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[Assistant] This cake looks nothing like what I have seen before in my life. Something Tinkerbell would have for her birthday. It's just so beautifully made.


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[Assistant] It is perfection. The icing is so precise. There's no two colours that are mixed together.


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[Assistant] I really need focus. I'm so out of my comfort zone here. The way I cook is basically ad lib. Tasting, oh yea, needs a bit of this.


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[Assistant] Whereas this is so precise. Timing is very important here. I want to stay in the competition really badly so I'm going to push myself to the limits and hopefully I will get there.


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[Assistant] Once the meringue has come up to nice stiff peaks, I can start adding the butter. Just gotta be soft butter. So I'm using both hands so it softens.


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[Assistant] The freeze dried raspberries need to go into the pink buttercream.


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[Assistant] I add the freeze dried raspberries into the whole amount of the pink mixture.


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[Assistant] I've put them through the whole of the pink mixture.


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[Assistant] I put all my freeze dried raspberries in the pink, uh, buttercream icing where I've only should have put it in half.


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[Assistant] It's going to change the cake in so many ways. I could kick myself.


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[Assistant] I look down and my heart just sinks.


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[Assistant] If I did that... I have forgotten to actually put the timer on. Ahhhh.


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[Assistant] I really don't know how long the cakes need to be in the oven. Get back. If they're not cooked, I'm in real trouble.


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[Assistant] I can't believe I did that. I have forgotten to actually put the timer on.


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[Assistant] I really don't know how long the cakes need to be in the oven. Stupid. If they're not cooked I'm in real trouble.


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[Assistant] Once the chocolate's all been blitzed and nice and smooth, I spread it thinly over the acetate sheets.


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[Assistant] So now to finish off the bark, I get the remaining freeze-dried raspberries and I sprinkle them on the top and I need to get this in the fridge.


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[Assistant] Cakes are in the oven. I don't know whether they're cooked or not, but I need to get them out because they need to cool.


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[Assistant] The K's are looking not too bad on the top. They've got a nice golden top to it. So I'm hoping that they look really good on the inside.


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[Assistant] I'm thinking, oh my god, what are you doing? But I think, no, I'm going to fight. I'm going to continue. It's definitely not going to look like Catherine's, but ultimately it comes down to the flavours. There you go, Gina, nice and easy.


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[Assistant] So the cake is all iced to my Italian version of a cake. And now I've got to get the shards put on.


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[Assistant] I am very proud of my tempered white chocolate. This cake doesn't look like Catherine's, but I know my elements will work together, and that's really what counts.


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[Assistant] I'm happy with the flavours, but it's in the hands of the judges now.


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[Assistant] As I'm walking down with my cake to the judges, I know it doesn't look perfect, but I'm hoping that I've nailed the flavours.


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[Assistant] I know my cake doesn't look perfect, but I'm hoping that I've nailed the flavours.


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[Assistant] You're gonna like that buttercream and all the little crunchy little bits in the middle of it.


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[Assistant] Oh, I've had the time of my life. I've loved every minute of it. I just feel blessed to have been part of it. Learning so much from you, I will treasure that forever.


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[Assistant] This experience has been wonderful for me because I've learnt so much. It's really reinforced my style of cooking.


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[Assistant] I'm going to follow my dream and take my cooking further and further and further. And I'm looking forward to it. This is not the last of me.


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[Assistant] Process everything you're looking at. Today's all about detail.


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[Assistant] We obviously know white chocolate is probably the most difficult to temper, so you need to be focused, yea, to achieve this. Right, you ready to have a look inside?


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[Assistant] Sarah, you know what? Fingers crossed.


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[Assistant] Very, very interesting. Yeah, because it's cut amongst the pigeon stuff, isn't it? It is, and, and you know, it's gonna come down to this last cake, isn't it? Yeah, absolutely.


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[Assistant] Gina, your sponge was undercooked. We're sorry, that's why you're going home.


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[Assistant] How many places can you go to for a great bowl of pasta like that?


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[Assistant] I was little. My blood's been nothing but a curse.


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[Assistant] I was never gonna be normal. That much was clear.


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[Assistant] Even if I can't lead a normal life, there is one thing I can do. Return their kindness.


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[Assistant] Excuse me, am I intolerant too? I'm Cetra.


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[Assistant] Well, well, maybe you oughta add photographer to your resume.


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[Assistant] Gina's time has not even been set from the start and she's just gonna have to go from look and feel. It's a massive risk, I mean it could be undercooked in the middle, it could be overcooked on the outside.


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[Assistant] Who exactly is this, Saruf? The invisible man?


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[Assistant] Not officially, but I've got a good cat catching record. Been doing it since I was a kid.


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[Assistant] How come you named your cat Fluffy? It's not like her fur was long or super soft or anything.


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[Assistant] You need to be careful. Don't ask me why, but-


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[Assistant] Somebody will win this all-important superpower and the other one.


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[Assistant] We'll join the rest of the contestants in tomorrow's elimination.


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[Assistant] So which will it be? We can't wait to find out. Best of luck.


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[Assistant] Tell you what, stitching time saves nine. Good shopping? Yes. Yep, your two and a half hours starts now. Let's go. Let's move it. Menus first, yeah?


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[Assistant] Yep, just in case, because when you're cooking for 30, time runs out really quickly.


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[Assistant] You've had half an hour already, two hours to go, yea? To pay sub. If it was me, I'd just, you know, try and go a little bit faster, alright?


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[Assistant] And it's not too salty. Once you brush it off.


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[Assistant] Right, listen up you two, you have one hour to go from now. And you know what it is, it's not really an hour, is it? By the time you sort your plates out, get everything organized, it's 45 minutes. So, let's go!


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[Assistant] I say chef! Ah ha ha ha. Funny, funny. It's funny though, I've never worked in the kitchen with just two people and it's quite weird. Well let's kick off here, look at the amount of salt on the pork.


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[Assistant] So Chloe's doing roasted pork, she wants to crack it in, so she's cooked it for at least the first half of the cooking time we'd sold on.


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[Assistant] Now you've got to multiply out to 30 covers, and he hasn't even started on his fish. So his fish is, turmeric snapper, pin bone, scaled, portioned, marinated. So out of the go, and a lot to do.


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[Assistant] Put a face to what you're doing. These people are gonna be eating your food, yeaah. That's the motivator, yeaah. 45 minutes to go. Let's get a hustle on. Oh god, I'm starting to panic here.


