "3080 Bristol St. #100" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db1 . _:genid2d93c13124baa840ecbe73d5e31e6db1202db1 "3.36846105E1"^^ . _:genid2d93c13124baa840ecbe73d5e31e6db1202db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db2 . _:genid2d93c13124baa840ecbe73d5e31e6db1202db2 "Monday" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db2 "Tuesday" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db2 "Wednesday" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db2 "Thursday" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db2 "Friday" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db2 "08:00" . _:genid2d93c13124baa840ecbe73d5e31e6db1202db2 "17:00" . _:genid2d4076c83eb1514a268d942bd448028c512db0 . _:genid2d4076c83eb1514a268d942bd448028c512db0 " ZACHARY QUINTO: Nearest to the young sun, four worlds form, each endowed with ingredients for life. SUZANNE SMREKAR: There are a lot of places in the solar system where environments could be habitable. QUINTO: Four stories... With surprising beginnings. (craft thuds, thunder rumbles) LARRY NITTLER: This was quite a surprise and immediately told us that some of the older ideas of how Mercury formed could not be correct. (thunder claps) LYNNAE QUICK: Venus may have once had global oceans, but as the sun became warmer and warmer, the surface temperatures on Venus heated up. (thunder rumbling) ANJALI TRIPATHI: The orbits of the planets and their current locations have changed over the history of the solar system. So where things are today doesn't mean that's necessarily where they formed. They could have and probably did move from different locations to where they are now. QUINTO: Their destinies diverging, until only one remains hospitable. DAVID GRINSPOON: Life as we know it depends on liquid water. Only Earth has had that ability to retain liquid water over its long history. That is what's remarkable about our planet. QUINTO: But for how long? JONATHAN LUNINE: We have to realize that as stable as we think the sun is and as permanent as we think the habitability of the Earth is, it's not that way. QUINTO: As our sun destroys our planet, a mission to an outer world reveals a new hope. GRINSPOON: I believe that we live in a very fertile universe. And of course we won't know until we make that discovery. But if I had to bet right now, based on what we do know, I would place money on the idea that, um, this universe is full of a great number of habitable worlds. QUINTO: "The Planets: Inner Worlds." Right now, on "NOVA." Major funding for "NOVA" is provided by the following: ("The Void" by Muse playing) They'll say no one can see us That we're estranged and all alone They believe nothing can reach us And pull us out of the boundless gloom They're wrong They're wrong They're wrong (music slows and ends) QUINTO: For the first few million years after the sun's birth, there are no worlds to see it rise. Just a vast cloud of dust and gas... Left over after the sun's formation. Then, over tens of millions of years, gravity draws this debris together... To form the first planetary embryos... That become the four rocky worlds closest to the sun, their dramatic stories dominated by the changing fortunes of their parent star... As each in its turn has become more or less hospitable. Today, scorched Mercury orbits too close to a pitiless sun. Further out, overheated Venus... (thunder claps) Choked by a thick atmosphere. And farthest: Mars... A frozen, desert world. Of the four, only on one... Has something extraordinary emerged. Earth is a tremendously special place, with all of the just-right, finely tuned ingredients for life. GRINSPOON: Life as we know depends on liquid water. Only Earth has had that ability to retain liquid water over its long history. That is what's remarkable about our planet. (seagulls squawking) SMREKAR: Earth is the only planet that we know of that has life. It appears to be unique in the solar system today, but we only are seeing a small snapshot of time and even space. There are a lot of places in the solar system where environments either have been, or in the future could be, habitable. QUINTO: And yet, today the sun shines on only one habitable world. Why ours and no others? As we've left the blue planet and explored our sister worlds, we've discovered something surprising. Our rocky neighbors were not always so hostile. Somehow, they too may have once supported near Earth-like conditions. So what happened? Most surprising is Mercury. A world of mystery. (wind blowing) The least explored of the rocky planets-- until recently out of reach because of the enormous difficulty of navigating into orbit around a planet so close to the sun. MAN: Five, four, three-- main engines start-- two, one, and zero, and liftoff of Messenger on NASA's mission to Mercury. A planetary enigma in our inner solar system. (engines roaring) Now going through the sound barrier. QUINTO: Following a direct route to Mercury would be impractical. A spacecraft would arrive with so much velocity that it would need to haul a prohibitive amount of heavy fuel in order to slow down enough to enter orbit. MAN: We just had spacecraft separation. (device beeping) MAN: Ground-lit solids have jettisoned. QUINTO: So Messenger controls its trajectory by stepping from one planet to the next, using gravity to slow itself, spiraling inwards toward its target. Even so, Messenger still approaches Mercury moving so fast that it is forced to fly past the planet three times... Slowing on each pass... Until, after nearly seven years of flawless navigation, it arrives safely in orbit... At last able to begin its true mission: to map Mercury's surface. NANCY CHABOT: That first image ever acquired from orbit around Mercury was amazing. When it finally came in, it looked perfect, it looked exactly like we expected it to be. For me, that was the real moment when I realized that we had successfully made it into orbit, and everything was working. QUINTO: This pioneering voyage has led to a completely new idea of how Mercury may have formed. Mercury is the most cratered planet in the solar system... With many puzzling features that hint at a violent past, like its eccentric orbit and bizarrely slow rotation. CHABOT: Mercury has a very unusual orbit. If you were on the surface of the planet, you would actually have to go around the sun twice to get one full Mercury solar day. QUINTO: Also highly unusual is the planet's disproportionately large core. CHABOT: Mercury is basically a big ball of metal surrounded, like, a tiny bit of rock. How do you end up with a planet that has so much metal inside and then almost none on its surface? That was a huge mystery. CHABOT: And the major question is, "Why? "Why is it like this, when the rest of the planets aren't?" QUINTO: Mercury's odd core and strange orbit make it unlike any other planet. But most perplexing is its chemistry. NITTLER: So very soon after we got into orbit, we started to get chemical data back from the surface. And we immediately got some surprises. MAN (on radio): Zero-six forward... QUINTO: The tiny probe detects volatile chemical elements in concentrations that no one had thought possible this close to the sun. NITTLER: These are elements that go into rocks, but that evaporate at relatively low temperatures. The volatile elements on Mercury are surprising. A lot of the formation theories predicted that you shouldn't have that on the planet closest to the sun. NITTLER: Immediately told us that some of the older ideas of how Mercury formed could not be correct. QUINTO: What Messenger discovered about Mercury could suggest a new twist in the story of the solar system. Just a few million years after its formation, the young Mercury is still seething with the heat of its violent birth. Slowly, a crust forms, rich with volatile elements. If it had been close to the sun, these elements would have evaporated before the rock hardened. So what could explain why they are so abundant on Mercury today? The orbits of the planets and their current locations have changed over the history of the solar system. So where things are today doesn't mean that's necessarily where they formed. They could have and probably did move from different locations to where they are now. NITTLER: One possible thing is that Mercury didn't form where it is today, it formed much closer to the other planets, maybe even outside of Venus or Earth, or somewhere in between there. QUINTO: If Mercury had formed near Earth and remained at a more comfortable distance from the sun... Its destiny could have been very different. But it wasn't to be. So what turned it into the strange, small, sun-scorched world we see today? TRIPATHI: We don't know the full story. What we have right now are theories, and as we have new observations, we are trying to change everything to fit those observations. (Messenger rumbling) QUINTO: Messenger's evidence of the volatiles on Mercury's surface-- and the unusual size of its core-- suggest an interesting new theory. It's possible that Mercury's life began as much as 100 million miles further away from the sun than it lies today... In the region of space where the young Earth is also forming, a region with scores of planetary embryos all fighting for position. In the chaos, it's possible that something large pushes Mercury off orbit and in towards the sun. Mercury brushes against another planetary embryo. Just this glancing blow could be enough to pulverize much of its crust and mantle... Leaving the material behind... Perhaps to become part of the early Venus. Mercury, now little more than a metallic planetary core, continues towards the sun... but escapes total solar annihilation when it drops into the peculiar elongated orbit we see to this day. With its astonishing revelations, Messenger is helping to completely rewrite the theories of Mercury's formation. GRINSPOON: Before we sent the Messenger mission to Mercury, I think we had a very simplistic idea of what it was going to be like. And Mercury turns out to be a more complex place with a more interesting and complex history than we had previously imagined. But, of course, all things have to come to an end, and once we were out of fuel, we could no longer burn our engines to keep from crashing into Mercury. MAN: End sequencers, chief launch detector on. MAN 2: Confirming your... QUINTO: After four years of observation, the fuel Messenger uses to correct its orbit finally runs out. (people talking on radios in background) (craft crashes) QUINTO: And Messenger adds yet another crater to this tiny world, where any prospects for life were scorched away when it was thrown too close to the sun. But distance doesn't necessarily protect a planet from the sun's power. 30 million miles beyond Mercury lies a world that looks to be far more Earth-like, shrouded by an unbroken blanket of cloud, an invitation to the imagination. LYNN ROTHSCHILD: Looks so close, and so well-known even to the ancients, but so mysterious because we couldn't see through to the surface. GRINSPOON: Venus has been mysterious to human beings for a long time. Early astronomers figured out that Venus has an atmosphere, and they figured out that the reason it's so bright in our sky is because it's completely covered with clouds. Science-fiction writers were very captivated with the idea that it was, you know, this swappy, swampy tropical jungle. Is it another Earth? Is it an Earthly paradise, even, just sort of hidden beneath that, that envelope? QUINTO: We were so sure of Venus's habitability... That the first missions were designed for a splash landing. (man speaking Russian) QUINTO: Throughout the '60s and '70s, the Soviet Venera program sends multiple missions to Venus. (man speaking Russian) QUINTO: Many fail. (beeping, rocket roaring) (man speaking Russian) QUINTO: But with each attempt, they learn a little more of the extreme conditions on the planet. (man speaking Russian) QUINTO: After 20 years of trying, Venera 13 begins its perilous descent. (wind whipping against craft) (wind whistling) The craft is built to withstand pressures that would crush a car in seconds and temperatures that would melt lead. (wind blowing) (craft slams onto surface, thunder claps) On the first of March 1982, the Soviets take the first color photograph of the Venusian surface. (wind blowing, thunder rumbling) For 127 minutes, the probe collects data. (thunder rumbling) Far from being a benign ocean world, Venus is a vision of hell... (thunder rumbling) Where no life can survive. (wind blowing) But when scientists analyze the atmosphere, they find Venus was once far more welcoming. SMREKAR: Although there's very little water in the atmosphere of Venus today, and certainly none on the, on the surface, we have evidence that it was once wetter than it is today. The reason we can tell that Venus has lost a lot of water is from the isotopic composition of hydrogen measured in its atmosphere. GRINSPOON: That is a clue that most of the water escaped long ago. So Venus, when it was young, would have probably had enough water so that it most likely had liquid-water oceans. QUINTO: Far from the hell it is today, the young Venus is in fact very similar to Earth. At just the right distance from the sun for something wonderful to happen. (thunder rumbling) (thunder rumbling) (rain pattering) The heavens open. (thunder rumbling, rain falling) (water gurgling) Liquid water floods the surface. Rivers run into shallow seas. Venus becomes an ocean world, rich with the potential for life. GRINSPOON: As far as we know, when Venus was a young planet, it was very much like Earth, with liquid-water oceans and a temperate climate, the kind of place where life could have formed and thrived. ROTHSCHILD: Say life did arise on Venus, which is at least plausible, because it did on Earth during that time in similar conditions. What happened to it? QUINTO: Long ago, something happens to cause Venus's hope for life to die: a change in its parent star. SMREKAR: The fate of a planet's habitability is tied up in the history of the sun-- where the planet is in relation to the sun is key, but also the, the age of that star. GRINSPOON: It's very well understood that a star like the sun becomes brighter as it ages. As the young sun warmed up, the radiation balance started to shift. QUICK: Venus once may have had global oceans, but as the sun became warmer and warmer, the surface temperatures on Venus heated up. QUINTO: Gradually, over two billion years, as the nuclear reactions at the sun's heart heat it up, the sun grows brighter. (cracking) Its increased energy output causes temperatures on Venus to rise, evaporating more and more water, turning it into vapor in the air. ROTHSCHILD: You've got the surface heating up, you've got water going into steam. Steam's a greenhouse gas, the temperature goes up, more water turns into steam. GRINSPOON: You can see where this is going-- the hotter it gets, the more that water evaporates, the more water vapor in the air, the more that radiation is blocked, and the more it heats up. It's a positive feedback, it runs away. QUINTO: Rain evaporates long before reaching the ground. (wind blowing) Venus's clouds grow thicker by the day, until its face is forever lost to space. What was happening beneath them is revealed in 1990... When NASA's Magellan probe begins to explore the planet from above. Equipped with cloud-penetrating radar, Magellan is able to peer through the thick atmosphere. And what it discovers is a world covered in vast volcanic lava plains, fields of small lava domes, and in places, some of the largest shield volcanoes seen anywhere in the solar system. Venus is the volcanic capital of the solar system, with more extinct volcanoes scattered across its surface than any other planet. And we think many of these volcanoes were active at the time Venus's atmosphere was being warmed by the sun. (rumbling) GRINSPOON: Early on, the atmosphere of Venus was being fed volcanic gases, and a lot of those volcanic gases are greenhouse gases. What's coming out of volcanoes today on Earth? It's CO2, it's water vapor, it's methane. Those are all really strong greenhouse gases. So that early atmosphere of Venus was presumably also being pumped full of these volcanic gases. QUINTO: Venus reaches a tipping point... And a runaway greenhouse effect takes hold. (water burbling) Its oceans and all hope for life vaporize. SMREKAR: Once it lost those oceans, the CO2 built up and built up over time and the oceans were no longer present to suck out the CO2 out of the atmosphere. So at that point, the runaway greenhouse just took over, causing Venus to be the, you know, sulfur hell that it is today. (wind blowing) QUINTO: Venus's moment in the sun sets, its cracked surface now even hotter than Mercury, the hottest of all the planets. As the sun's brightness increases, the effects are felt across all the terrestrial planets. Mars, much smaller and further out than Venus, has its moment in the sun, too. With an atmosphere rich in greenhouse gases, its rivers and seas flow freely across the surface for hundreds of millions of years. But Mars, being much smaller than Venus and with weaker gravity, has a harder time holding on to its original atmosphere. The molten iron core in its center is too small to retain its heat. It cools and solidifies, shutting off the smaller world's protective magnetic field. Its intense aurora fades, leaving it exposed to a bombardment of high-energy particles from the warming sun-- the solar wind-- stripping away its atmosphere, leaving little to protect its water from simply evaporating into space... The tiny traces left behind... Frozen in patches across the planet-- Mars's chance for life to develop extinguished by its parent star. (wind blowing) TRIPATHI: The fate of the planets is intricately tied with that of the star that they orbit. So for our own solar system, the sun dictates our fate. QUINTO: As our sun has changed, so