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[Assistant] Listen up you two, yeaah, you have 45 minutes to go. Yeaah, and remember you need to set up the service. Oh god, I'm starting to panic here. Let's go, you got a lot of work to do.


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[Assistant] So anything you don't need to get rid of it, get it off your bench. Grab plates if you're running past it to save you a job.


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[Assistant] It's gonna take you another 15 minutes to do this fish.


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[Assistant] Looks good. That's a light. Turn the ball. Turn the ball. Yeah, turn the ball. That's it.


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[Assistant] And even if you do little ones around the outside, you know what I mean?


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[Assistant] Your pork's looking good. So hopefully it won't be salty. How long for your, uh, stock?


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[Assistant] Good, good, good, good, good. Write this up, you two, 20 minutes to go.


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[Assistant] Containers you're gonna put things into. Yeah? And I want everything spotless for service. If it's not, uh, we're gonna have problems, yeah? Cuttin' it fine. Let's go. Yep. Sashi? Yes! Yeah, Chloe?


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[Assistant] Oh god. Sashi? How's that fish cooked?


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[Assistant] Just when you think you can't go any faster, guess what? You can get faster.


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[Assistant] Start pushing the dishes forward. Finally, food! Wooo! You happy?


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[Assistant] Yeah, feeling defeated. Don't have time, you gotta go.


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[Assistant] You can plate up 30 desserts. Yeaah. Because you've got nothing melty, nothing. So you can go like a panquette.


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[Assistant] I may not live much longer.


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[Assistant] Get me a doctor, please! Rat stood outside the door.


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[Assistant] Look, Toad, said Rat, it can't be that bad.


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[Assistant] Rat wasn't sure what to do.


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[Assistant] But what if he's really sick? Rat asked himself.


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[Assistant] Just to be safe. I'll be right back, Toad. Said Rat. Hang on.


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[Assistant] He opened a drawer to get some money.


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[Assistant] Just a little cash, said Toad to himself. He stuffed his pockets with bills. Let me see, said Toad. Ah, the way out!


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[Assistant] Toad knotted his sheets to make a rope. He lowered himself out the window.


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[Assistant] Toad sang a tune as he walked away.


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[Assistant] That's massive, I think like all of us here have given up so much, our jobs, our family. It just gives us the confidence that we're going in the right direction.


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[Assistant] I'm gonna try and hero the callets today. I think they're quite interesting. I'm trying to do like a play on my kale and grain salad. I have some fascia today.


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[Assistant] My position in this comp is quite unique, I mean I've been eliminated.


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[Assistant] So today I really want to prove to them that that choice they made to bring me back in was the right one.


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[Assistant] It's all about the flavour for the bouillabaisse sauce and I need to get it on as soon as I can so the flavours develop whilst it's cooking. I want to show the judges that I can make a dish that's fit for a king and that if I make perfectly will knock their socks off.


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[Assistant] The very best sauce is crucial to making sure this dish is perfect. Has to have hints of like seafood. It's got to be tomatoey and it's got to be kind of levelled out with the spice. Kind of feel like I need to prove to the judges why I'm here. And I'm in top 10 now, so.


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[Assistant] If I get through to that immunity challenge, I'm kind of proving that to them. Push him, push him, push him. Come on.


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[Assistant] The look of the sauce is awesome, like it's bright orange, it really stands out.


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[Assistant] Remember, some mushrooms are safe to eat, but others are not. Always have an adult check before you eat one.


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[Assistant] Oh, why of course, Feather Plum. Just relax your wings, take a deep breath, and let the bucket do the work.


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[Assistant] My feathers, this is the smallest mushroom I have ever seen!


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[Assistant] That's right. I'll always wear it to remind me of this special time with my grand Owlette, Eva.


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[Assistant] But, by week's end, the monster elimination.


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[Assistant] A monthly column in Australia's leading premium food and lifestyle magazine, Delicious. $250,000 to kickstart their food dream and the title of Australia's next MasterChef.


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[Assistant] My sauce is looking delicious. I've put my crushed up bug shells into my wok with more of the paste and I can really smell flavours from the ocean. I can smell all the aromatics, the lemongrass, the chilli and the korana all singing.


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[Assistant] I definitely think I've done enough to make my little sister proud. Uhm, the dish that I made today is based on a dish that Mum makes for us all the time. And if Amy tasted it, she would know exactly that.


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[Assistant] The dish that I'm thinking about is going to be a play on autumn flavour, so I'll be having the pine mushrooms, some chestnuts, some beetroots and duck.


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[Assistant] Working as a DJ, my life is a lot of late night parties. So, I try to keep my life really balanced.


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[Assistant] I like to go hiking and so that kind of led me into foraging, looking for mushrooms, looking for herbs, looking for native ingredients. It's not a sight of me that people get to see very often.


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[Assistant] I wait until two or three days after the rain and I go looking for these pine mushrooms.


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[Assistant] That's chestnuts, yeah. Beetroots. Got some beetroots roasting in the oven.


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[Assistant] I love your energy about the pine mushrooms. The texture of them, they're just amazing.


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[Assistant] This cook feels different to me than any of my other cooks because I have a real connection with this and it's literally everything that is me here in front of them so I really want them to like it.


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[Assistant] But one of us has just made a dish that's gonna make it onto Shannon Bennett's menu and I just so hope it's me.


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[Assistant] One of you, at the end of this incredible challenge, will create a dish that will go on the Viewtomon menu tomorrow night.


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[Assistant] First time I've ever allowed anyone to do this, so get your creative caps on, get your passion geared up, ready to go.


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[Assistant] And your job is the curator of that ingredient. So you've gotta tell the story and put it on the plate. You guys up for it?


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[Assistant] Any last words of advice? Yeah, there is, Gaz. The most important thing to remember with your plate that you're designing.


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[Assistant] It's going to be incorporated into at least a 12 course degustation menu. So remember portion size is really important. Your 75 minutes starts now.


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[Assistant] Uhm, what's your favourite? Oh, I'll tell you what, that line-core kingfish is amazing. Looks beautiful fish. Yeah, doesn't it? I like the idea there, you've got plenty of butter.


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[Assistant] It's gonna tell a story about Australian produce, ideally even Victorian produce.


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[Assistant] Guys, five minutes already. You've already had five minutes. Only 70 minutes to go. Come on.


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[Assistant] Well, remember it's gotta have some beautiful story, all the ingredients has gotta relate and link to one another, yea? Very, very important.


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[Assistant] Right, okay. Uhm, my first thoughts are, is the deal


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[Assistant] Everything there was delicious and the actual dish harmonised so well.


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[Assistant] I love the smokiness that the fish gives with the salmon pearls. And everything else a bit dry.


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[Assistant] To there. You hit the brief in terms of the presentation and you should be extremely proud of that dish. Well done.


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[Assistant] I like the idea of actually serving it in the shell. It tells a story.


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[Assistant] Well it's very sophisticated, a dish by itself right now.


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[Assistant] Is easily on a restaurant menu, without a doubt. So, congratulations to you. You've come so far, very proud of you.


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[Assistant] The person whose dish is going to be on the view to my menu tomorrow night is... Kana.


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[Assistant] Congratulations, Karen. That dish is going to sit perfectly on the Vudumor menu.


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[Assistant] Rhys, honestly, that was a top class dish. And it really shows that you are a contender to win this competition. So, well done to you. Well done.


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[Assistant] English poetry, which effectively where English literature began, has boomed in the 20th century.


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[Assistant] It's one of the many glories of the nation's literature.


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[Assistant] But that 20th century boom has unusual features.


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[Assistant] The greatest poet of the century, whom we'll be looking at in some detail, T.S. Eliot, was obliged to support himself as a bank clerk while writing his masterwork, The Waste Land. And in later life, his day job was as a publisher.


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[Assistant] The second greatest poet of the century, and my estimation, Philip Larkin, was a university librarian who wrote his verse in the evenings or at weekends.


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[Assistant] There is no poet who, like a novelist such as Graham Greene, could inscribe occupation poet in his or her passport and mean it or have it taken seriously.


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[Assistant] Poetry then is great, but it's one of the great sidelines of 20th century English literature.


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[Assistant] Vast amounts of poetry have been produced in the 20th century, much of it good, pathetically little of it saleable.


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[Assistant] No one but a blockhead, said Dr. Johnson, would write for anything else except money. Well, there are a lot of blockheads writing poetry in the 20th century in that case.


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[Assistant] At times, one might have felt with some justice that there were more of the English population writing poems than reading them. Certainly more than there were buying them.


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[Assistant] The big money in poetry, of course, was diverted to the lyrics of popular music. And if our interests here were culture rather than literature, I could make a case for John Lennon or David Bowie as one of the great poet troubadours of our time.


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[Assistant] I'll restrict myself and this lecture to what...


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[Assistant] The slim volume, uh, which is the classic vehicle for poetry in the 20th century.


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[Assistant] Now to map out the kind of seething mass of literary activity which, you know, we can label 20th century poetry, we should identify two broad streams, differentiated streams, which course through the period from the beginning to the end, from the beginning of the 20th century to the end of the 20th century. One of those streams we can label traditional. The other stream we can label modernism or modernist.


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[Assistant] Two pioneer or patriarchal figures stand out at the source or headwaters of these two streams. Thomas Hardy, traditional, and the aforementioned T.S. Eliot, modernist. I'll begin by


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[Assistant] Pursuing the, the, the hardy traditional stream.


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[Assistant] As we saw in the earlier lecture on the Victorian Hardy, remember how long his career was, his novel writing ended in the mid 1890s with indignant bishops burning his outrageous books. Hardy, however, would live on, enriched by that outrageous fiction, until 1928,


[User] Please transcribe this text

[Assistant] Devoting himself almost exclusively to poetry as the grand old man of English literature, much revered figure. Just to recall what happened at his death, I was talking about this earlier, it tells us much about the position he'd come to occupy in the literary life of his country. He'd always intimated that he intended to be buried.


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[Assistant] Where he'd been born, in that area of England, immortalized in his fiction, which he called Wessex. He would end where he began.


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[Assistant] But the great British public and its custodians had other ideas. Hardy was a great English writer, not a regional scribbler. He must be buried where he belonged alongside Chaucer, Milton, Wordsworth and Tennyson in the poet's corner of Westminster Abbey.


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[Assistant] As you recall, the surgeon scalpel solved the problem. Hardy's heart was buried in Wessex, the remainder of his cadaver.


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[Assistant] Including that wonderful brain was cremated and interred in the abbey. Now, the important thing is that it seems to me that that part of Hardy, which was buried in Westminster Abbey, is the English poet.


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[Assistant] Hardy's poetry can be summed up by the motto of Alcoholics Anonymous. Keep it simple.


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[Assistant] His technique goes all the way back to the lyrical ballads of Coleridge and Wordsworth. Recall, if you would, the sublime simplicity and limpidity of the Lucy poems. No motion has she now, she neither hears nor sees, rolled round in earth's diurnal course with rocks and stones and trees.


[User] Please transcribe this text

[Assistant] Hardy, although the modernists had opted for their libre free verse, retained the old disciplines of rhyme and meter, although he experimented with them. He was a great sort of, he was a great sort of, uh, at some extent so innovator, but nonetheless within fairly rigid confines, metrically and prosodically.


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[Assistant] He was unsurprisingly, like Wordsworth, influenced by the folk song, the ballads, and even in Hardy's case, the music hall songs he heard as he was growing up. And latched onto this was the self-educated man's reverence for big sounding words. Who were Hardy's favourite poets?


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[Assistant] Hard to guess, but Sir Walter Scott and Homer.


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[Assistant] Disastrously, Hardy attempted a Homeric epic, the Dynast, around the hero figure of Napoleon, standing defiant against fate, incarnated as the imminent will.


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[Assistant] Prominent on Hardy's bookshelf was Darwin's Origin of Species, which he read as a grand and tragic contradiction of religion. He had very big ideas, that's the point I'm making, but he put them in tiny little beautiful containers. These are his poems.


[User] Please transcribe this text

[Assistant] Hardy pictures himself poignantly in one of his poems, which you'll recall the impercipient, as standing outside a church, entranced by the beauty of the structure and by the music within, and to some extent by the faith of those who could believe, but excluded from it.


[User] Please transcribe this text

[Assistant] Now, lyrical simplicity and a kind of stoical pessimism, these are the active ingredients in Hardy's verse, boiled down to that, as I say, that, that kind of irreducible, keep it simple.