has the potential for life on our neighboring planets. Their history shows that habitability is a delicate balance... That doesn't always last. There is only one planet so far that has retained its water and habitability-- and that's Earth. GRINSPOON: What's remarkable about Earth is the stability of those conditions, that Earth has been able to maintain oceanic conditions at its surface throughout its entire history, through billions of years, and that's what's facilitated the very rich biological evolution of Earth. Earth is a very special place. It's the only place in the universe where we know definitively that there is life. For that to happen, you need not just liquid water appearing on a planet, but liquid water staying on a planet. And that's the magic of Earth. QUINTO: Thanks to the size and geology of our planet, the atmosphere has remained stable enough for billions of years, protecting the precious water that has enabled complex life to evolve. (birds chirping) (snorts) Life has woven itself into the fabric of the planet... To shape the continents and the oceans. So that now life itself maintains the very atmosphere that protects our fragile ecosystems. But as the sun ages, this delicate balance cannot last. TRIPATHI: All of the planets are changing, including our own Earth, and as it evolves, life will have to change with it. We have to realize that as stable as we think the sun is, and as permanent as we think the habitability of the Earth is, it's not that way. SMREKAR: Right now, we're at the period where Earth is getting just the right amount of radiation. But, over time, that radiation from the sun is going to increase. There will come a time that it will be so hot that we will have a situation like poor Venus had, where we could well have a runaway greenhouse. QUINTO: The aging sun continues to grow hotter. Temperatures on Earth rise... (thunder booms) Upsetting weather patterns, raising great storms across the planet, and devastating droughts. As plants around the world die out, oxygen levels plummet. Around a billion years from now, the age of complex life on Earth will finally draw to a close. Earth will ultimately be like Venus and Mars, just mostly CO2. There'll be nothing else, really, in the atmosphere. And it will remain in that state as a sort of hot oven planet until, ultimately, the sun, when it uses up its hydrogen and goes into a different phase, will become what we call a red giant. SMREKAR: You know, as we've seen in other stars throughout our galaxy, throughout the universe, our sun will continue to get hotter and hotter over time. At that point, it will expand greatly to the point where it will nearly engulf the Earth entirely. And at that point, the planets will, will lose their atmospheres and they'll be just sort of swept away. (wind howling) QUINTO: As the sun exhausts its hydrogen fuel, the sun's outer edge inflates. It enters a red giant phase, expanding millions of miles out into space. Mercury is the first to be engulfed. Then Venus's fate is sealed. (rumbling) Some models predict that Earth may barely escape the fiery fate of its neighbors... Hanging on beyond the edge of the dying star with Mars. But the long era of the four terrestrial planets will be over... The lives lived on one of them nothing more than a distant memory. As the sun approaches its end, the habitable zone will move outwards, and any hope for life will move with it into the outer edges of the solar system. GRINSPOON: There are places farther out from the sun where life could exist, and, in fact, where the potential for life could increase-- places that may wake up to their biological potential late in the sun's lifetime. QUINTO: Out here is the realm of the gas giants. So the places where life may find a home would not be on the planets themselves, but on the terrestrial moons that orbit them. ROTHSCHILD: For example, Enceladus, which is a little icy moon around Saturn. Or Europa, which is an icy moon around Jupiter, or even Titan, which is a moon of Saturn. GRINSPOON: Saturn's moon Titan, in particular, interesting possibility, an exciting possibility for a... for a different kind of life in a different kind of habitable zone. QUINTO: In 1997, we set off to investigate this potential future home for life. MAN: T minus five, four. three, two, one... And liftoff of the Cassini spacecraft on a billion-mile trek to Saturn. We have cleared the tower, T plus 20 seconds. All systems are go. QUINTO: Cassini heads to the cold, distant reaches of the solar system, past Jupiter... Its destination nearly a billion miles away. Its mission: to orbit Saturn and investigate its icy rings. (launches) From here, it deploys a tiny probe to explore Titan, a planet-sized moon even bigger than Mercury. Surrounded by a thick, hazy atmosphere, its surface has long remained a mystery. CARRIE ANDERSON: The Cassini orbiter contained the Huygens probe, designed to descend through Titan's atmosphere and land on the surface, the first landing of anything in the outer solar system. So this is just ground-breaking history. QUINTO: During its descent, the Huygens camera sends back these first astonishing glimpses of this distant moon. ANDERSON: We saw bright highlands, but they had dark drainage channels. When you're looking at it, so breathtaking to see this active surface. It opened up our eyes to this magnificent and amazing very Earth-like world. (probe thuds) QUINTO: Incredibly, the probe makes a soft landing and sends back our first look at the surface of Titan. It's surprisingly similar to the landscapes on Earth. Soon after Huygens landed, Carrie Anderson began analyzing the data sent back from this distant world. ANDERSON: When I look at this image that the Huygens probe took when it was on Titan's surface, I'm struck by the incredible similarities that we have on Earth in the formation of the rocks in flood plains and river plains on Earth. Just like here, liquid water is flowing, we know that similar processes are going on and making pebbles just like this, but the difference is the composition is water ice so hard, frozen so solid because of the low temperatures. But we have the similar processes forming rocks like this on Earth and also forming rock-solid ice pebbles on Titan. QUINTO: The discovery of smooth, rock-like ice pebbles suggests flowing liquid. But at minus-300 degrees Fahrenheit, there can be no liquid water on Titan. So what is flowing out here in the cold? The instruments pick up significant amounts of methane, a flammable gas on Earth. But the relatively high atmospheric pressure and cold temperatures at the surface of Titan mean that methane can exist as a liquid. Titan could be wet not with water, but with liquid methane. ANDERSON: So what we think is that the methane probably rained out in some storms very similar to storms on Earth. The shape of these very rounded-looking stones most likely was due to probably liquid methane pushing these ice-like rocks, raining down these channels, and emptying into this open floodplain. QUINTO: Huygens survives for just a few hours, but doesn't detect anything like enough liquid methane to carve out riverbeds. But the probe's mother ship, Cassini, remains active in orbit around Saturn. A year after Huygens landed, Cassini passes high above Titan's poles and sees something truly spectacular... Our first glimpse of liquid pooling on another world. Ontario Lacus, a lake whipped by winds that erode the shoreline. Ligeia Mare, where we have seen bubbles rising from the depths. And Kraken Mare, almost five times larger than our own Lake Superior. In all, Cassini discovers hundreds of methane lakes. Few scientists think life can exist on the surface of Titan today; it is too cold. But because of the presence of crucial elements, it might be a very different story if Titan were to warm up. GRINSPOON: Titan today has a surface that's full of these really juicy organic compounds, but it may simply be too cold and therefore too dry for anything biologically interesting to be happening with them. However, in the far future, when Earth and the inner solar system become uninhabitable, we can imagine what might happen to Titan then. QUINTO: In the light of the aging, expanding sun, when the far reaches of the solar system receive more solar energy, Titan will begin to warm. (trickling) Its mountains of ice may shrink and melt. (water flowing) And the frozen water they contain may replace the liquid methane as it evaporates away. The mountains could become oceans. ROTHSCHILD: So you have this mixing, then, of the hydrocarbons and liquid water, and so you have this wonderful sort of nirvana for some period of time, where you have everything that you need for life. GRINSPOON: So even if Titan doesn't have life today, and I think that's something that we still have to search for, there's every reason to imagine that at some point in the future, it could be a great place for biology. QUINTO: In a strange twist of fate, at the end of the life of our star, one of the last water worlds in the solar system will be born. Titan will have a final brief moment in the sun. The story of our solar system shows us that habitability isn't a permanent feature. Our solar system is a dynamic place. And our star has its own life cycle... ...creating zones of habitability that ebb and flow throughout its lifetime. Far from being unique to Earth, there is hope for life throughout our solar system... And, many believe, beyond. TRIPATHI: One of the most amazing discoveries of the past couple of decades is that when you look up at the stars at night, almost all of those stars host their own solar systems, and so we know that within our own galaxy, there are hundreds of billions of planets. And with so many planets out there, you can't help but think that some of them have the right conditions for life. GRINSPOON: I believe that we live in a very fertile universe. And of course we won't know until we make that discovery, but if I had to bet right now, based on what we do know, I would place money on the idea that this universe is full of a great number of habitable worlds. ROTHSCHILD: It's a really remarkable time to be alive and to be in this business. And when I say "be in this business," everyone's in this business, because I have yet to meet anyone who isn't interested in that question, "Are we alone?" Major funding for "NOVA" is provided by the following: ZACHARY QUINTO: A frozen, desert world... But once blue with water... and perhaps, more? JOHN GROTZINGER: What everybody wants to know is whether or not Mars once had life. (explosion echoes) QUINTO: And if it still survives today. JENNIFER EIGENBRODE: Finding the organic matter is the clue to searching for life. QUINTO: "The Planets: Mars." Next time on "NOVA." I'm losing sight of our reality To order this program on DVD or Blu-ray, visit ShopPBS or call 1-800-PLAY-PBS. This program is also available on Amazon Prime Video. " . _:genid2d4076c83eb1514a268d942bd448028c512db0 "The rocky planets\u2014Mercury, Venus, Earth and Mars\u2014were born of similar material around the same time. Yet only one of them supports life. Were Earth's neighbors always so extreme? And is there somewhere else in the solar system life might flourish?" . _:genid2d4076c83eb1514a268d942bd448028c512db0 "S46 E12: The Planets: Inner Worlds | NOVA" . _:genid2d4076c83eb1514a268d942bd448028c512db0 . _:genid2d4076c83eb1514a268d942bd448028c512db0 "2019-07-24T20:40:00+00:00"^^ . _:genid2d4076c83eb1514a268d942bd448028c512db0 "PT0H53M54S" . _:genid2d4076c83eb1514a268d942bd448028c512db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2d4076c83eb1514a268d942bd448028c512db0 . . "KOCE-TV" . "KOCE" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db0 . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db1 . "https://www.pbssocal.org/" . . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db0 . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db0 "Costa Mesa" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db0 "CA" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db0 "US" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db0 "92626" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db0 "3080 Bristol St. #100" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db1 . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db1 "3.36846105E1"^^ . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db2 . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db2 "Monday" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db2 "Tuesday" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db2 "Wednesday" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db2 "Thursday" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db2 "Friday" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db2 "08:00" . _:genid2d8dbfb90d0c8b4017b46bf8528138b00a2db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db0 . _:genid2dddee728f0aa449aa9a6529b400906f7c2db1 . "https://www.pbssocal.org/" . . _:genid2dddee728f0aa449aa9a6529b400906f7c2db0 . _:genid2dddee728f0aa449aa9a6529b400906f7c2db0 "Costa Mesa" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db0 "CA" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db0 "US" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db0 "92626" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db0 "3080 Bristol St. #100" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db1 . _:genid2dddee728f0aa449aa9a6529b400906f7c2db1 "3.36846105E1"^^ . _:genid2dddee728f0aa449aa9a6529b400906f7c2db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db2 . _:genid2dddee728f0aa449aa9a6529b400906f7c2db2 "Monday" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db2 "Tuesday" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db2 "Wednesday" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db2 "Thursday" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db2 "Friday" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db2 "08:00" . _:genid2dddee728f0aa449aa9a6529b400906f7c2db2 "17:00" . _:genid2d03b69b7562ca4b668941d574e1a846be2db0 . _:genid2d03b69b7562ca4b668941d574e1a846be2db0 " AMNA NAWAZ, PBS NEWSHOUR ANCHOR: Good evening. I'm Amna Nawaz. Judy Woodruff is away. On the "NewsHour" tonight: Protestors in Hong Kong bring one of the world's busiest airports to a standstill, as fears grow over a Chinese military crackdown. Then, new threats of extinction as the Trump administration changes the rules of the Endangered Species Act. And on the ground at the Iowa state fair, where butter sculptures and 2020 presidential hopefuls vie for voters' attention. (BEGIN VIDEO CLIP) UNIDENTIFIED MALE: I agree with what Biden has to say, but I also agree with Warren and what Sanders has to say. So I'm right now, I'm kind of conflicted. (END VIDEO CLIP) AMNA NAWAZ: All that and more on tonight's "PBS NewsHour". (BREAK) AMNA NAWAZ: Air traffic in Hong Kong was brought to a ground stop after a fourth day of protests inside the international airport. More than 150 flights were canceled. Thousands of anti-government demonstrators occupied the terminal, holding signs and chanting calls for democratic reforms. They're demanding the resignation of the territory's chief executive Carrie Lam, and an investigation into police use of force. We'll have more on this after the news summary. The Trump administration finalized rollbacks on the Nixon-era Endangered Species Act today. The changes end automatic end automatic endangered specifies protections for those classified as threatened. They'll also allow economic cost to factor into whether or not a species should be protected. Conservation groups and at least 10 attorneys general have warned the move could put more wildlife at risk for extinction. We'll take a closer look at the impact of today's rollback later in the program. In economic news: a sell-off in the banking and technology sectors caused stocks to plunge on Wall Street today. The Dow Jones Industrial Average lost 391 points to close at 25,896. The Nasdaq fell more than 95 points, and the S&P 500 slid 36. In Eastern China, meanwhile, the death toll from a weekend typhoon has now risen to at least 45 people. Rescue workers are still evacuating residents stranded in buildings after their streets were submerged by floodwaters. Crews have been working to clean up debris left behind. Meanwhile, in southern India, days of torrential rain and mudslides have now killed nearly 100 people and displaced 400,000 others. In the worst-hit state of Kerala, muddy water filled the roads as rescue workers in boats helped people evacuate. At least one crocodile found refuge on the roof of a submerged home. (BEGIN VIDEO CLIP) AJEET PATTANKUDI, RESCUED LOCAL (through translator): It has been at least five to six days. Everybody is stuck in flooded villages. Animals and others all are stuck there. People are facing a lot of problems. Water has come from all directions. Water has entered all the houses. (END VIDEO CLIP) AMNA NAWAZ: Local officials in the state of Karnataka said the flooding was the worst they've seen in 45 years. In Congo, two experimental drugs are showing promise in the fight against Ebola. They're part of a clinical trial that began last November. The therapies are the first of their kind to treat patients who've already contracted the highly contagious disease. People who received the drugs shortly after becoming infected had a 90 percent survival rate. The Ebola outbreak in Congo killed more than 1,800 people over the past year. Back in this country, a friend of a gunman who killed nine people outside of bar in Dayton, Ohio, told investigators he purchased the body armor and ammunition that were used in the rampage. Federal prosecutors unsealed charges against Ethan Kollie today. But they emphasized there was no evidence Kollie knew about the shooter's plans. (BEGIN VIDEO CLIP) BENJAMIN GLASSMAN, U.S. ATTORNEY FOR THE SOUTHERN DISTRICT OF OHIO: In the course of this ongoing