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[Assistant] Now with this in mind, let's look at one of his most characteristic poems, The Convergence of the Twain.


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[Assistant] If one saw that title, The Convergence of the Twain, wandering wild in Arabia, one would shout, Thomas Hardy, so, so quaintly characteristic is it, the big word, convergence, and the kind of rather dialect word, twain.


[User] Please transcribe this text

[Assistant] On the 15th of April, 1912, this is the background to the poem, the unsinkable Titanic, the pride of Britain's merchant marine, struck an iceberg and sank with huge loss of life.


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[Assistant] The vessel, a luxury liner, was intending to win the blue ribbon for the fastest crossing of the Atlantic. Alas, it would never manage that feat.


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[Assistant] The ship was named, hubristically, after the giant gods commemorated, if you recall in Keats's poem, Hyperion.


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[Assistant] There were a doomed race of gods. Hardy saw this event, the sinking of the Titanic, as tragic, but emblematic of human pride and its inevitable fall. It demonstrated to Hardy the truth of his vision of life, the Darwinistic truth, the sense that the imminent will was hostile to man.


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[Assistant] And yet at the same time, one should, as it were, one should confront that fact bravely.


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[Assistant] And know about it, which is what the poem is doing. The poem was composed in the immediate shocked aftermath of the news reports, uhm, but it was published three years later in 1915, when England was overwhelmed with even worse calamities than the sinking of a luxury liner.


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[Assistant] The poem lingers on the image of the fatal iceberg growing to its full size as, elsewhere in the British shipyard, the great liner is being built. These two things growing simultaneously. Pride and its fall are simultaneously conceived.


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[Assistant] By fate, the imminent will, the great sort of puller of the strings which will...


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[Assistant] And as the smart ship grew in stature, grace and hue, in shadowy, silent distance, grew the iceberg too. Alien they seemed to be, no mortal eye could see the intimate welding of their later history.


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[Assistant] That word welding, which recalls the ways in which the rivets and the metals are being made on the ship, at the same time the welding of the iceberg, a wonderful, wonderful choice of words.


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[Assistant] But now, as Hardy continues the poem, the ship lies at the bottom of the seabed, a luxurious...


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[Assistant] Graveyard and a symbol of what Johnson earlier called the vanity of human wishes.


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[Assistant] In a solitude of the sea, deep from human vanity, and the pride of life that planned her stilly couch is she. She of course is the wreck.


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[Assistant] Over the mirrors meant to glass the opulent, the sea worm crawls grotesque, slimed, dumb, indifferent.


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[Assistant] Now Hardy, you'll note, is using triplets, terza rima, short, three line standards, a variable length with the same rhyme word. It's a fiendishly difficult verse form in English, unlike French, uh, where it originates, because English has so few rhyme words. But Hardy is virtuosic. He's a very, he's a master of this. Now,


[User] Please transcribe this text

[Assistant] Poetry, to generalise, is written out of poetry. Uhm, there's always originality, but there's always a large component of, as it were, unoriginality, of borrowed feathers.


[User] Please transcribe this text

[Assistant] You can see poetry as a gigantic historical network through which, as I've said, one can track various lines. I've mentioned two large lines, the traditional and the modernist in 20th century poetry. Now where did the Hardy line go? In the first instance, Hardy's example created a norm.


[User] Please transcribe this text

[Assistant] Namely that the principal verse form in English poetry was the short lyric complete on a single printed page and often ironic in tone.


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[Assistant] Now that influence can be traced in the poetry of one of the other giants of 20th century English poetry, W. H. Auden.


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[Assistant] A couple of generations later born than Hardy, Ordon born in 1907.


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[Assistant] He became an American citizen and an American poet in his late thirties, but the English Ordon is a confessed disciple of Hardy with an admixture of his own original styles, which are derived apart from Freud.


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[Assistant] And also part occasionally from the alternative modernist tradition, uhm, he's eclectic in some ways, but in fact the strongest influence is Hardy, welded, to use that word again, with Ordon's own amazing originality.


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[Assistant] Thanks to the internationally popular British film, Four Weddings and a Funeral, Auden has most recently been renowned for his elegy, Funeral Blues.


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[Assistant] I'll read the first stanza, but note if you would the form or architecture of the verse and recall Hardy's


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[Assistant] Obsession with, with that kind of, as it were, formation, that kind of architecture.


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[Assistant] Stop all the clocks, cut off the telephone, prevent the dog from barking with a juicy bone, silence the pianos, and with muffled drum, bring out the coffin, let the mourners come.


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[Assistant] I deliberately hit the rhyme words hard. And one feels as one reads it and hears it, the insistent rhyme and symmetry, controlling the verse, controlling the energy, the novelty of, of, of Ordner's vision.


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[Assistant] And despite the surreal juxtapositions of phones, juicy bones, drums and coffins, it's the transparent simplicity which draws one in. One both understands the poem effortlessly and remembers it effortlessly, as if it were being engraved on our sensibility at one hearing.


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[Assistant] And that of course is why Funeral Blues worked so well in the film.


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[Assistant] I'm not sure myself whether Hardee's The Convergence of the Twain would have likewise worked so well in the DiCaprio Winslet starring movie Titanic, but that's another question, and perhaps rather fanciful.


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[Assistant] Ordon, we may say, kept it simple. One can also see in his verse the somber hues of Hardian pessimism. In an earlier poem, for example, like their lonely betters, one of my favorite Ordon poems.


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[Assistant] The poem pictures the poet sitting in a chair, a beach chair, in an English garden.


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[Assistant] It is summer, a Robin is singing, but not in language, in pure sound.


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[Assistant] The poet is sitting, as he says, in a chair in the shade, and...


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[Assistant] It seemed to me only proper that words should be withheld from vegetables and birds. Again, that rhyming.


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[Assistant] The poet reflects, is the language-less bird happier in not having words? Does language bring us together or mysteriously isolate us?


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[Assistant] Language enables us to articulate, define, and differentiate ourselves from other people, and in so doing it makes us lonely. Language is a privilege, which human beings alone have, but it's also a curse.


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[Assistant] Now this is a very ordinesque meditation and deeply pessimistic.


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[Assistant] Ordon we know was strongly influenced by Freud's essay on civilization and its discontents in which the great psychoanalyst argues that the more civilized, and we may add the more linguistic we've become, the unhappier we necessarily become in that we are forever further removed


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[Assistant] By our advanced linguistic skills, our brains from our instinctive animal cells.


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[Assistant] Ordon's lyric ends on this pessimistic note. The birds, with only birdsong, not language, are not just happier but more blessed by God.


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[Assistant] Let them, the birds, leave language to their lonely bettors who count some days and long for certain letters. We too make noises when we laugh or weep.


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[Assistant] So sometimes we too are like the birds when we are, as we say, wordless, when in fact we're beyond speaking.


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[Assistant] It's a lovely poem, and as I say, what I want to emphasize is there are sort of lines here that you can see, as it were, you can see consanguinity.


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[Assistant] I want to finish this examination of the Hardy line in 20th century English poetry with the greatest of his 20th century disciples, Philip Larkin.


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[Assistant] Larkin started literary life as one of the university wits of the 1940s, as they were called, along with Kingsley Amis. Uhm, and much of Larkin's own experience feeds into the hero Jim Dixon of Amis' comic campus novel Lucky Jim. They were very close, they were a coterie.


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[Assistant] Now the university which stanced towards life was ironic, amused, and superior. And from that emerged a movement called, but not only enough, The Movement in the late 1950s, with Larkin as its laureate.


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[Assistant] The movement, irritated by the obscure and cosmopolitan excesses of modernism, Eliot, Pound, etc., urged a return to simplicity and Englishness, Thomas Hardy, if one wanted to put a name to it. And the connection is clear enough in the title poem from Larkin's hallmark,


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[Assistant] Uhm, Hallmark piece in his third published, very slim volume, The Whitsun Weddings. It came out in the early 1960s.


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[Assistant] Larkin's earlier two slim volumes have been published, as have become conventional in the 20th century, by a small publisher, or two small publishers in fact, hoping at best to connect with a small, equivalently small public of Cognos Genti, people that like poetry. Now,


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[Assistant] With the Witches and Weddings, uh, Larkin had, however, sort of made a great step forward, even taken on by the most prestigious publisher of poetry in the English-speaking and versifying world, Faber and Faber.


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[Assistant] Once you add another, another name, Faber Faber and T.S. Eliot. He was the firm's director at that time and he recruited Larkin, uh, for the, for the firm's select, very select list.


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[Assistant] Elliot, one may say, was not entirely, in fact, one can go further than that and say he had very little sympathy for what the movement was doing as a poet, but as a publisher, and as an Englishman, which he was at this point, and a very important Englishman.


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[Assistant] Elliot believed that, you know, that they deserved the glory of the Faber imprint.


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[Assistant] Now, Wisdom Weddings, this, this, this poem I'm talking about, finds Larkin in his typical stance or standpoint.


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[Assistant] He observes life, he does not participate in life. No great writer of the century has been less inclined to immerse himself in, in what Conrad calls the destructive element. Living, in other words. So, he's always on one side of his own life. This is one of the images in his poetry, in fact.


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[Assistant] A man of great intellect and astonishing literary ability, Larkin chose to follow the career of university librarian at a series of very unfashionable provincial institutions, finally at Hull.


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[Assistant] And he subjugated himself to what he called the toad work. At one point in his life he said, I haven't given up poetry, poetry's given up me. Which is a paradox, but nonetheless one feels that there was a certain kind of inertia or passivity, but out of that he made his poetry.


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[Assistant] Other writers in the movement, uh, Ted Hughes, Tom Gunn, chose higher roads. In fact, they lived. They did throw themselves in the destructive element. And how? Larkin chose a low road, a quiet road.


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[Assistant] Now in The Witch and Weddings, Larkin is taking a train from Hull to London.


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[Assistant] It's, it's, it's, it's pre-D to do, to do that kind of train. Many of his poems, significantly, record his looking out of train windows as the engine, like life, carries him as so much passive cargo towards his final destination. He was very, like Hardy, he was very death-conscious.


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[Assistant] Life is first boredom, then fear, he once wrote. Whether or not we use it, it goes.


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[Assistant] That last, simple, final word, GOES, which is normally so inadequate in our conversation, our everyday conversation works wonderfully in this poem, Dockery and Son.


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[Assistant] On various stations, to go back to the Witsom Weddings, they pass by on their journey south, and


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[Assistant] These stations, which they stop at, and the poet notices numerous wedding parties on platforms, and excited working-class brides and grooms, still confetti-spattered, joining the train, throwing themselves on the train, off on their honeymoon. And it takes him, the poet, a moment or two to work out why, then he realizes.


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[Assistant] At this historical period, in the late 1950s and early 60s, there was a tax break if you got married before the end of the financial year.


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[Assistant] It wasn't the Christian festival which was inspiring this rush to the altar. It was, to some extent, just a simple little financial motive.


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[Assistant] Larkin himself never married. That's one of the, as it were, subtext of this poem. He wrote eloquent poems on the subject of not marrying, stating that for him it would have meant dilution, not increase. He would have had to give too much of himself away if he married. Read Larkin-esque calculation.


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[Assistant] He wonders, Larkin wonders, admires and tenderly exalts this spectacle.


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[Assistant] The poem thunders into its London terminus past blackened walls. This, remember, is the steam era, not diesel or electric, uh, uhm, traction. And, and the poem ends with a, with a magnificent jubilatio. A magnificent sort of, uh, as it were, uh, uplift.


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[Assistant] There we were aim, and as we raced across bright knots of rail, past standing pullmans, walls of blackened moss came close, and it was nearly done, this frail travelling coincidence. Lovely three words. And what it held stood ready to be loosed with all the power that being changed can give.


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[Assistant] We slowed again, and as the tightened brakes took hold, there swelled a sense of falling, like an arrow shower sent out of sight, somewhere becoming rain.


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[Assistant] That final image of the, of the Arusha has inspired a huge amount of critical speculation.


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[Assistant] It seems to me that, that, that one could argue that Larkin is going beyond Hardy. I think Hardy would have finished this poem with a slightly more comprehensible sort of, uh, set of images. Nonetheless,


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[Assistant] As, as, as Larkin sees it, one, one, one, one feels one is entering, as it were, a kind of, one understands the, the reasons for marrying and the reasons for not marrying, and where poetry stands between these two, these two situations.


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[Assistant] And that last sublime image, as I say, the meaning of it's been much debated. One can, in my experience, have a whole three hour seminar on what the Arusha means. But one thing is clear.