investigation into the August 4th shooting, anyone who is discovered to have any criminal culpability for any act that is ultimately discovered through the investigation or contributed in any way to the events on August 4 is going to be held criminally responsible. (END VIDEO CLIP) AMNA NAWAZ: Kollie was charged today with lying on a federal firearms form used for an unrelated gun purchase. Also today, lawyers for comedian Bill Cosby appeared before a Pennsylvania appeals court today, in a bid to overturn his sexual assault conviction. They argued a judge denied Cosby a fair trial by letting additional accusers testify in a case that concerned only one allegation. The 82-year-old Cosby is now serving a prison sentence of three to 10 years for drugging and assaulting a woman in 2004. A decision on the appeal is not expected for several months. Still to come on the "NewsHour": how will the Chinese government respond to protestors in Hong Kong shutting down a major airport; questions and conspiracy theories in the wake of billionaire sex offender Jeffrey Epstein's death; the Trump administration moves to radically reduce the amount of legal immigration to the U.S.; Democratic hopefuls head to the storied Iowa state fair and our politics Monday team examines the state of the race. Plus much more. (BREAK) AMNA NAWAZ: Hong Kong's airport was shut down today, occupied by thousands of protesters. The authorities in Beijing again struck an ominous note, comparing the mass protests to terrorism, and, as thousands of Chinese security personnel mustered on Hong Kong's border, Beijing declared there should be, quote, no leniency or mercy for the protesters. Jonathan Miller of Independent Television News reports. (BEGIN VIDEOTAPE) JONATHAN MILLER, INDEPENDENT TELEVISION NEWS REPORTER: In air thick with tear gas, inside an underground station, Hong Kong police last night resorting to ever harsher tactics. These protestors had been attempting to flee. Across the harbor, outside a Kowloon police station, a protester was shot in the eye with a (INAUDIBLE) from a police shot gun. Despite wearing protective goggles, her eyeball was ruptured and there are fears she could lose her eye. Earlier in the same location, police fried tear gas from inside the station. A battle ensued, as protestors laid siege. Then this. A policeman inside suffered burns to his legs. Today, an infuriated Beijing lashed out, branding this terrorism. The state council, Chinas cabinet, ratcheting up the ruthlessness of the rhetoric, leaving no room now to back down. These were serious and sinister crimes, it said, protestors reckless. Things had reached what the spokesman called a critical juncture. YANG GUANG, SPOKESMAN, HONG KONG AND MACAU AFFAIRS OFFICE (through translator): Such violent crimes must be resolutely cracked down on, in accordance with the law. No leniency, no mercy, we strongly support the Hong Kong police as they enforce the law strictly to bring the criminals to justice as soon as possible. JONATHAN MILLER: There's been mounting alarm in Hong Kong, over whether China might order military onto the streets. But today, communist party papers released footage complete with sinister soundtrack, showing convoy of people's armed police heading to Shenzhen on Hong Kong's northern border. These paramilitary under command of central military council headed by President Xi Jinping himself have been used to put down protest, often brutally, in other regions. Growing outrage over police brutality led to thousands of demonstrators converging today on Hong Kong International Airport, one of the busiest in the world, forcing the total cancellation of all flights in and out. It's the protestors that were brutal today, the police said, exhibiting weapons they said were confiscated. Most Hong Kongers won't buy that now, the trust is broken. There are 28 years still to go before China can take full control of Hong Kong. But Beijing looks impatient to bring the territory under its authoritarian aegis. Among Hong Kongers, banks and businesses, a quiet but rising panic. (END VIDEOTAPE) (BREAK) AMNA NAWAZ: Attorney General William Barr today sharply criticized the management of the Manhattan federal jail where wealthy financier Jeffrey Epstein was found dead in his cell this weekend. As John Yang reports, Epstein's death does not mean the end to the federal sex-trafficking investigation that led to his indictment. JOHN YANG, PBS NEWSHOUR CORRESPONDENT: Amna, in his remarks today, the attorney general also pledged that any co-conspirators should not rest easy. The victims, he said, deserve justice and they will get it. So where does the case go now? Jessica Roth is a professor at Yeshiva University's Cardozo School of Law, and joins us from New York. Jessica Roth, thanks. What do prosecutors in the case of the United States versus Jeffrey Epstein do now that Jeffrey Epstein is dead? JESSICA ROTH, YESHIVA UNIVERSITY: Well, the case against Jeffrey Epstein himself will be dismissed because he's now deceased and you can't proceed with a criminal case against a person who's dead, but the overall criminal investigation will continue. Over the weekend, U.S. attorney for the southern district of New York, Geoff Berman issued a statement in which he made clear that the criminal investigation would continue and he said that his office would continue to stand for the victims, stand up for the victims, and, in particular, he pointed to the fact that Jeffrey Epstein had been charged in one count of the indictment with conspiring with others to engage in sex trafficking and that's significant because the law of conspiracy requires proof that two or more persons agreed to commit a crime. And what that means is that Mr. Berman was prepared to prove in court that at least one other person and possibly others were engaged in a criminal conspiracy with Jeffrey Epstein. JOHN YANG: Well, we know that in the Flor - - that highly criticized Florida non-prosecution agreement, there are named -- were named four potential co-conspirators who were not charged, and in this New York indictment, there were three people cited though not named who also participated in this. Do you think we're likely to see indictments against those folks coming up in the coming days? JESSICA ROTH: I don't know about the timeline, but certainly from everything that's been indicated by the U.S. attorney's office and what's been publicly reported, it would seem that they have significant evidence against other people. As you mentioned in the indictment, there are people identified not by name but in terms of the role that they played. So, clearly, the U.S. attorney's office has evidence against those other people and they will be pursuing that investigation and looking also at the evidence that was collected during the search of Jeffrey Epstein's home that was done on the day of his arrest to see what that yields at the involvement of co-conspirators and accomplices. It's been reported that his pilots have been subpoenaed for their testimony, and they would have significant information about who was else may have been involved in arranging the travel for the sex trafficking. So I think we need to be patient as the investigators reorient to a case in which Jeffrey Epstein will not sit at the table, but Mr. Berman made clear that the investigation is ongoing. JOHN YANG: And even without a conviction, can prosecutors go after his assets or in this case, I guess, his estate? JESSICA ROTH: Yes. So there's still a process in which the U.S. attorney's office, through its U.S. attorneys office, can go after assets that were used to facilitate the crimes that have been alleged here. So, for example, his Manhattan town house, allegedly, was involved -- was used as a place where some of the unlawful activity occurred. If his properties in the Virgin Island were involved. Those also could be sought through what's called a civil asset forfeiture proceeding. The advantage of that, first, is that it can be handled by the U.S. attorney's office, and any assets that were recovered distributed to victims for restitution through the federal government. It also allows a proof by preponderance of evidence standard which is a civil standard of proof rather than the criminal beyond a reasonable doubt standard. It allows offers an advantage frankly, of allowing the narrative of what unfolded in his crimes to be told, because much of the same proof would be offered that would have been offered in a criminal trial against Jeffrey Epstein. JOHN YANG: And, of course, this doesn't do anything to the civil lawsuits that might be coming from accusers? JESSICA ROTH: No, those can proceed as well. So, the accusers have multiple avenues through which they can seek some measure of justice. None will be the same, of course, as actually confronting Jeffrey Epstein in a criminal case. But through the civil lawsuits, they can pursue his estate. As I mentioned, the civil asset forfeiture proceedings against specific assets that were used to facilitate his crimes is another avenue of potential relief, and then, of course, as we discussed a moment ago, there's a possibility of criminal proceedings against others who were his accomplices and co-conspirators. JOHN YANG: Jessica Roth of the Cardozo School of Law, thank you very much. ROTH: Thank you. (BREAK) AMNA NAWAZ: The Trump administration announced today that it plans to implement new immigration rules. As Yamiche Alcindor explains, it's one of the most aggressive steps yet to limit legal immigration. (BEGIN VIDEOTAPE) YAMICHE ALCINDOR, PBS WHITE HOUSE CORRESPONDENT: Today's new rule from the Trump administration limits who will be eligible for a green card in the United States. Under current law, immigrants are already required to prove that they are not what the government deems a, quote, public charge. Today, Ken Cuccinelli, the acting head of U.S. Citizenship and Immigration Services, announced the plans. He said any immigrants who use-- or who have deemed likely to use a number of public benefits may not be eligible for legal status. (BEGIN VIDEO CLIP) KEN CUCCINELLI, ACTING DIRECTOR, U.S. CITIZENSHIP AND IMMIGRATION SERVICES: The benefit to taxpayers is a long term benefit of seeking to ensure that our immigration system is bringing people to join us as American citizens as legal permanent residents first who can stand on their own two feet, who will not be reliant on the welfare system, especially in the age of the modern welfare state which is so expansive and expensive frankly. (END VIDEO CLIP) YAMICHE ALCINDOR: The new rule includes services afforded to legal immigrants under current law, such as housing assistance, Medicaid and food stamps. To break it all down, I'm joined by Theresa Cardinal Brown. She is the director of immigration and cross border policy at the Bipartisan Policy Center in Washington. Thanks so much, Theresa, for being here. Talk to me about how this will impact immigrants and the legal immigration process in the United States and who will be most impacted by this new rule. THERESA CARDINAL BROWN, BIPARTISAN POLICY CENTER: Sure. So, the rule applies to those who are applying to get green cards in the United States. And, so, one of the long-standing issues in immigration laws as you mentioned is whether or not someone would become a public charge. That has been broadly defined as somebody who has been mostly dependent on the government. It's a criteria that has been, I'd say, used sparingly, especially over the last couple of decades but has been a priority of this administration to implement. So, it would look whether or not people who are applying to be green cardholders have used public benefits that they might be eligible for. It would apply to current immigrants or citizens who are looking to sponsor others to come on green cards, and it would apply to some non-immigrants who are looking to extend or change their status as well. YAMICHE ALCINDOR: What can you tell us about how much immigrants use public benefits in comparison to native born Americans. THERESA CARDINAL BROWN: So, we did a literature review a couple of years about who uses public benefits, and what we found is, in general, individual immigrants use benefits less often and at lower rates than U.S. citizens do, but some immigrant-headed households, particularly those with U.S. citizen children may use more because the children are eligible for benefits that maybe the immigrant parents are not. YAMICHE ALCINDOR: Critics of the new rule say this is the Trump administration again unfairly targeting immigrants. There are talks there are going to be swift legal challenges to this. How does this new rule really factor into how the Trump administration has overall used its immigration agenda to target different groups? THERESA CARDINAL BROWN: Well, particularly its regulatory agenda has been about legal immigrants, and one of the things that we have seen is that a lot of the regulatory changes that have been implemented have been about reducing eligibility for legal immigration, reducing the number of people who can qualified for legal immigration or slowing down the legal immigration process. YAMICHE ALCINDOR: You said the term public charge had been kind of implemented and enforced sparingly. Tell us a little bit about the history of the term public charge and how certain immigrant groups have been subject to that term and what it's meant overall and in the years coming. THERESA CARDINAL BROWN: Well, the idea of preventing the poor or paupers from immigrating has been around basically since the beginning of the republic. Initially when the United States was created, states had control over who could immigrant and would look for people who they thought might not be eligible to -- able to work or support themselves. In the 1800s, Congress passed the sort of uniform immigration rules, the Chinese Escalation Act that included this public charge rule. But, over the years, it has been very subjectively enforced. So, for example, during the Ellis Island days, they would look whether or not they thought somebody was physically able of performing work, did they have family members already here, sponsors, did they bring any money with them. So it was sort of on the fly. This has been a priority of this administration to get a public charge rule published since the administration came in. An executive order was issued very early in the presidency asking for this to be done. So, it's new in that we don't know exactly how it's going to be implemented. It's still a relatively subjected standard, especially that prospective looking part, is an immigrant likely to be become a public charge? That's where it's a little more iffy because they're looking at things like, does the immigrant have a work history? What's their education level? Do they have any health issues that might affect whether or not they would become a public charge? We have to kind of see how that would be implemented, but we've already seen some of these because consulates overseas have been implementing some of this through the visa review process over the last year, already. YAMICHE ALCINDOR: Now, I want to turn to a major story from last week. Some 680 immigrants were arrested during immigration raids at food processing centers in Mississippi. What goes into such raids and what legal consequences if any might employers face? THERESA CARDINAL BROWN: So, a raid like that is -- that size and scope has probably been in process for many, many months. It probably was based on some information that Immigration and Customs Enforcement received that those employers are employing undocumented immigrants, then they also collaterally arrested undocumented immigrants they found on the premises. Now, ICE will go through all that documents that they found during those search warrants to see if they have enough evidence to proceed with prosecutions of those employers. So, we may see some prosecutions, but historically, it's been much more difficult to prosecute employers for knowingly hiring undocumented immigrants than it has been to arrest the undocumented immigrants themselves and see them deported. YAMICHE ALCINDOR: Well, lots of immigration news. Thanks so much for joining us, Theresa Cardinal Brown of the Bipartisan Policy Center. THERESA CARDINAL BROWN: Thank you. (END VIDEOTAPE) AMNA NAWAZ: With six months before the first-in-the-nation Iowa caucuses, more than 20 presidential hopefuls descended on the Hawkeye State this weekend. As Lisa Desjardins reports, voters were navigating crowds of people and the crowded candidate field. (BEGIN VIDEOTAPE) LISA DESJARDINS, PBS NEWSHOUR CORRESPONDENT: Welcome to the Iowa state fair, a mix of high political stakes and high blood sugar all on a stick, or on a soapbox. JOE BIDEN (D), PRESIDENTIAL CANDIDATE: Hello, Iowa! JOHN DELANEY (D), PRESIDENTIAL CANDIDATE: You have a very important choice to make. SEN. CORY BOOKER (D-NJ), PRESIDENTIAL CANDIDATE: It's going to be a test for all of us. SEN. BERNIE SANDERS (I-VT), PRESIDENTIAL CANDIDATE: This is the moment we bring our people together. REP. TULSI GABBARD (D-HI), PRESIDENTIAL CANDIDATE: That's why I'm here asking for your support. LISA DESJARDINS: The soapbox, where candidates each get 20 minutes, has never held more presidential weight. Twenty-three contenders, including one GOP challenger to President Trump, will come and go throughout the fair. And with each one comes a walking mosh pit of press attention. None more so than former Vice President Joe Biden, who barely had room at his own press conference. Biden has been here before, in failed runs in 1988 and 2008. But he's never had the lead in Iowa until now. And it's a large, nearly ten-point lead. UNIDENTIFIED FEMALE: Go Joe! LISA DESJARDINS: His supporters feel they know him. They trust him. LASHA ROBERTS: I like Joe Biden. I enjoyed him when he was with Obama and stuff, and so I think he would definitely be a good candidate