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[Assistant] Standing away or standing aside from life, never marrying in Larkin's case, could give the poet a clearer insight, an insight which is poignant and infused with loss. But because of that,


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[Assistant] Because of that loss, that sense of exclusion, remember Hardy standing outside the church.


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[Assistant] It is nonetheless, if you like, one of the ways of writing greater poetry than you could make if you threw yourself in the Conradian destructive element. These are very debatable points, but nonetheless, what we have is a very great poem here.


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[Assistant] Said Keats must have what he called negative capability.


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[Assistant] And poets such as those we've been looking at, Hardy, Ordon, Larkin, make great poetry about the negativities of the human condition in the 20th century.


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[Assistant] And they do so with literary materials, which we can trace all the way back, if we care to, to those wonderful gloomy Anglo-Saxon elegies, such as the Seafarer, which were examined in the early set of lectures in this course.


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[Assistant] Now, there are, as I've said, two big poetry traditions which call for our attention in the 20th century. And the other tradition is modernism.


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[Assistant] And here, the dominant originating voice is that of T.S. Eliot, and to a lesser extent W.B. Yeats, whom we considered earlier.


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[Assistant] Born in the United States, Eliot thoroughly anglicized himself in early manhood. He became a royalist, a Tory, and in religion, an Anglo-Catholic. More English than the English, one could say.


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[Assistant] Eliot's epoch-making poem is The Wasteland, published in 1922, the same year we may note as Ulysses. Wonderful year.


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[Assistant] It's a difficult poem. If the motto of the school of Thomas Hardy was to keep it simple, the motto of the modernist was embrace complexity.


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[Assistant] Elliot was in a state of personal breakdown when he composed this poem. His first marriage was disastrous. The world of high European culture had been shattered by the First World War.


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[Assistant] There is however nothing personal in the poem, or if it is there, it is buried very, very deep.


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[Assistant] Eliot believed fervently that, as he put it, the man who suffers must be strenuously separated from the poet who creates.


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[Assistant] If the school of Hardy was rigorously English, that which Eliot would head was as rigorously international. The Wasteland has key references to Dante, to Wagner, to Hindu philosophy, to ancient Greek and Roman classics. To read it is to hear echoes of myriad cultures, ages and literatures. Organic culture, the poem tells us,


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[Assistant] Is no longer feasible. We inhabit not a green world, but a wasteland.


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[Assistant] But the culture is still there and we must do our best to assemble it for the present. It's not a museum or a ruin museum.


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[Assistant] It, it, it, it is still there and we have, this is our job to try and at work recompose it. Like, consider the, the opening lines, very famous. April is the cruelest month.


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[Assistant] Breeding lilacs out of the dead land, mixing memory and desire, stirring dull roots with spring rain.


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[Assistant] Think back, if you would, to those opening lines of Chaucer's Canterbury Tales, which we looked at. April there, with its sweet shards, was the kindest month of the year. Why? Because with spring and Easter, it signalled rebirth.


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[Assistant] The rebirth of the natural year and of Christianity itself.


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[Assistant] Eliot's poem gets suddenly more complex with a vignette of tourists sledding in the German mountains.


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[Assistant] Critics have tried, but no one's been able to explain what that means.


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[Assistant] In The Wasteland, it is not what the poem means, but what it is doing which matters. This is not merely free verse. The movements are wholly unpredictable, working more by a syntax or logical order that reminds one of cinematic montage rather than any kind of logical connections.


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[Assistant] And yet the poem has organizing themes, that of rebirth is the major theme.


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[Assistant] One of the myths of rebirth is, is that of life coming out of the ocean. We drown into life. That's the main theme in Shakespeare's play The Tempest.


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[Assistant] And Elliot deals with that theme in the fourth section of this long poem entitled Death by Water. It's centered on a figure called Phlebas the Phoenician. The Phoenicians were very famous traders. They were always traveling the oceans in the interest of making money.


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[Assistant] Clebers has evidently drowned. How, we don't know. His corpse has been bobbing on the waves for a fortnight and beneath the waves. He's forgotten, the poem ironically notes, the details of his prophet and lost columns, rolled round as he is like Wordsworth Lucy in the diurnal and nocturnal waves.


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[Assistant] His bones are being picked to pieces, the poem says, in whispers, which is a lovely image.


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[Assistant] And this section, which is very short, ends, Gentile or Jew, of you who turn the wheel and look.


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[Assistant] To Wynwood, consider Phlebas, who was once handsome and tall as you.


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[Assistant] Listen, this fourth section is just ten lines long. It was originally much longer before Eliot's mentor, Ezra Pound, cut it down to this tiny fragment.


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[Assistant] The Phoenicians that I said were traders. Modern capitalism and a critique of it is one of the themes in the poem. But will Thebes like Ferdinand and the Tempest drown into life? The poem gives no answer but poses the question exquisitely.


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[Assistant] Eliot's achievement of The Wasteland is breathtaking, but it didn't take deep root in English literature, which remains suspicious, and still does remain suspicious, of modernism.


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[Assistant] Now, the poet who currently carries the standard of British verse is Seamus Heaney. Like Yeats and Eliot, he's a Nobel Prize winner. Ordon should have won the Nobel Prize in his year, but it went to Pablo Neruda instead. That's a personal prejudice of mine.


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[Assistant] Born and brought up on the border of Ulster, it's British Ireland, the north, six counties, and Eire, which is Irish Ireland in the south, a Catholic and a Protestant country, Heaney's themes have been very much a development of those which we saw in Yeatser's Easter 1916.


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[Assistant] How that is, can a poet confront, engage with, participate in the great events of history? Should he stand back or should he intervene? Should he plunge in? And if he intervenes, what good can a mere wordsmith, a poet, do?


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[Assistant] Now, North was the, the title of a, an early best-selling collection of Heenies, Heenies verse. That's the one which actually springboarded him into international fame. And it set him on the road to his Nobel, Nobel Prize in 1995.


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[Assistant] But North in the context of post-1969 British life means Northern Ireland. That thorn in the thigh of England, as Gladstone called it.


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[Assistant] If, as Yeats said, romantic Ireland was dead and gone, never more were Irish affairs less romantic and more brutal than in the decades between the Derry marches of the late 60s and the recent Good Friday agreement. There's been horrific violence.


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[Assistant] Too much suffering, wrote Yeats, can make a stone of the heart. Now Hunt, Heaney ponders the violence, beautifully and honestly, and with that enlightening obliquity which great poets bring to the huge complexities of life as we live it.


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[Assistant] I've only got time and room to look at one poem, but it conveys, I think, what I'm struggling to say. How does one confront violence? And not have the heart turn to stone or mush, which is worse than stone.


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[Assistant] The poem I'm thinking of is called The Early Purges. Now, what is Heaney talking about?


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[Assistant] Talking about the troubles, as the euphemistically calls? Is he thinking about the civil wars and anti-colonial rebellions which have shaken Ireland for 400 years? Is that what purges means? It's a term with terrible Stalinist residents. We think a whole country's being destroyed by purges.


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[Assistant] But no, what he's talking about is the drowning of three superfluous kittens in a farm yard.


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[Assistant] For many young children, the drowning of kittens is a traumatic experience. Why, why does this have to happen? It's their first introduction to death.


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[Assistant] A poet, it emerges, was just six when he witnessed someone called Dan Taggart, who, apart from being a kitten killer, we never know much about, when Dan put a litter of three newborn kittens into a pail and drowned them. It was euthanasia.


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[Assistant] The poet describes the little animals of soft paws, scraping like mad, trying to live, hopelessly.


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[Assistant] And young Seamus is, is wretched for days thereafter.


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[Assistant] But as time and years pass, and as he sees Dan exterminate rats, rabbits and even young puffies, the now callous child just shrugs and mutters, bloody pups or rats. What's happened of course is that his heart has been turned to stone.


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[Assistant] Now, what Heaney says is, you know, this is what's happening in Ireland. And what he's talking about, of course, is what we saw, yea, he's talking about in Easter 1916. Too much suffering makes a stone, this is what happened, this is what's happened to Ireland.


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[Assistant] And Heaney's poem, starting as it did with Three Kittens, drowned in a pail in an Ulster farmyard, does miraculously reflect on all the killing, all the stone-hearted killing that has stained his country, Ireland, his divided country, which has stained it over the centuries, and most recently since the post-1969


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[Assistant] It's a, it's a wonderful poem and it seems to me that heart, that, that it goes right the way back to Hardy.


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[Assistant] What Heaney is doing, of course, is making poetry matter, and one's grateful to him for that, and one salutes him and is very glad he got his Nobel Prize.


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[Assistant] All right, cucumbers are done. Yeah, good.


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[Assistant] I'm doing a halal canopy with goat cheese mousse, native mint rub lamb, and desert lime and date chutney.


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[Assistant] Uh, I have not used native ingredients at all.


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[Assistant] I know the flavor combinations like, you know, instead of tamarind, I can use a dozen limes. It's gonna be like my kind of flavor with native ingredients.


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[Assistant] For the desert lime and date chutney, I'm cooking the desert lime, the dates, a bit of raisins, chilli powder, and some ground fennel seeds, with a bit of green chilli.


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[Assistant] A bit of sourness, sweetness from the dates and a bit of spiciness from the chilli is going to be blended together and piped on top of the lamb.


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[Assistant] My chutney is in. I can smell the aroma. I taste it. It's so much of flavours in there. I really love the chutney.


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[Assistant] So pretty much everything is done. The last thing left is to cook off the


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[Assistant] So once I finish the chocolate now,


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[Assistant] Then I'm putting them in the oven for about 4 to 5 minutes to cook to medium rare.


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[Assistant] You cook yourself dinner as well. Today that the winning team will be safe and the bottom two teams will go for elimination is so much of stress today.


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[Assistant] So I need to select the best cooked meat, medium rare, to go out in the canapes. Some of these are pink? Yes, I'm gonna get all the pink ones.


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[Assistant] 450 canapes is a lot. And we need to make sure every single canopy is good.


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[Assistant] I'm selecting the best medium rare lens to go out for the canopies.


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[Assistant] It's really hard trying to concentrate and keep my nerves down at the same time. Oh, it's going to be a very tough one.


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[Assistant] I feel a bit excited trying to crack the code of this review.


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[Assistant] I'm reading the clues are so far so good. I understand the elements that I have to make, but I have to model. I have to move fast.


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[Assistant] Salterns. Salterns. Is it alcohol?


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[Assistant] It looks like a lika. I smell it and taste it. It tastes more like dessert wine. It's nice.


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[Assistant] So looking at the clues in the review, I can see that the jubes and the fluid gel are made of the same flavors, mandarin, saturn and chamomile.


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[Assistant] The only difference in the recipe is that the jubes are set with gelatin.


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[Assistant] To make the gel and the jubes, I infuse chamomile and drain the leaves. Then I add mandarin puree and some Saturn. I split that in two.


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[Assistant] I'm going okay for time. I've got most of my elements done. My sorbet is churning, panna cotta is setting, fluid gel and gel, custard and curd.


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[Assistant] Now it's time to move on to the microwave sponge.


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[Assistant] The times running out, the pressures getting onto me, I feel really frazzled. My panna cotta didn't set. Put my other panna cottas into a blast chiller.


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[Assistant] I'm hoping that's set in time. How many more do you have? Would you have another one? Yea. I'm leaving them for the last.


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[Assistant] And I hope that the flavors are there and it will be enough to keep me safe.


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[Assistant] And drive and determination to move forward and to achieve my dreams.


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[Assistant] It's like everything here is basically all piled on top of each other. You can see all the lines in every single rock.


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[Assistant] I can see like these beautiful rocks with lots of textures like sticks and rocks just combining all together and all I can think about is like the layers of how food has like pork belly, it's got beautiful layers in it and that's all I can think about this whole entire time here.


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[Assistant] So I'm gonna be making a crackling pork belly. Just the layerings of the pork belly reminds me of the layering of these rocks here.


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[Assistant] Today I'm gonna be cooking a pork belly, but I'm still working on my apple and munchy puree. It's looking great. It's finally getting cooked down nicely, so it's ready to be pissed off.


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[Assistant] Color turn really brown, like chocolate brown. Oh, what?


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[Assistant] I don't think I have time to make another puree. I gotta get onto my pork belly.


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[Assistant] Looking at my picture, a lot of the elements on here are quite dark, so I've decided that I'm going to use a puree just to replicate like the rocks in my picture.


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[Assistant] Today I have to hit the brief, make sure that there's a story behind why I chose the pictures that I did. I don't want to be leaving today.