for sure. LISA DESJARDINS: But opponents question if Biden sparks enough passion. How do you do that? JOE BIDEN: Look at the polls. So far, so good. I do it by being me. Look, no one's ever including reporters cover me all the time. No one's ever doubted I mean what I say. The problem is sometimes I say all that I mean. MATT PAUL, IOWA DEMOCRATIC STRATEGIST: It's everything. LISA DESJARDINS: Matt Paul has deep roots with the Democratic Party in Iowa. He ran Hillary Clinton's winning Iowa campaign in 2016. Despite Biden's early lead, Paul says the state is still up for grabs. MATT PAUL: He's popular here, but he has work to do. He's got to be here more. I think he's got to talk about the future. LISA DESJARDINS: Some voters are more blunt about Biden. TAYLOR WYSS: If he was the primary candidate, I would still vote for him. But I don't want him to be the candidate. I want someone new and fresh. SEN. KAMALA HARRIS (D-CA), PRESIDENTIAL CANDIDATE: Good morning, good morning. LISA DESJARDINS: Among those angling as new and fresh is California Senator Kamala Harris, third in Iowa polls. Her staff is energetic and her fair crowd was large, but she dipped in the last poll here, and admits she's still building. KAMALA HARRIS: We have over 65 staff in Iowa. And, you know, there are people in this race who have had national profiles for many years. I'm still introducing myself to people. SEN. ELIZABETH WARREN (D-MA), PRESIDENTIAL CANDIDATE: 2020 is our big chance. LISA DESJARDINS: Quickly surging here is Massachusetts Senator Elizabeth Warren, now second in the Iowa polls, and captain of what many see as the best organized ground game in the state, with fired-up volunteers like Joie Otting. JOIE OTTING: I think it's important that we just take a new, almost radical -- not to call Elizabeth Warren radical -- but take a big change in direction. LISA DESJARDINS: This is a problem for Bernie Sanders. BERNIE SANDERS: Let me make a major announcement: pretty good. LISA DESJARDINS: The Vermont senator is still popular in Iowa, but losing the most ground to Warren. Over one million people will come to the Iowa state fair. And that is a prime political audience, especially for the many Democrats trying to break into the top tier. The problem: there are just so many candidates. And they're seemingly everywhere -- flipping pork, pouring beer, and counting corn kernels. Voters are overwhelmed. MISSY PRICE: I'm a registered Democrat. I'm an open-ticket voter, but I have no clue what I'm going to do. UNIDENTIFIED MAE: Buttigieg. Biden. GRANT WALLER: Biden. I like Beto, but we'll see how it goes with that. KEVIN CAVALLIN: I agree with what Biden has to say. But I also agree with Warren and what Sanders has to say. So, I'm right now, I'm kind of conflicted. LISA DESJARDINS: And thus, candidates are self-separating in groups. The Midwesterners. How do you break out? SEN. AMY KLOBUCHAR (D-MN), PRESIDENTIAL CANDIDATE: I think you do it the old fashioned way. You just keep reaching out to people and you meet people. REP. TIM RYAN (D-OH), PRESIDENTIAL CANDIDATE: When people hear what I have to say, especially coming from Ohio and being in Iowa, it's very similar culturally. LISA DESJARDINS: Those focused on personal contact. SEN. KIRSTEN GILLIBRAND (D-NY), PRESIDENTIAL CANDIDATE: I've had a lot of town halls, lots of events at breweries, and it makes a difference because people can get to know me, I can get to know them, make sure I'm lifting up their voices. TULSI GABBARD: I'm really focused on is do what we're doing out here today really getting down into communities here in Iowa and New Hampshire and other parts of the country. JULIAN CASTRO (D), PRESIDENTIAL CANDIDATE: I believe that as the race gets smaller and smaller, people pay more attention to the candidates. LISA DESJARDINS: And the I-can-get-it-done policy folks. ANDREW YANG (D), PRESIDENTIAL CANDIDATE: The way we break out is by just keep hammering the message the American people that we need solutions not sound bites, and that it's not their imagination. JOHN DELANEY: When the field shrinks, they're going to start focusing on ideas, who's got the best ideas, who's the best person to beat Trump. And that's when I think I can break through. JOHN HICKENLOOPER (D), PRESIDENTIAL CANDIDATE: I've just got to keep finding fresh ways to talk about what we did in Colorado, and most importantly, how we brought people together. LISA DESJARDINS: And then there's New Jersey Senator Cory Booker, who says he's already rising in less-noticed metrics like endorsements and staff. CORY BOOKER: The people that have gone on are people more like me, the people like Jimmy Carter or Barack Obama or Bill Clinton, are people who were considered long shots this far out. But what were they were doing was they were building incredible organizations here in Iowa. LISA DESJARDINS: There's another issue for Democrats in Iowa, beating President Trump in a state he won by nine points. DAN PUTNEY: I like Trump. I like Trump. He's just... He's just a guy. He's not a politician. He's just a guy like -- like me. LISA DESJARDINS: Here, the move by Democrats to the left for the primary is pushing some away. PATRICIA PUTNEY: They're so liberal. They just don't even want to move on in this world. They want everything to be socialism. They want everything to be calm and nice and everybody loves everybody. But you know sometimes you got to get out and get a little aggressive. LISA DESJARDINS: At the Iowa state fair this week, scenes of whirling Americana, rows of fried foods and some 40,000 prize ribbons. But, for candidates -- far less reward. Traditionally, just the top three finishers in Iowa are thought to have a real shot at the nomination. The fair marks the end of summer for the state, but it's the beginning of the real heat in the race for president. For the "PBS NewsHour", I'm Lisa Desjardins at the Iowa state fair in Des Moines. (END VIDEOTAPE) AMNA NAWAZ: Of course, the Iowa state fair stretches on until next Sunday (AUDIO GAP). We're here now for our "Politics Monday" segment. I'm joined by Shawna Thomas and Tamara Keith. Thanks to you both for being here. (CROSSTALK) SHAWNA THOMAS, VICE NEWS: Good with you. AMNA NAWAZ: So, no fried food, no butter sculptures, but a lot of politics to talk about. SHAWNA THOMAS: Yes. AMNA NAWAZ: The Iowa state fair, Tam, is supposed to be an opportunity for the candidates to break away from the pack, take a chance to shine if they can or kind of continue in the middle and fight for air. Did anyone stand out to you over the last few days? TAMARA KEITH, NPR: So, I was there. I was technically on vacation. I did eat fried foods but also -- I can't turn off -- SHAWNA THOMAS: You played political tourist. TAMARA KEITH: I played political tourist. You can't turn it off. SHAWNA THOMAS: And so, what I saw is that candidates like Kamala Harris and Elizabeth Warren who are not at the very top in the polls drew very large crowds of very interested people who came early and stayed late and watched their speeches. In fact, for Warren, when she was speaking at the soap box, you actually couldn't walk past the entire grand passageway or whatever it's called. The big road in the middle of the fairgrounds was just completely congested with people who had stopped to watch her speak. And so, that -- and that sort of reflects what you've seen in the polls, which is that Elizabeth Warren, you know, taking as many selfies as she has to take at every event, has begun to sort of notch things up in Iowa, I believe, in the latest Iowa poll. She's in seconds behind Joe Biden. AMNA NAWAZ: Shawna, every selfie matters at this stage but it's worth reminding people still over six months away before anyone in Iowa casts a vote. How much does this matter, this cycle? SHAWNA THOMAS: I mean, how much does the Iowa state fair matter in any cycle? AMNA NAWAZ: Ever, yes. SHAWNA THOMAS: The thing is, what our correspondent on Vice News was telling me and she was out there as well was there was so much media there that she was confused as to whether the candidates were actually able to speak to Iowans one on one. And so, yes, you have "The Des Moines Register" soapbox. We all enjoy seeing that. It's a good way to get for a candidate to get their stump speech out there. But also, the point of the Iowa state fair in visiting sort of historically has been to try to have those one-on-one interactions with Iowans. AMNA NAWAZ: Right. SHAWNA THOMAS: And the sort of like, and the thing is, you know, what one guy told us was like, all Iowans are here. It's not just a Democratic Party event. It's not some special interest event. You could run into anyone, but it's also kind of hard apparently to do with the amount of media that's there. But hopefully, some of them took advantage of having conversations with people who would not necessarily be able to see them or want them to see them like at a general Democratic event or something like that. AMNA NAWAZ: So, they want to get as much as attention as they can. SHAWNA THOMAS: Yes. AMNA NAWAZ: Not all attention is good attention, though. One of the story lines we've been talking about is how former Vice President Joe Biden has done so far in some of these events. I want to play for you, guys, just a couple of quick sound bytes. They're from two different events. One from Thursday, one from Saturday, but these are the kinds of comments from Mr. Biden that are getting attention right now. Take a listen. (BEGIN VIDEO CLIP) JOE BIDEN: Poor kids are just as bright and just as talented as white kids, wealthy kids, black kids, Asian kids. (APPLAUSE) JOE BIDEN: I watched what happened to those kids from Parkland came up to see me when I was vice president. (END VIDEO CLIP) AMNA NAWAZ: So, you know, Tam, we're calling these as gaffes in this conversation, right? He misspeaks. He corrects himself. Sometimes he has to come back and correct himself a little later. Is it fair criticism of him right now? TAMARA KEITH: It is Joe Biden. Joe Biden has called himself a gaffe machine. He -- this is sort of a trademark. He does this. He's done this his entire political career. When he announced that he was going to run for president, that he was running for president, you knew that this was going to happen and it has continued to happen all along. One thing that's been sort of puzzling to me is why this weekend is the weekend that everyone started to talk about, well, will Joe Biden's gaffes matter? And I think that the way they could matter is if voters decide that it's an indicator of something larger, if it taps into a concern that voters have perhaps about his age or some other thing like that. But that Joe Biden would say the wrong words or stumble is not new. SHAWNA THOMAS: Yes. AMNA NAWAZ: What do you think, Shawna? SHAWNA THOMAS: But I think the thing is, when he said the wrong words and stumbled historically when we both covered him before, it's Uncle Joe. It's, like, OK, it's Joe Biden, he's great, look, whatever. Much like in some ways the awkward touching and that kind of thing. But when you are the frontrunner for -- to be president and everyone thinks you may actually have a shot at getting the Democratic nomination, everyone is going to pay even more attention to every little stumble, and I do think that is going to get worse. Now, some of why this has been highlighted is Trump's team is the one who sort of pushed this narrative event. I am interested to see if like a lower tier presidential candidate goes along this narrative, like a one who's actually on the Democratic side, because, of course, President Trump is going to push this. He wants to beat Biden. He thinks Biden is the guy to beat. But does -- do the Cory Bookers of the world or does someone else start trying to talk about Joe Biden's age and play these gaffes or anything like that, does it cause Democratic infighting? And I think that's something to be more worried more about at this stage with Biden. AMNA NAWAZ: You mentioned President Trump, but I want to ask you about something else. Over the weekend, he retweeted a post from a comedian linking the Clintons to the death of Jeffrey Epstein, the accused sex trafficker in jail this weekend. We're not showing it here because it is a conspiracy theory. It's baseless. It traces back years, just some far right conspiracy theories. Shawna, of all the things the president could have been tweeting about this weekend, why this? SHAWNA THOMAS: Because he -- I mean, I can't get into the president's head and I can't pretend to be in the president's head, but he saw something, it attacked the Clintons, he is still attacking the Clintons, people still cheer "lock her up" at his events, at his campaign events. And, you know what? He pressed retweet. And this is just what he does. He has spread other conspiracy theories. We can go all the way back to Barack Obama's birth certificate. Now, yes, he could have been tweetings about other things like, hey, does the Bureau of Prisons have staffing problems? What is going on there? There are some real issues with Epstein and will his victims be able to be able to see justice, and that kind of thing. But, you know, this is what the president likes to do and now we're talking about it. AMNA NAWAZ: Tammy, with 63 million Twitter followers, there's -- you know, I have been in countries where conspiracy theories and misinformation campaigns are very active, it has an impact. Do you worry about that here? Is there concern? TAMARA KEITH: We are also in a country where conspiracy theories have been very active especially in recent years, especially with social media, and President Trump has at times retweeted or otherwise trafficked in conspiracy theories. So, that he's doing this now is not really out of character. It's something that he does. And I think that we are in a time in this country where conspiracy theories, for whatever reason, are particularly sticky, and especially on the right but not entirely on the right, also very much on the left conspiracy theories have taken hold. And so, this is -- this is sort of -- this is where we are. SHAWNA THOMAS: And the question really -- I mean, the larger question that comes out of this conspiracy thing is what do we do about social media? And are we going to hold social media companies accountable for the spread of things that are not true? And this is something that Congress has been talking about and they have been trying to tackle it, but they haven't done anything yet. I think this reiterates that that conversation is really important. AMNA NAWAZ: Another conversation to have at another time. SHAWNA THOMAS: There will be so many. AMNA NAWAZ: Shawna Thomas of "Vice News", Tamara Keith of NPR, thanks to you both. TAMARA KEITH: You're welcome. SHAWNA THOMAS: Thanks. (BREAK) AMNA NAWAZ: The Trump administration is making some of the broadest changes in years to the Endangered Species Act, the landmark law signed by President Richard Nixon that's been credited with saving iconic species like the bald eagle and the grizzly bear. William Brangham explores what today's changes could mean. (BEGIN VIDEOTAPE) WILLIAM BRANGHAM, PBS NEWSHOUR CORRESPONDENT: That's right, Amna. The Endangered Species Act currently protects about 1,600 species in the U.S. by limiting the activities that could harm those species. And it's been overwhelmingly successful in protecting those plants and animals. But the act has been a target for Republican lawmakers and industry groups for years. They argue these protections cost too many jobs and too much money. Now, the Trump administration is proposing changes that one Democratic lawmaker referred to as taking a wrecking ball to the act. Joining me now is "New York Times" environmental reporter Lisa Friedman. Lisa Friedman, welcome back to the "NewsHour". LISA FRIEDMAN, ENVIRONMENTAL REPORTER, THE NEW YORK TIMES: Thanks so much for having me. WILLIAM BRANGHAM: Before we get to the administration's proposed changes, what can we say -- what species can we credit are alive today because of the Endangered Species Act? LISA FRIEDMAN: The Endangered Species Act has helped to save from extinction some of the most well-known plant and animal species in the country, the bald eagle, the grizzly bear, the humpback whale, are all species that owe a tremendous amount to the protection of the Endangered Species Act. WILLIAM BRANGHAM: As I mentioned before, the Republican lawmakers for decades have hated this law, wanted to dial it back. Industry groups said the same, saying it's too costly, it's not really helping as much as it is hurting our industries. What is the Trump administration proposing with these new changes? LISA FRIEDMAN: There are a number of changes in the final rules that were issued today. A number of them are ones that environmental groups fear will severely weaken protections for plant and animal species. I list just two of the big ones for now. One of them is a measure that would weaken the ability of scientists to protect species against the threats of climate change. Another is a phrase that would introduce the ability of the federal government to include economic analysis. WILLIAM BRANGHAM: An analysis, meaning if we're going to protect X species that might cost us Y amount of money. LISA FRIEDMAN: Absolutely right. Currently, the way the law reads, scientists can only consider one thing when they're deciding whether or not to list species as threatened or endangered, the science. Is it threatened? Should it be listed? That language is going to be eliminated, and what replaces it will give the federal government the ability to conduct analyses just as you described to find out whether listing a species will cost money, will cost money and perhaps lost development. The Interior Department has insisted that this won't change anything, that decisions will still be made purely on the basis of science. They just want to have the information and be able to know the information when these listing possibilities come up. WILLIAM BRANGHAM: These changes are coming amidst a lot of news about endangered species. We saw the U.N. a few months ago put out this report indicating that upwards of a million plant and animal species globally could be threatened if we don't change our ways. LISA FRIEDMAN: Yes. WILLIAM BRANGHAM: Help me understand what the administration is arguing here. Are they saying, here in the U.S., we are doing endangered species just fine or are they saying we can do it in a better way? What are they arguing? LISA FRIEDMAN: Yes. I think, you know, what we heard from the administration is it's possible to both be stewards of the environment while also cutting red tape, and their argument is that that is what they're doing with this regulation today. WILLIAM BRANGHAM: Is there a sense that if these changes go through, any particular species that might be impacted? LISA FRIEDMAN: You know, one of the ones we hear about a lot are species that are affected by climate change and, you know, one that comes to mind easily is the polar bear. The polar bear habitat is going to be affected dramatically by climate change. WILLIAM BRANGHAM: Their sea ice and their habitat disappears year after year. LISA FRIEDMAN: Exactly. Some of these changes are far into the future. Whether this new regulation hamstrings scientists' ability to take action to protect these species is something that the environmental groups are very worried about. WILLIAM BRANGHAM: We know these are proposed rules, probably going to be some lawsuits, right? What's the future look like? LISA FRIEDMAN: Today, we heard from the attorneys general of Massachusetts and California, they have vowed to sue. Senator Udall, who you mentioned, said that he's going to be looking at legislative measures to block this in Congress. It seems with the makeup of this Congress, it's going to be very hard to pass anything that would block this legislatively. So, I think the -- some of these questions about whether this regulation will stand the test of time are going to be answered in the courts. WILLIAM BRANGHAM: Lisa Friedman of "The New York Times," thank you. LISA FRIEDMAN: Thank you. (END VIDEOTAPE) AMNA NAWAZ: Nancy Armour is a sports columnist for "USA Today". In her latest piece, Armour said, quote: Simone Biles isn't just best gymnast of her time, she's an athlete for the ages. She joins me now from Chicago. Nancy, thanks for being with us. So, the triple-double is two flips with three twists. Just how big a deal is this move? NANCY ARMOUR, SPORTS COLUMNIST, USA TODAY: It is huge. It's the -- the physics of it alone are really unbelievable, almost. I mean, consider the fact that she is turning herself end over end twice, but at the same time, she is twisting her body around three times. You have to have the physics of that exactly right or you basically will stop in the air and kind of plop to the ground. And she also has to know exactly where she is in the air, otherwise, she could do real damage if she's off at all. The power and the strength that it takes to do this is really nothing short of amazing, and, obviously, this is why it's taken so long for a woman to even try it, let alone land it like she did. AMNA NAWAZ: You wrote in your column, she got so much height that if there was an SUV parked on the floor, she would have cleared it. And it's worth noting it's one of two record-breaking moves she made, right? NANCY ARMOUR: Yes, she also did a double-double off, dismount off a balance beam, which is a double-twisting double summersault, and what makes that so amazing is she's basically at a complete standstill before she does it. So, imagine that you are trying to dunk a basketball from flat feet. It's not exactly comparable but pretty close. So, what she's doing, the power and the strength that she has to get these moves, it's unmatched, and not just in her sport, I would say in pretty much any sport. AMNA NAWAZ: And it's worth noting, that little interview piece we just heard from her which was just days prior to her giving this performance. I mean, the fact that she is out there, still competing for USA Gymnastics, speaking out so bravely about the abuse she said she suffered, and then giving performances like this, what does that say to you about Simone Biles? NANCY ARMOUS: She's not only an amazing athlete, she's an amazing person. And Simone recognizes the power that she has and influence she has. She's the best thing that USA gymnastics has going and has had going for the last couple of years. And she picks her spots and she picks what she wants to say and how she wants to say it, but she recognizes that she has an influence and that she can hold USA Gymnastics' feet to the fire and USOC and even Congress, because she is the best gymnast in the history for sport and she's been failed, and somebody has to answer that, and she continues to point that out and demand that they do right not just by her but the other hundreds of women who were abused by Larry Nassar. AMNA NAWAZ: Nancy, there's a reason the move from this weekend has gone viral. People know that they are watching greatness when they see it go by. You wrote about this in your column. You compared it to Mohammed Ali's Rumble in the Jungle, Serena Williams winning the Australian Open when she was pregnant. You mentioned Simone Biles being one of the best gymnasts of all time. Is it fair to say she's one of the best athletes of all time? NANCY ARMOUR: I think so. I was struck last night that this is going to be one of these things -- and I've seen her do many spectacular things, many of them. But this is one of those things that a decade from now, two decades from now, I'll be able to picture it in my mind, if somebody says Simone Biles' triple-double, or what was the best move you ever saw Simone Biles do, this will immediately come to mind. And I think that is the mark of an athlete who has transcended not just in their own sports but across sports. And if she doesn't qualify, then I don't know who does. AMNA NAWAZ: We're all lucky to watch that greatness in action. Nancy Armour of "USA Today", thank you so much. NANCY ARMOUR: Thanks for having me. (BREAK) AMNA NAWAZ: "Star Wars" creator George Lucas and "Game of Thrones" author George R.R. Martin have cited him as an influence on their work, helping them imagine what an adventure story might look like. Now, N.C. Wyeth, who led a family of American art royalty, gets a new look in an exhibition of his illustrations and paintings. Jeffrey Brown reports for our ongoing arts and culture series, "Canvas." (BEGIN VIDEOTAPE) JEFFREY BROWN, PBS NEWSHOUR CORRESPONDENT: The beautiful Brandywine River Valley in Pennsylvania: inspiration and home to Newell Convers better known as N.C. Wyeth. Today, it's also home to the Brandywine River Museum of Art, in Chadds Ford, which is giving Wyeth a new look. It was Robert Louis Stevenson who wrote the beloved adventure tale, "Treasure Island." But for millions of American, beginning in the early 20th century, it was Wyeth who created the lasting images of pirates and much more. CHRISTINE PODMANICZKY, CO-CURATOR, "N.C. WYETH: NEW PERSPECTIVES": The personal paintings, the illustrations, he did mural work, he did advertising work. So, his reach into the different aspects of visual culture is so broad. JEFFREY BROWN: Christine Podmaniczky is co-curator of the exhibition, "N.C. Wyeth: New Perspectives." The goal here: to present a more well-rounded portrait of an artist who painted scenes of rural life here and in coastal Maine, where he had a residence, but who remains best known for his book illustrations, the smaller reproductions of his large-scale paintings for such classic children's stories as "Robin Hood", "Last of the Mohicans", "King Arthur". Wyeth's genius, says Podmaniczky, was to find just the right moment in the story to bring to life. As when young Jim Hawkins first leaves home in treasure island. CHRISTINE PODMANICZKY: I said goodbye to mother and the cove. That's all Stevenson writes -- JEFFREY BROWN: That's it? CHRISTINE PODMANICZKY: That's it. JEFFREY BROWN: One line? CHRISTINE PODMANICKZY: That's it. All he writes about Jim Hawkins leaving home, going off on this exploit where he's to search for treasure. But when you look at the painting, you see how much N.C. Wyeth has brought here in the form of emotion. First of all, the characters themselves, the look on Jim Hawkins face. But his use of shadow, the sharp lines, the sort of cloud over the mother, posture, all sorts of things heighten the sense of what's going on. JEFFREY BROWN: Wyeth's first breakthrough, in 1902, was a cover for the "Saturday Evening Post," imagery of an already past and mythic American west. He created magazine advertisements, including for "Cream of Wheat". It was a time before television and our own screen-saturated lives, the golden age of illustration, and Wyeth was at its forefront. The commissions allowed him to buy property here in Pennsylvania and to support the other part of his life for which he became best known: as patriarch of an American art family dynasty, father of five children, three of them painters, most famously the youngest, Andrew. Andrew Wyeth would become one of the biggest names in 20th century American art, also focusing on his hometown of Chadds Ford and summer home in Maine, including the celebrated Christina's World from 1948. Andrew's son, N.C.'s grandson, is Jamie Wyeth. This is the grounds of your childhood, huh? JAMIE WYETH, PAINTER/GRANDSON, N.C. WYETH: Yes, my grandfather's orchard and whatnot, and then my aunt used this and studio. JEFFREY BROWN: Jamie now 73 and also a prominent painter, first learned to draw in the grand studio N.C. built here. Jamie never knew his grandfather, who died in 1945, age 62, in a car accident at a railroad crossing. The studio is owned by the Brandywine Museum. This is pretty much the way it was when you were a kid? JAMIE WYETH: Totally, it hasn't been changed at all. It's as if he walked out of it yesterday. JEFFREY BROWN: He painted this giant mural for a Wilmington bank. JAMIE WYETH: My father told me that he would watch his father walk up, put a brush stroke on, and walk back to see the visual effect. JEFFREY BROWN: So, he'd go up and back and up and back. JAMIE WYETH: Back and forth, yes, putting them in -- I mean, it's pretty loosely and thinly done when you get up to it, but to do this expression and then get back knowing this thing would be 50 feet from the viewers, and whatnot. JEFFREY BROWN: All around, the collection of items he gathered for his book illustrations. JAMIE WYETH: Coming to this studio was magical to me because here, it was full of costumes and cutlasses and flintlocks, and a lot of his illustrations were still in the back room here. So I'd go through them for hours. JEFFREY BROWN: This was like the amusement park in a way. JAMIE WYETH: Oh, my God, it was just magical. My father, of course, I would pump him and ask him about N.C. Wyeth and he said, he wanted the paintings to leap out of the page as you read them, to grab you by the neck. And they sure do. JEFFREY BROWN: As the show makes clear, though, N.C. also had larger ambitions: to be taken seriously as a fine artist, rather than just a successful commercial illustrator. Much of the exhibition's second floor displays the more personal paintings Wyeth created largely for himself, as well as two from his late-in-life, first solo exhibition in a New York gallery. Among those: island funeral, which uses paint Wyeth made from dyes he received from the nearby DuPont Company CHRISTINE PODMANICZKY: Ands that's how he gets these beautiful, deep, sort of jewel-like tones here. There's a lot of tension going on here between the old-fashioned bird's eye view, the new cutting-edge dyes, the death of an island patriarch. Well, N.C. Wyeth is in his late 50's at this point, he is already been publicized, if you will, as the patriarch of his own family. So there are thoughts, I think, of mortality here. JEFFREY BROWN: There are also signs of Wyeth, a traditional artist, flicking at some of the more modern painting techniques of his time. CHRISTINE PODMANICZKY: This is one of the most fascinating paintings as far as technique goes because you have him here trying to capture the light on this chain mail or armor, and it's just a magnificent piece of painting. JEFFREY BROWN: And grandson Jamie goes so far to see in this exhibition an unusual kind of group show all by one painter. JAMIE WYETH: He tried so many different techniques, so many different approaches. Some are very Cezanne-like, broken color, impressionistic, tried them all, which is wonderful, I guess, you know? There's a wonderful little self- portrait of him looking. It's just teeny and just very delicately done. JEFFREY BROWN: Painting, Jamie says, has been the family passion. JAMIE WYETH: It was sort of like another world, the comparing the three generations and so forth. And I happen to adore their work. I mean, these two individuals, very different individuals, very different approaches to painting -- I mean, what a thing to build on. JEFFREY BROWN: The elder Wyeth himself, though, never achieved the recognition he craved. JAMIE WYETH: He looked at it and thought his life had just been doing these children's books. It was hard for me to conceive that, though. I mean, he had to have looked at -- I remember my mother, she said when she first met him, she was very young and said, oh, Mr. Wyeth, I love your illustrations, your "Treasure Island", and he said, you'll grow out of that. JEFFREY BROWN: Really? JAMIE WYETH: Uh-huh. And he was wrong. JEFFREY BROWN: "N.C. Wyeth: New Perspectives" is at the Brandywine River Museum of Art through September 15th. For the "PBS NewsHour", I'm Jeffrey Brown in Chadds Ford, Pennsylvania. (END VIDEOTAPE) AMNA NAWAZ: The exhibit moves next to the Portland Museum of Art in Maine and, in 2020, the Taft Museum of Art in Cincinnati. And that's the "NewsHour" for tonight. I'm Amna Nawaz. Join us online and again here tomorrow evening. For all of us here at the "PBS NewsHour", thank you. We'll see you soon. END " . _:genid2d03b69b7562ca4b668941d574e1a846be2db0 "August 12, 2019 - PBS NewsHour full episode" . _:genid2d03b69b7562ca4b668941d574e1a846be2db0 "August 12, 2019 - PBS NewsHour full episode | PBS NewsHour" . _:genid2d03b69b7562ca4b668941d574e1a846be2db0 . _:genid2d03b69b7562ca4b668941d574e1a846be2db0 "2019-08-13T00:27:00+00:00"^^ . _:genid2d03b69b7562ca4b668941d574e1a846be2db0 "PT0H52M30S" . _:genid2d03b69b7562ca4b668941d574e1a846be2db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2d03b69b7562ca4b668941d574e1a846be2db0 . . "KOCE-TV" . "KOCE" . _:genid2de8b8aa28a596438880e3de465eda1fa22db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2de8b8aa28a596438880e3de465eda1fa22db0 . _:genid2de8b8aa28a596438880e3de465eda1fa22db1 . "https://www.pbssocal.org/" . . _:genid2de8b8aa28a596438880e3de465eda1fa22db0 . _:genid2de8b8aa28a596438880e3de465eda1fa22db0 "Costa Mesa" . _:genid2de8b8aa28a596438880e3de465eda1fa22db0 "CA" . _:genid2de8b8aa28a596438880e3de465eda1fa22db0 "US" . _:genid2de8b8aa28a596438880e3de465eda1fa22db0 "92626" . _:genid2de8b8aa28a596438880e3de465eda1fa22db0 "3080 Bristol St. #100" . _:genid2de8b8aa28a596438880e3de465eda1fa22db1 . _:genid2de8b8aa28a596438880e3de465eda1fa22db1 "3.36846105E1"^^ . _:genid2de8b8aa28a596438880e3de465eda1fa22db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2de8b8aa28a596438880e3de465eda1fa22db2 . _:genid2de8b8aa28a596438880e3de465eda1fa22db2 "Monday" . _:genid2de8b8aa28a596438880e3de465eda1fa22db2 "Tuesday" . _:genid2de8b8aa28a596438880e3de465eda1fa22db2 "Wednesday" . _:genid2de8b8aa28a596438880e3de465eda1fa22db2 "Thursday" . _:genid2de8b8aa28a596438880e3de465eda1fa22db2 "Friday" . _:genid2de8b8aa28a596438880e3de465eda1fa22db2 "08:00" . _:genid2de8b8aa28a596438880e3de465eda1fa22db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db0 . _:genid2dd3de06740d8b456fb9cab05b8ace98112db1 . "https://www.pbssocal.org/" . . _:genid2dd3de06740d8b456fb9cab05b8ace98112db0 . _:genid2dd3de06740d8b456fb9cab05b8ace98112db0 "Costa Mesa" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db0 "CA" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db0 "US" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db0 "92626" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db0 "3080 Bristol St. #100" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db1 . _:genid2dd3de06740d8b456fb9cab05b8ace98112db1 "3.36846105E1"^^ . _:genid2dd3de06740d8b456fb9cab05b8ace98112db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db2 . _:genid2dd3de06740d8b456fb9cab05b8ace98112db2 "Monday" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db2 "Tuesday" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db2 "Wednesday" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db2 "Thursday" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db2 "Friday" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db2 "08:00" . _:genid2dd3de06740d8b456fb9cab05b8ace98112db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2df9b29014684d4ed3a452dc47fd1308092db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2df9b29014684d4ed3a452dc47fd1308092db0 . _:genid2df9b29014684d4ed3a452dc47fd1308092db1 . "https://www.pbssocal.org/" . . _:genid2df9b29014684d4ed3a452dc47fd1308092db0 . _:genid2df9b29014684d4ed3a452dc47fd1308092db0 "Costa Mesa" . _:genid2df9b29014684d4ed3a452dc47fd1308092db0 "CA" . _:genid2df9b29014684d4ed3a452dc47fd1308092db0 "US" . _:genid2df9b29014684d4ed3a452dc47fd1308092db0 "92626" . _:genid2df9b29014684d4ed3a452dc47fd1308092db0 "3080 Bristol St. #100" . _:genid2df9b29014684d4ed3a452dc47fd1308092db1 . _:genid2df9b29014684d4ed3a452dc47fd1308092db1 "3.36846105E1"^^ . _:genid2df9b29014684d4ed3a452dc47fd1308092db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2df9b29014684d4ed3a452dc47fd1308092db2 . _:genid2df9b29014684d4ed3a452dc47fd1308092db2 "Monday" . _:genid2df9b29014684d4ed3a452dc47fd1308092db2 "Tuesday" . _:genid2df9b29014684d4ed3a452dc47fd1308092db2 "Wednesday" . _:genid2df9b29014684d4ed3a452dc47fd1308092db2 "Thursday" . _:genid2df9b29014684d4ed3a452dc47fd1308092db2 "Friday" . _:genid2df9b29014684d4ed3a452dc47fd1308092db2 "08:00" . _:genid2df9b29014684d4ed3a452dc47fd1308092db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db0 . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db1 . "https://www.pbssocal.org/" . . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db0 . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db0 "Costa Mesa" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db0 "CA" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db0 "US" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db0 "92626" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db0 "3080 Bristol St. #100" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db1 . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db1 "3.36846105E1"^^ . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db2 . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db2 "Monday" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db2 "Tuesday" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db2 "Wednesday" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db2 "Thursday" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db2 "Friday" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db2 "08:00" . _:genid2d2570cd7cea7d4a17b4ff61fcae124bdd2db2 "17:00" . _:genid2d8c2231f8da1b47919557fdc8554a166f2db0 . _:genid2d8c2231f8da1b47919557fdc8554a166f2db0 " - [Narrator] We had one more surprise for Paul. A secret hidden within his own DNA. When we analyzed his admixture, which reflects his ancestry over roughly the last 500 years, we discovered that his heritage was more varied than the paper trail had revealed. - Could you read your admixture percentages? - Okay, 61% Irish/Scottish/Welsh. - What a shock. (laughs) - Yeah you see, what a shock. 61% Irish, 15% Scandinavian, 9% Eastern European, 3% Ashkenazi Jewish. - Ashkenazi Jewish, that's a lot. - That's very cool. - [Interviewer] That is a lot. - Is that really? - Yeah, that means somewhere-- - That's very cool. - There's a Jewish guy there. - There's a Jewish guy in there somewhere. - Or a woman. - Yeah yeah yeah, right, very cool. - [Narrator] Three percentage points indicates that Paul could have a third great grandparent of full Ashkenazi Jewish descent, though it's also possible that he has multiple lines with more distant Jewish ancestry. Regardless, the DNA evidence is unequivocal. Paul Ryan has Jewish roots. " . _:genid2d8c2231f8da1b47919557fdc8554a166f2db0 "Host Henry Louis Gates, Jr. traces the family history of Paul Ryan." . _:genid2d8c2231f8da1b47919557fdc8554a166f2db0 "S5 E6: Paul Ryan | Jewish Roots | Finding Your Roots" . _:genid2d8c2231f8da1b47919557fdc8554a166f2db0 . _:genid2d8c2231f8da1b47919557fdc8554a166f2db0 "2019-02-13T00:15:00+00:00"^^ . _:genid2d8c2231f8da1b47919557fdc8554a166f2db0 "PT0H01M21S" . _:genid2d8c2231f8da1b47919557fdc8554a166f2db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2d8c2231f8da1b47919557fdc8554a166f2db0 . . "KOCE-TV" . "KOCE" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db0 . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db1 . "https://www.pbssocal.org/" . . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db0 . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db0 "Costa Mesa" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db0 "CA" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db0 "US" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db0 "92626" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db0 "3080 Bristol St. #100" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db1 . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db1 "3.36846105E1"^^ . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db2 . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db2 "Monday" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db2 "Tuesday" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db2 "Wednesday" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db2 "Thursday" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db2 "Friday" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db2 "08:00" . _:genid2d60fa87bbe8ff4d6f94da0426bb4dea812db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db0 . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db1 . "https://www.pbssocal.org/" . . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db0 . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db0 "Costa Mesa" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db0 "CA" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db0 "US" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db0 "92626" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db0 "3080 Bristol St. #100" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db1 . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db1 "3.36846105E1"^^ . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db2 . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db2 "Monday" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db2 "Tuesday" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db2 "Wednesday" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db2 "Thursday" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db2 "Friday" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db2 "08:00" . _:genid2d3d2180e2a9e94725ab6f46a82353bb112db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db0 . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db1 . "https://www.pbssocal.org/" . . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db0 . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db0 "Costa Mesa" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db0 "CA" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db0 "US" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db0 "92626" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db0 "3080 Bristol St. #100" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db1 . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db1 "3.36846105E1"^^ . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db2 . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db2 "Monday" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db2 "Tuesday" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db2 "Wednesday" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db2 "Thursday" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db2 "Friday" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db2 "08:00" . _:genid2dc5bde0b1886449eda60ffeee5a90cf582db2 "17:00" . . "KOCE-TV" . "KOCE" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db2 . "PBS SoCal KOCE is the home to PBS for Greater Los Angeles Area and Southern California. We deliver the full schedule of PBS Programs, plus local programs." . . "PBS SoCal" . "https://www.facebook.com/PBSSoCal/" . "https://twitter.com/pbssocal" . "https://www.instagram.com/pbssocal/" . "https://www.youtube.com/c/pbssocal" . "https://www.flickr.com/photos/pbssocal/" . "https://www.pinterest.com/pbssocal/" . "https://www.yelp.com/biz/pbs-socal-costa-mesa" . "(714) 241-4100" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db0 . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db1 . "https://www.pbssocal.org/" . . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db0 . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db0 "Costa Mesa" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db0 "CA" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db0 "US" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db0 "92626" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db0 "3080 Bristol St. #100" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db1 . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db1 "3.36846105E1"^^ . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db1 "-1.1788512330000003E2"^^ . . "PBS SoCal Logo" . "https://dj3b4v4vfrnun.cloudfront.net/wp-content/uploads/2018/07/pbs-socal-logo.jpg" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db2 . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db2 "Monday" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db2 "Tuesday" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db2 "Wednesday" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db2 "Thursday" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db2 "Friday" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db2 "08:00" . _:genid2db0979e1b04654b46b4aaa9400b3d7d932db2 "17:00" . _:genid2d6133152c51ac43f9a2da4415fa926c042db0 . _:genid2d6133152c51ac43f9a2da4415fa926c042db0 " When this walked in, I was... I was speechless. It is truly a remarkable piece of history. It is the Rolls-Royce of these. My dad is smiling somewhere. (laughing): It can't be. APPRAISER: Yes. No way! MARK WALBERG: When "Roadshow" visited Minnesota in 2004, we discovered one of our most valuable pieces to date-- this Patek Philippe pocket watch. 15 years later, will it take the crown of "Antiques Roadshow's" highest-appraised item? We'll find out later on in the show, but for now, let's see if the values of these other Twin Cities treasures went up, down, or stayed the same in this fresh look at St. Paul. MAN: This piece belonged to my grandmother. She had a lot of antiques, but most of them were glass. The kids in the family didn't get to go around those very often, but this one was always out on the floor, and so, as I grew up, this was a part of all the parties and Christmases there. And when she sold her house, the grandkids and the kids could choose different things. And this is the piece that I always wanted, so my name was on this one for a long time, so that was... And when did you actually get it? About five years ago. Well, let me tell you a few things about this wonderful piece. We cannot find any maker in Ohio-- it says Ohio Stoneware-- with this maker, so this is a piece that we still need to do some more research on. The fact that it says on the bottom "1876 Centennial," makes me speculate that it might have been used in the Centennial celebration in Philadelphia in 1876. Wow. The various states had exhibits. And this might have been an example from an Ohio stoneware maker. It's slip cup-decorated, with cobalt. The cobalt was drizzled onto the stoneware before it was fired. Wow. And this wonderful bird is a peacock. The writing and the decoration takes up the full palette, and that's what we in American folk art look for in a great piece of stoneware. This is wonderful. The date 1876, and it's a little miniature jug, which is a replica of the large jug. And you told me how this handle got broke. Yeah, my grandmother always said that she bumped it while she was vacuuming. Well, I would just leave it the way it is. It doesn't need any repair, and it really doesn't hurt its value. If I had this at a show, I would have this priced at somewhere between $65,000 and $85,000. (laughing): Are you kidding me? No, I'm not. Oh, my God! I think it's an absolutely monumental piece of American stoneware. Earlier, when I lifted it up here, you said you almost had a heart attack... I did! ...when you saw me grab it by the handles... You were lifting it by the handles, which is just an absolute no-no for a small piece. So never do that again. I've moved that... I've moved it a couple of times like that. But I won't move it that way anymore. WOMAN: I bought this poster at an auction about six or seven years ago. APPRAISER: When you bought it at auction, how much did you pay for it? I believe I paid about $350. Do you know who the artist is? Do you know when it's from? Do you know what it's for? (chuckles) I really don't. I hate to admit my ignorance. I understood that it was a theater poster. It is a theater poster. It's the Alcazar d'EÉté, which was one of the two great French music halls on the Champs EÉlysées, only during the summer. There was also the Alcazar d'Hiver, which was the winter theater. But these were outdoor music halls on the Champs EÉlysées, and this is a poster for a cabaret act for the four Marten sisters. Okay. I hate to tell you my ignorance. I don't know who they are. Their act is lost to history. They are the tambourine-playing, dancing quartet. But they were, obviously, a minor sensation in the Parisian music halls at the end of last century. There's no date on it, but I went to some reference books, and I looked it up-- it's from 1888. Oh, my. Which is a really early lithograph. But the more interesting thing to me is who the artist is. Now, you don't see an artist's name anywhere on the picture. It's unsigned, but it is clearly the work of Jules Chéret Now, Jules Chéret's name appears on the poster but not as the artist. His name appears right here as one of the printers of the poster. Jules Chéret was basically the father of the modern poster. He's been called both the father of modern lithography, and the father of the modern poster. And it was his work and his work alone that created the entire sensation of posters in Paris at the end of the 19th century. He was the master of combining four colors into a virtual rainbow of lithographic colors. Now, this poster pre-dates his really colorful images. This is really only three colors, not four. It's red, blue, and black. And it's unusual, because Chéret's earlier lithographs are usually much smaller. And in about two years after this, he began designing the posters that were really filled with yellows, filled with reds, filled with purples and greens. But this is a very important early work of his. It is valuable. It is interesting. It's a great document because it's an early work of this very important artist. We decided that a very fair auction estimate would be $1,500 to $2,000. Oh, my goodness. And the great thing about auction is, if other people feel it's as rare as I'm telling you, then the price can only go higher. Wow. (laughs) So it really does have a lot of pizzazz. Yes, yes, it suddenly has more interest to me. That's great. You saw the name H-A-N-D-E-L. Philip Handel worked in Connecticut. The shade is an 18-inch chipped-ice shade. The value of the lamp is $10,000 to $12,000. Wow. GIRL: I bought a illustrated historical atlas of the state of Minnesota. It's 1874, and what they do is, they show, like, this is St. Paul, where we are now, but it shows all the buildings of St. Paul, all the streets, the river. MAN: The person who got all these was my uncle. He was in the 6th Marines, 2nd division, 78th company. Okay, in World War I. He's got the Purple Heart, he's got the Navy Cross, and the Distinguished Service Cross. And those two are extremely high medals. Those are just below the Medal of Honor. Probably one of the greatest Marine groups I've seen from the World War I period. APPRAISER: You didn't own this chair at 8:00 this morning. Now you do-- what happened? I was out driving around this morning, getting myself a cup of coffee, and I saw a garage sale. So I saw the chair. I thought it was old. What'd you see about it that said it was old? Well, I just felt the top here. Okay, this stuff, okay. It just felt nice, it felt old. Okay, all right-- you looked under here. I'm looking at the back here, I'm looking at this... I'm looking at these through- tenons coming through the back. Old color, right? Yeah. So how much was it? Two dollars. It was two dollars. Yeah. Two dollars, though? Two bucks. (laughs) Did you ask for a better price or anything? No, no, I didn't. Two dollars, this morning. This morning. Right here in town. Yup. This is incredible. This is what keeps all of us out there looking, to have stuff like this happen. Definitely. This is a circa 1770 Chippendale Philadelphia chair. Through-tenons are typical Philadelphia. Through-tenons, these seat rails are coming through the back leg. The original finish, this 200 years of grunge. This pure splat is a wonderful splat. I'm going to look inside here. Can I rip this open? Yeah, go ahead. Are you sure? Yeah, go ahead. You only paid two dollars, so I'm going to... This is just the scrim, so... And what you've got here-- look at this. (straining): That's the original... That's the original yellow pine seat frame, 1770, same date as the chair, marked number two from the set. Okay. Look at this. This is chair number one from the set. You see that little mark? Oh, okay. So you got chair number one, seat frame number two, on a Philadelphia chair with an old finish for two dollars-- you know what it's worth? I have no idea. About, easily, $1,500, easily. Wow. Easily $1,500. Another little touch, there's a name on the back. Did you see this? Mm-hmm. This has an incised name. "Foulke?" Mm-hmm. That's one of the oldest Philadelphia names. This is probably an early owner that scratched their name on the back of the chair. Fantastic. Is that cool or what? Yeah, I, I had no idea. MAN: These were gifts to my mother. They were given to her in 1957 in New Mexico. She had worked for a senator from New Mexico by the name of Chavez, trying to strengthen the legal standing of Indians at the time. So in 1957, when we took a road trip, we stopped at a household where the people's name was Tafoya, and these were given to her there. Do you know who made these pots? I know the name Marie on the bottom. I had thought they were somehow connected with Tafoya. The Tafoyas did know Maria and Julian Martinez. The Martinez family lived at San Ildefonso Pueblo. I believe the Tafoyas lived at Santa Clara, which was like across the fence, literally. You said you saw black pots in the Tafoya household? They were making some pots. One of the kids there showed me how they polished the surface with the smooth stones from the gravel bed. Right. And the pots were red... Yeah. before they fired them in these beehive-type ovens, and they showed me what it looked like coming out. Yeah. Which was this color. What these are is Maria Martinez pots from San Ildefonso Pueblo. Judging from the signature on the bottom, probably... late '20s, early '30s. What this design is, it's the underwater serpent Avanyu, and it goes all the way around the pot. This black on black is what's called a reduction firing, where they reduce the oxygen in the firing procedure, and it turns them black. It's not a traditional Pueblo technique. It's something that the Martinezes learned in the early '20s and became masters of it. And now it's completely identified with that pueblo. The signature's right on the bottom. If you look here, it says "Marie." It's done the right way, right time period. They could use a little cleaning. They've got some little abrasions, but nothing major. What do you want this appraisal for? Insurance. I've got my two kids. Whenever we're through with them, I'll give one to one and one to the other. Well, let me first tell you that the value is, they're a pair. They're the only matched pair of this size of Maria pots I have ever seen any time. This is it. This is the ultimate pair of Maria pots. Huh. The size is great. The water serpent, they're exactly matched, not just a little matched. They are exactly matched. You want to be able to go out and buy some new ones if you break them? You'd better start at $45,000 and go up to about $55,000. Wow. You're sure? I'm positive. I got on the telephone and called Santa Fe, and, yes, I'm positive. No kidding. Yeah. I didn't have a clue. These just have been sitting on the top of the bookshelf gathering dust. Don't let them fall, okay? (chuckling): All right, all right. MAN: Well, the Millers uniform I located at a collectors' show about 20 years ago in Minneapolis. I bought it for the price of $50. So this is a Minneapolis Millers uniform. This is a home uniform of the Millers, and it dates from 1950. The Millers were a minor league team. They were the American Association representative of Minneapolis in the Twin Cities. There was another team, the St. Paul Saints, and we're equally as proud of their history, as well. Now, this, this uniform is number 28. And you had it for a long time before you figured out who number 28 was. When I found out that Willie Mays wore number 28 in the 1951 season, I became very interested, and a little more curious about doing some background work on it. Knowing that the uniform was from the preceding season, I began to do some forensics on it. (chuckles) And there are particular details involving the lettering and the ribboning on the front of the uniform. But a dead giveaway was this team repair. Yeah. On the right sleeve. I see it right here. And, amazingly, you found a photograph... Yeah. Of the Say Hey Kid, pre-New York Giants, wearing this uniform. Here he is in this picture right here. Exactly. Clear as day. It's obviously a remarkable piece. It's a remarkable story. It's in immaculate condition. That helps it. You spent $50 on it. I would estimate it, conservatively, in the $60,000 to $80,000 range today. Oh, my. Talk about goosebumps. When this walked in, I was-- I was speechless. It, it is truly a remarkable piece of history, and it just does not get any better than this. WOMAN: It's a piece I found at a thrift store in Minnesota. One of the things I always go for are linens, needlework of any kind, because it interests me, and I like just to study it and appreciate it. I have a lot of appreciation for women who have done needlework, and this kind of stuck out at me. APPRAISER: When I first saw this, I was thinking, "Well, we're in Minnesota. "Of course I'm going to see a lot of kind of 20th-century Scandinavian-inspired textiles." Certainly. Which generally in the market today are of very little interest, because they're things that were either made in this country or were commercially made in Scandinavia. And then as I looked more closely, I realized, but wait, this isn't just another one. There is something more going on. There's an incredible subtlety to the coloration and the way this is woven and put together. We've got shading of different colors of roses, to fuchsia, and then blue-greens to blue. And there's an artistry in this that you wouldn't just see in a common piece. So I was thinking, "Gosh, you know, this really is better than most," and got intrigued myself. And then, I recognized that in the corner, it was signed, which, most commercial pieces aren't signed. And this is signed with the initials "MMF," which stands for a woman named Maärta Maåas-Fjetterstroöm, who was probably the leading textile designer and producer in Sweden in the early 20th century. Oh, no! She started out as a painter, started a workshop by 1918, 1919, producing textiles, curtain fabrics-- all handmade-- also rugs and carpet. I mean, she was of such prominence, that she designed and manufactured the rugs that are used for the Nobel Prize ceremonies in Stockholm, so she's really a designer of some note. Typically in the market, we come across pieces of hers that are quite large. I've never seen a handwoven, flat-weave textile of this size coming from her. And the quality backs up with the initials. Do you have any idea of what this may be worth? Absolutely not-- I knew it was worth the dollar that I paid for it, just to have something to, you know, to study, because it was so interesting. Right, because I would say, with the popularity of Maärta Maåas-Fjetterstroöm things on the market today, because it's really coming on quite strong, I would place a retail value on a piece like this today of somewhere between $2,000 and $4,000. (inhales, groans) Certainly worth a dollar investment. Oh, my goodness! WOMAN: It's my sister's chair. She purchased it from some friends of mine in the late '70s. After that, she was looking at an antique trader, noticed another chair in there called the Lost Treasure, and realized maybe she had a treasure of her own. You and your sister both know this is a Gustav Stickley chair. Yes. Because it's marked, and we'll look at the mark in just a second. Right. Gustav Stickley is known for very scaled-down and simple, heavy furniture. Well, this is not so scaled-down, because it's got this inlay decoration across the back. Okay. And it's also rather light, compared to a lot of his pieces. The lines are a lot thinner, and the pieces of wood are a lot thinner. That will tell you this is a special piece. Harvey Ellis was a designer, he was an Englishman who worked for Gustav Stickley for not much more than a year. He was an alcoholic, and he died in 1904. Oh, my. But he brought this rather decorative European Arts and Crafts style, and it modified Gustav Stickley's more severe look. And so these inlays, which are on the back of these back slats, have inlays of pewter, copper, rare woods. Now, your sister mentioned there was some repair to the inlay? Right. Could you point that out for us? I believe she said this one was a repair, and possibly a crushed-up penny that was put in there. It was just kind of flattened out and banged into place. Flattened-out penny, yeah. That's not unusual. It's not the end of the world when that occurs. We know it's an early chair because Harvey Ellis died in 1904. There are other ways we know it's an early piece of Gustav Stickley furniture. Okay. If you look inside the chair, you see these holes? Yup. This had a cane seat foundation that a cushion would rest on. Later pieces of Gustav Stickley would have drop-in seats or spring seats. Furthermore, this piece has an earlier mark on it, which we'll look here. It's inside of a box, so it's a decal. And these early pieces were often marked under the arms, but when you see a box around the mark, you know it's an earlier piece of furniture. Another indication that it's early is this finish, which is really beautiful. And it makes a huge difference in the look, the quality, and the value of the chair. See the difference of the color between the back of the arm and the bottom of the arm? Yup. That's because of normal wear, people putting their elbows and arms, and wearing down the color. That's not a bad thing. It shows this chair has not been cleaned. If anybody refinished this chair, they would have evened out the color on the arms. Okay. But if we turn the chair around... The color on the back is this rich, chocolatey-brown fumed finish. It's really what you want to see on a Harvey Ellis chair and makes a vast difference in price. Condition overall, it's a little loose, a little inlay replacement, nicks and dings here and there, but otherwise in fine condition. Retail, today's market for this chair, $40,000 to $50,000. Oh, my word. That's awesome. Several things would make it worse less. If this had a lighter... If it was refinished, $10,000 to $15,000. Lighter finish, $25,000 to $35,000. With this color, this is stone-cold retail, but retail is $40,000 to $50,000 for this chair. Oh, my word-- that's awesome. This is a piece of Weller pottery from the Zanesville, Ohio, area. And it's a line called Dickens Ware. This beautiful portrait of a Native American happens to be Little Wound. Condition is really nice. The artwork is exceptional. APPRAISER: It was built as a model, and they're so different, because they're sort of folk art in a way. This one is mostly of wood. It looks like it's had a little overpainting at some point. That might hurt the value a little bit. It's a very accurate model, and it's five feet long. APPRAISER: This is probably the Holy Grail to tool collectors. I can't think of any tool that Stanley collectors are more excited to find. It's a Miller's Patent Plane in gun metal. When I saw it today, I was, like, "Yes! "Yes! The Miller's Patent Plane!" WOMAN: It's about 1920. My mother bought it. She bought it at a showing in a art shop in Rockford, Illinois. She paid $2,000 for it. APPRAISER: And the artist is? Robert Blum. It's actually pronounced Robert "Bloom," even though it doesn't have an E. Oh, really? Okay. It may be that she bought it in the Midwest because he was from the Midwest. He's from Cincinnati, Ohio. As you rightly said, it desperately needs to be cleaned. You can see the sky is very brownish here, and it would be a nice blue if it were cleaned. And it has a touch of paint loss down here. But I think in spite of all that, you have a wonderful work. It's pretty much in original condition. And this artist is fairly rare. He doesn't come up at auction very often. So I think all in all, you might want to insure it for something like $125,000. Wow. A little more than $2,000. Super-duper. Yes. WOMAN: It was willed to my mother by a relative that she didn't really like very well, who was a career woman in the '30s and '40s, and a registered antique dealer and appraiser. And when Della died, this thing came to the house, and my mother looked at it, and she said, "That's ugly. I don't want it in the house." And I think it was because she didn't like the person who had given it to her. Of course. So she had them keep it in the garage. And a week later, an appraisal came with it that was for $5,000, in 1948. Okay. And at $5,000, she thought maybe it could find a place in the house. When we looked at this yesterday when it was brought in, we couldn't quite figure out where it was made. It's a great mystery. And I've done a lot of research. I stayed up most of the night trying to think about your piece of furniture. Great! And I think I've come up with an answer. Now, have you ever looked at the back of this piece of furniture? Um, I don't know if I really have. Well, we did some detective work last night, and there are two paper labels on the back. And they have the name "Hearst" on it. Okay. Have you ever heard of William Randolph Hearst? Yes, yes. Well, he was a great antiques collector and really the founder of the Hearst empire. And at the time of the Depression, he lost most of his money, and his antiques collection was sold at Gimbels department store. And there are two labels on the back of this piece of furniture that say "Gimbel." And as we started to look at it, these shells are inlays. They were probably imported from Great Britain and put on this piece by the cabinetmaker. That was a clue that it probably was made in a coastal town. Then we further looked at it, and as you open the lid here-- this is what's known as a cylinder lid. It resembles what's known as a tambour, which is where each piece, almost like toothpicks, slide back with canvas supports underneath. But this is a faux tambour, because it's all one piece, carved to look like a tambour. And you have the tiger maple interior. But then you pull this board out here. A beautiful bit of cabinetmaking. Now, what kind of wood is this, do you know? I assumed the whole thing was maple. This is birch. Okay. And birch, the country cabinetmakers called "mountain mahogany," because it would talk a stain that resembled mahogany. Most people today can't tell the difference if it's properly stained. Okay. With this, I started to do some research. And there are a couple of advertisements for a cabinetmaker in Saint John, New Brunswick, by the name of Thomas Nisbet. And two advertisements, the first one is that he needed to buy 8,000 to 10,000 feet of birch for his cabinet shop. Okay. And the other one said that he had just imported some of the finest mahogany from Jamaica. You have a little bit of Jamaican mahogany here. Now, Nisbet was born in Scotland. He trained as a cabinetmaker, and came to Saint John, New Brunswick, in 1813. Did he bring these inlays with him when he came from Scotland? Because these were certainly not made on this side of the pond. Okay. So in my opinion, this piece could certainly be from Saint John, New Brunswick, and one of the finest pieces of cabinetmaking. I am going to give you a figure of $50,000. Oh, that's amazing. APPRAISER: This was made by your great-great-grandmother? Is that correct? WOMAN: That's correct. Two greats? And her name was? Jane Dixon LaFramboise. And she was married to Joseph "La-fram-bwa"? Yes, that's the French pronunciation, yes. The French pronunciation? And we know that he was an interpreter to the Sioux. Yes, and he was a fur trader. He came here from Mackinac Island. Your great-great-grandmother, she was Sioux, do you believe, or do you know? Yes, as far as we know, she was part-Ojibwe, part-Sioux, and about a quarter-English. Do you know what this object is? Well, it's called a blanket. For a time it was in the museum at Sleepy Eye, loaned to them by a granddaughter of hers, and then it was given back to my mother later. And the card they put it on it, they called it a blanket. It is a blanket. It's a woman's blanket, and it's a woman's shawl, or dance blanket. Oh! And it is the best one of these I have ever seen in my life. It is the Rolls-Royce of these. Now, we know Joseph LaFramboise died in 1856. That's correct. Your great-great-grandmother died, do you know when? About 1885. Well, I suspect she made this before her husband died. Yes, I think during their marriage. I would date this around 1840. Mm-hmm. It's all trade material. All of the material here was got through the fur trade, trading furs for the beads, trading furs for the blanket, for the silk. Okay, okay-- okay. It has stunning silk appliqué work most of the way around the outside border. Beautifully designed, in terrific condition. The color preservation is still quite good, given how old it is. Yes. These blankets are generally made by the Osage tribe, which are related to the Sioux. This is a Sioux variation. The Osage just did this ribbon work-- looks slightly different-- without doing the bead work. Oh. And what really makes this blanket for me is this bead work. Extraordinary sense of color. Your great-great-grandmother was extremely talented. This center medallion here is so beautiful. That's my favorite part-- I love the center. The stars across the bottom. Normally, there's no bead work on these at all. Normally, they're 50 years newer. Normally, they don't look anything like this at all. It is fantastic. There's a little bit of condition problem here. Yes, sure. We can see where there's probably moth damage. Sure. Really needs to be conserved. I think conservatively, somewhere between $60,000 and $75,000 for this. Well, I don't think they can have it. Good for you. WOMAN: Well, this is a Margaret Bourke-White photograph, and my father commissioned her to photograph for him the complete steelmaking process. He was chief metallurgist for Republic Steel. APPRAISER: When we look at fine art photographs, documentary photographs, by masters of photography like Bourke-White, we recognize that they used certain papers and had certain trademark styles over and over again. This black-ruled border that we see around the print is typical of how she created her photographs. The other thing that is typical of a Bourke-White image is this cream-colored, double-weight paper. It has a slightly pebbly finish to it. It has a real heft. And that, too, gave me a clear indication. The final, and of course most important part of this picture or puzzle is the subject matter. Yes. Now, talk to me a little bit about what this depicts. Well, it's one process of about 15 or 20 that she made for my dad that show from the very beginning, where they charge the blast furnace, all the way through to the ingots that are being rolled on the ingot floor. And so I'm not sure what's going on here. Right. I just know it's part of that steelmaking process. It epitomizes the industrial age. Yes. The modernist period. And, of course, later on, in the mid '30s, in the late '30s, Bourke-White became synonymous with abstract modernist photographs, very much like this, sometimes a little bigger, that also depict the ideal machine. Oh, yeah. And this was part of the graphic language associated in the United States with the modernist vocabulary. In the auction market, I would estimate this picture at $4,000 to $6,000. The one print? The one photograph. But there's a whole series of them in my brother's attic or basement or... Well, that sounds even better. And some of the photographs are bigger and some are... The one that shows the ladle pouring the molten steel is the largest. I mean, it was outsized. The rest are all this size. APPRAISER: There's the William Moorcroft mark that was signed by the original manufacturer. What's unusual about this, also, this was retailed by Tiffany. WOMAN: That is so neat. Wow. It's an instrument called a cimbalom. It originally was invented in Hungary. It's made, as you can see, 1890, in Minneapolis. APPRAISER: This is called a Bakelite cherry pin. And Bakelite was patented in about 1908, and it was a very durable plastic, and today, it's very collectible. APPRAISER: On first look, what we have is a regular Civil War soldier's letter home. But on closer look, it's a hand-drawn map of the vicinity of the Battle of Lookout Mountain in Chattanooga, Tennessee. I believe you said you know the soldier that drew this. WOMAN: Yes, it was my husband's great-grandfather, and he was a surveyor and an engineer. Really? And an artist, as well. He did a wonderful job. Yes. He drew in the Lookout Mountain. And what I loved about it is, on the right side, it says, "Enemies retreat to Chickamauga," which was the next stage of the battle in the campaign for Atlanta. This is wonderful because the size is perfect, the detail beautiful. The last one of these I sold similar to this brought $1,000. Wow. But it's a wonderfully drawn piece of Civil War history. MAN: Well, I know they're Schoenhut, and I found them at a farm auction in Wisconsin about, oh, eight, nine years ago. I have never seen another set of them. It was a box that looked like junk. APPRAISER: Uh-huh. And I bid five dollars on it. And that's what I got it for. Well, what do you think they're worth? I would say they're maybe worth about $100 apiece, pricing out some of the other Schoenhut items. It's the Schoenhut Humpty Dumpty Circus, which was made by the Schoenhut Company in Philadelphia. A lot of people think Schoenhuts were made in Germany, because it's a German name. But they were made in Philadelphia, starting in the 1890s. And the circus was made well into the early '30s. We've had pieces of the Humpty Dumpty Circus before on the "Roadshow," some of the animals. Yeah. And of course, I've always considered this Humpty Dumpty Circus the... one of the first play set toys ever made in America, and one of the great classic American toys, because it allowed the child to recreate that fantastic circus. Probably one of the most rare components of it is the band. The band. You absolutely made a fabulous find. And this felt is almost perfect. Usually, these are moth-eaten. Now, they're a little dirty. All these pants could be cleaned up. You're missing a helmet here or there. Yeah. Of course, you see this fella here with the bent limbs? You know why he was able to sit down? He was usually on top of a bandwagon. Yeah, he was the driver of the bandwagon. But it's an absolutely fantastic set and very, very hard to find in pretty amazing condition. In today's market, I would value this set at easily $10,000 to $12,000. Great. So... I'm very pleased. I think you did... you did very well. I did very well. WOMAN: This was my father's guitar. He was a sign painter by profession, but he had a passion for music, and he grew up in a family that had a lot of music in the home, and he played many instruments. He always aspired to have an electric guitar from, I think, the time they probably were invented. And this was his pride and joy. It's been sitting underneath my bed for... Really? ...since 19... you know, '86. And I let my son play with it when he was young, and there was a tremolo bar on there, and I think he somehow or other lost that along the way. It's a Fender Stratocaster. It was made in 1957. I'm going to pick up the guitar so we can start off with the back. It's a maple neck, which was made up until 1958, and this is what they call a skunk stripe. The other thing that lets you know that it's a '57 is that it's a two-tone sunburst. This finish, instead of being black to red to yellow is black to yellow. It's a non-laminated plate over the tremolo area on the back. I'm going to turn it around. And on the front of the guitar, you can see the neck has a maple fingerboard. I took the neck off earlier, and inside of here, there's a date of 8/57. And that matches with everything else that I saw on the guitar before I did this. So it made me feel comfortable in thinking it is that. This pick guard is right for the year. It's a non-laminated white pick guard with screws that don't look like they've really ever been off. All the parts, the colors, the patina of everything that I see looks right, looks really original, looks really nice. The tremolo bar, which would go in here, is replaceable. You can find that part. Has anyone given you any idea about the guitar as far as its value? Not at all, no. I ran across a magazine that told me I probably should be taking care of it, so that was all I did. Do you have any idea? The range in the magazine said it could be as high as, like, $3,000. I feel real comfortable in thinking that the value is significantly more than that. I would guess somewhere in the neighborhood of $15,000 to $17,000. It's a nice thing. You're very lucky. Oh, my gosh. Oh, my dad is smiling somewhere. So... (laughs): That's terrific. WOMAN: I got this piece from my great-grandmother. It came to me by her son to my uncle and then to me. I really thought it was unusual and pretty and feminine, and it spoke to me. APPRAISER: It's a sweetmeat jar, which is basically for candies. What you have here is a piece of Mount Washington glass. This glass was designed by Frederick Shirley of Mount Washington Glass. Mount Washington Glass eventually was bought out by Pairpoint Glass. And this would have been about 1884. Oh, my gosh. So it's an early piece. Wow! And this intrigued me when I saw it-- this pattern. And I was thinking it was octopus. But it's a starfish. Oh! And it's all the way around. We have three sections of jeweled area of starfish. Under this is a hobnail. It's hard to see, because it's blended into the glass, but it is considered hobnail. Oh, wow! This used to be called Albertine glass, but now it's commonly called Crown Milano. The lid and the bail handle, that's silver plate. If you're able to get this cleaned up, this is a comfortable piece at $2,000. (gasps) (laughing): You're kidding! If you... If you, if you can't clean it up, then you might have to have a professional do a little re-silvering. You might have to spend a little money to bring it up to that $2,000. Okay, yeah. Oh, my gosh! It's a wonderful, wonderful piece. It is! WOMAN: We got these from my aunt, and she was in Japan in 1956. She was a civilian working for the military, and so she brought quite a few of these woodblock prints and other Japanese items back. The prices ranged from $1.25 to about four dollars apiece. You've got a number of prints by two different artists. The first artist is Hiroshi Yoshida. Was a Japanese artist born in the late 1880s, lived to the 1950s. And he was noted for producing these very atmospheric, beautiful woodblock prints. Each color that you see here is produced by a separate block of wood that's been carved, used only for that specific ink. Wow. So a single print like this might have as many as a dozen or more separately carved blocks of wood, each with the same scene. Now, what makes this extraordinary is that every block of wood has to be applied in exactly the same register. Otherwise, the lines are off. And Yoshida was one of the great printmakers. And we know this is by Yoshida, not only because of the style, but when you open it up, you can actually see he signed it there, and here's his Japanese signature. He broke with the past and entered into the 20th century in his designs. So you very much have a modern aesthetic. These landscape views that are very evocative of early times. Here's an alley of wonderful trees, and you have these marvelous kind of sunsets. And then he's also known for nighttime scenes. The other artist who worked at the same period of time is Kawase Hasui, very much the same style, because both of these artists were bringing woodblock prints into a modern, 20th century aesthetic. And you can see his signature right over here on this side. And it describes this moonlit scene. And I'm not going to lift all these prints up, but you can get a flavor of the workmanship, and the beautiful, bright colors are so important. So what's happened with your aunt when she had these is, she was very careful about keeping them in a closed container, so the colors are fresh, and vibrant, and just like they were when they were new. Now, she paid, you said, $50 for the entire group. Right. For insurance purposes, the values would range from $2,000 to $3,000, maybe even $4,000 each. (laughs) (laughs) Oh, wow! If you were to sell them, it would be somewhat less than that. Mm-hmm, insurance... But, you know, you're looking at-- we just showed a few of these... Mm-hmm. The group has easily got to be $20,000 to $30,000. Really? For insurance purposes. Oh, my little aunt. (laughs) So your aunt did a good thing. Did you ever notice any... notice the maker's name on it? No. Okay, well, it actually is signed right here. It's François Linke, who was a French furniture maker, active from I think about 1882 to 1935. APPRAISER: This is Rookwood pottery, and it's dated 1881 and signed "MLN." "MLN" is for Maria, or "Mariah," Longworth Nichols. And she was the originator of the Rookwood Pottery. The thing about early Rookwood-- which this is early, this is the second year they were in business-- it tends to be a little on the derivative and uninteresting side. It's extremely organic. It's really weird, not terribly attractive, but rather important. This is Chinese Rose Medallion porcelain. It was made for export to the West, and made very close to the middle of the 19th century, 1840 to 1860. WOMAN: It belonged to a cousin of my father's. And she came from New Hampshire. And she died in 1955, at the age of 98. And I assume that it's a relative, probably maybe her grandmother? The piece is very distinctive, and it was done by a gentleman by the name of James Sanford Ellsworth. And he was a miniature portrait painter that basically operated in New England, primarily in Connecticut and western Massachusetts right at the time of about 1840, 1850. And this one is one of the best ones I've ever seen. I would put a value on this of somewhere in the $5,000 to $8,000 range. Oh, thank you. My dad bought these at an estate sale, probably in the late '60s, from an elderly couple that were friends of theirs. And they had purchased them in Italy. When I did a little research on them, I found they were made by a designer named Gio Ponti in the early '20s. He'd been trained as an architect, and this was his first real job. When he was asked about this period of his life, he felt he was a failed architect and that he was just a draftsman now. So these were his draftings. When doing these, he did work for the Richard Ginori ceramic manufacturer. And I will show you a mark on the back. This is made in Italy. And these have a wonderful, very modern, very industrial look to them. They're extremely exciting. Even something like this, which is in black and white, is so strong graphically. The way these are decorated, these are partly transfer-printed, but they're also painted by hand over that. Now, he did these designs for many different medium. He did plates, he did vases, and he did tiles. Now, we have had several tiles-- much smaller, eight-inch tiles-- go from $550 to $1,500 a tile. Large ones like this, which are so rare and so fabulous, easily $5,000 apiece. Oh, no, really? Easy. Wow. WOMAN: I brought a doll that belonged to my grandma. She lived in Le Mars, Iowa, and the doll came from an old woman who lived in the neighborhood. Her name was Mollie Door, so we always referred to it as Mollie's doll. Mollie was born in 1865, and it's from her childhood, we believe, and it's all the original clothes. Right, and where was she from? Mollie was from Galena, Illinois. Her mother was from Germany, and her father was from France. Very nice doll. It's a German china doll, completely all original ethnic clothing, original wig. Lovely, lovely face, nice shoes. It's from probably early 1850s, maybe as late as 1860. And not very many of these dolls show up. Most German chinas have molded hair, painted eyes, and normal child-type clothing. This is completely all original. It's very, very rare to find a German china with glass eyes. Some French chinas later on had glass eyes but not German chinas. Another rarity on this doll, this doll's eyes actually sleep. If you turn her around here, her eyes move. She's got a leather body, wooden arms and legs. And did you ever have her valued at all? Grandma had her appraised in the 1960s, and they wanted to offer her, like, $400 for it. Okay, $400 in the '60s was, you know, quite a lot of money. Dolls were bringing $100, $200, $300, so somebody was probably being very fair then. On today's market, she's gone up a little bit. I mean, the last one I saw like this, much smaller, sold for $4,000. Yours is probably in the $4,000, on maybe a really good day, maybe up to $6,000. Wow. Lovely little blanket-- now, what's with the blanket? It was just one of her doll blankets that I wrapped it in. Okay, so it's sort of, beautiful early American blanket, from again, the 1860 period. Oh, really? And the value of that is probably $200, $300. Oh, really? MAN: This watch was handed down from my great-grandfather. He was the owner of the "St. Paul Pioneer Press and Dispatch" back in 1914, when he received this watch. And it was handed down from him to my father, and then he gave it to me. It's manufactured by the Patek Philippe Company of Geneva, Switzerland. This is a photocopy of the original warranty depicting some of the complications of this watch. The front of the watch has the hour and minute hand and the second hand. It also has a split chronograph, so you can time two things. It also has a minute register for the chronograph. Off to the side is a slide for chiming the watch. It's called a minute repeater, where you lift up the slide and it'll chime the time to the minute. Okay. When we flip the watch over, you have the day, the date, and the month, along with the moon phase. It's also a perpetual calendar, which adjusts for leap year. I'll be damned. It's a very complicated watch. In excellent, excellent condition, with the original box. It also has two extra main springs and an extra crystal underneath. Okay. It has the original crystals and original 18-karat gold engine turn case. Have you had any appraisals? I had an appraisal done probably 15 years ago. They told me at that time it was probably worth about $6,000. They were a little low. (chuckling): Were they? Yes. Patek Phillipe is now purchasing those watches for their museum. This watch, at auction, I suspect would bring close to a quarter million dollars. (laughing): No. Yes. A quarter million? This is one incredible watch. I've never held a watch like this in my hand. What? You're kidding. That is one incredible watch. (laughing): It can't be. Yes. No way. It is an incredible watch. Oh, I can't believe it. (laughs) It's the finest watch I've ever held in my hand. Are you serious? I've never seen anything like it, other than photos. Oh, my gosh, how do I get it home? (laughs) Carefully. Do not drop it. That is unbelievable. Keep it in a safe deposit box. Well, that's where I have had it all this time. Good. But I... oh, my gosh. That is incredible. WALBERG: You're watching "Antiques Roadshow: WALBERG: And now, it's time for the Roadshow Feedback Booth. I thought this was a fake. And she said it was real, and she was right, and I'm really happy. Me, too. Hey, we are at Antiques Roadshow, and it rocks! We brought in this lamp. How much did we pay for it? Five bucks. Cool, and it's worth beaucoup dineros. This place is awesome. Whooo! This was a great experience for me as a young person, and in 60 years, I'm going to come back and find out how much this poster is still worth. (blows hoarse note) (laughs) Anyway... We had a great time. One of the things I brought in today was this hand-made turquoise necklace. I've learned that it was from 1910. Although it's not an undiscovered treasure, I had a great time. Maybe I should keep playing the Powerball, though. I had a wonderful time. I never miss this show. I tell all my neighbors and family, "Please don't call me while 'Antiques Roadshow' is on." If my house burned down, I probably would just take my TV outside and finish watching. We came to the show hoping that we would be able to pay off our college loans with our great-grandpa's walking stick. No. No. I just wanted to welcome the Antiques Roadshow... (in local accent): ...to "Minnesota." And I was wondering if you heard any "ooh, yeahs" or "you betchas." The Antiques Roadshow was a heck of a good time. You know, you betcha. WALBERG: I'm Mark Walberg. Thanks for watching. See you next time on "Antiques Roadshow." " . _:genid2d6133152c51ac43f9a2da4415fa926c042db0 "Discover which marvelous Minnesota treasure has skyrocketed in the market since its original 2004 appraisal, and is now ANTIQUES ROADSHOW's highest-valued treasure ever at $2,000,000-$3,000,000!" . _:genid2d6133152c51ac43f9a2da4415fa926c042db0 "S23 E16: Vintage St. Paul | Antiques Roadshow" . _:genid2d6133152c51ac43f9a2da4415fa926c042db0 . _:genid2d6133152c51ac43f9a2da4415fa926c042db0 "2019-06-17T23:15:00+00:00"^^ . _:genid2d6133152c51ac43f9a2da4415fa926c042db0 "PT0H52M32S" . _:genid2d6133152c51ac43f9a2da4415fa926c042db0 "1970-01-01T00:00:00+00:00"^^ . _:genid2d6133152c51ac43f9a2da4415fa926c042db0 . . "KOCE-TV" . "KOCE" . _:genid2d9391c53f3f0b490180a175d4e88ffcf32db2 .