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[Assistant] Pork is finally done. I am really happy with it. It's nice and crispy on the top. I'm gonna cut them into cubes.


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[Assistant] Very happy with that. I'm looking at the pork and I'm really happy that crackle on the top is nice and crispy. And hopefully it's rendered down that.


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[Assistant] I definitely think that my picture represents what I've cooked today, so hopefully this pork is cooked beautifully and nice and rendered down.


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[Assistant] So it's crispy pork belly with a muntries and apple puree and some fresh apple and radish pickle.


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[Assistant] Taking a risk today, an elimination, that I've chosen the wrong decision, and this could be sending me home today.


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[Assistant] I'm very, very nervous today. Samira and Sashi, they're both so good with flavors, but this is survival week and I've been in the most eliminations, so I am a survivor.


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[Assistant] There's limited ingredients there. Yes, they're dairy and you can do a few dishes, but the dish is going to be too simple and not flavorful enough.


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[Assistant] I see Samira and Sashi go for it. I have some dishes that I could do, but I just, I need freshness. I have to wait it out.


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[Assistant] I'm just waiting for this third pantry to be revealed. I have this thinking feeling that I should be cooking like Sashi and Samira. But I remember this challenge clearly from last year.


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[Assistant] I don't think I could wait that long, but I need to have ingredients that I'm familiar with.


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[Assistant] I can just see these array of vegetables and just freshness and colours. I'm so happy.


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[Assistant] I think I'm gonna go with a beetroot salad with a horseradish creme fraiche.


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[Assistant] I've been in so many eliminations. I would like to avoid it this week. And that super power is in reach.


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[Assistant] I love beetroot, it's such a versatile vegetable, so I want to show it off by using every bit of the plant.


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[Assistant] What if I miss is pushing it for time to roast my baby beets, so rather than roast them whole, I'm gonna slice them on a mandolin into rounds so they cook quicker.


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[Assistant] I'm trying not to think about Sashi and Samira. Getting extra 15 minutes. So I've got extra ingredients, so I think I've benefited well.


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[Assistant] I'm really passionate about getting kids to eat more veggies.


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[Assistant] My ultimate goal is to open up a cooking school. I would love to get families cooking healthy food. This is what I love. Good job, Clay. Keep moving.


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[Assistant] I'm really happy with the choice I made. I prefer vegetables over meat any day. I'm making a beetroot salad with a whole sriracha creme fraiche and a beetroot reduction.


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[Assistant] I've got a ginger oil. I've got some ginger in the reduction of beets. I'm pickling the stems. I've got my beets in the oven.


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[Assistant] To make the horseradish creme fraiche, I place the creme fraiche into a bowl, micropane the horseradish and then mix it through with some salt. More horseradish.


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[Assistant] I'm really pressed for time. I'm feeling the stress, the nerves, the fact that we need to keep amping it up, but I'm just determined to get this t-shirt.


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[Assistant] It doesn't pair well with the ginger oil. And I don't think it's going to be the central element of my beetroot salad that mats after.


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[Assistant] I'm freaking out. Come on Chloe, don't give up. That's Shizmo.


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[Assistant] Then it hits me, I can make a really quick goat's cheese mousse.


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[Assistant] I'm happy that I got a dish on the plate. It's very me, it's very fresh. I like to use every part of the vegetable that I can. But whether I've done enough against the other two, standards are so high right now.


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[Assistant] I'm happy that I waited for that third pantry but I think I should have used my 45 minutes more wisely and heroed the roast beetroot. I'm just worried this dish is too deconstructed. Where's the dish?


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[Assistant] A beetroot and goat's cheese salad. So I've got roasted beetroots, chard leaves and a beetroot reduction.


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[Assistant] Definitely feel like this was a missed opportunity. There were so many beautiful ingredients and I could have hero'd that beetroot a lot better.


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[Assistant] Maybe it's a music box. Or a tiny house for a mouse.


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[Assistant] This is how you look through the lens. Here's the button you press to take a picture.


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[Assistant] Wow, thanks mom. Now, where can we find a flower for your photo?


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[Assistant] Looks like it's closed right now. What does it look like when it opens, Ms. Featherbottom? Is it as big as this one?


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[Assistant] Hmm, I wonder if there's anything we could do while we wait. Take more photos?


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[Assistant] Great idea! I'll look for more things for you to photograph. Tyree?


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[Assistant] I really wanted a flabtastic photo of the moonflower for Dad's frame. Can we just go home? Sure, sweetie.


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[Assistant] Mom, remember when you won the race? How could I forget?


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[Assistant] We had a super fun photo adventure, huh? Super duper uber fun! And we got lots of pictures!


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[Assistant] Turns out, it doesn't matter that I didn't take the flower photo.


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[Assistant] Wow Baxter, we really are in a rush to get back to Kira. Woah! You made this? For me? We made it for our favorite pet school teacher! But...


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[Assistant] Kira, you're the one who's great at taking care of pets.


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[Assistant] Now, why don't you go pay your respects to fellow Bugenhagen? Come on!


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[Assistant] But I think we can say you had nothing to do with all that. Even if Nanaki hadn't vouched for you, it's obvious.


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[Assistant] Welcome to the sanctum of planetology, Cosmo Canyon.


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[Assistant] By the end of the week, only one of you will be left standing, and the rest of you will all face elimination.


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[Assistant] You walked in and we all noticed you were looking at these boxes behind us. Do you want to know why they are there? Well these are going to decide what you cook today.


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[Assistant] If you look at cool trends in food at the moment, one of the coolest trends is this rediscovering of retro.


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[Assistant] He sold ten million of them.


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[Assistant] So TV dinners became this massive thing in America, kind of like all part of that craving for the Jetsons and the modern age. So, anyone here ever had a TV dinner before?


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[Assistant] The combination of the sweetness of the corn with the bitterness of the kale dust is wonderful.


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[Assistant] The beat's kind of edging down towards the well done side, which, and if it had been medium rare, it would have been perfect. That's a little bit of a, uh, kind of bump in the road for me.


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[Assistant] It reminds you of all those great things, you know, trying tiger or a larp.


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[Assistant] Let's see what you've done with your fried chicken dinner. Race!


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[Assistant] Lemony spicy flavor, probably not molasses and the sumac, but because by choosing the Maryland, it's a much more forgiving cut of meat. For me, you couldn't have cooked that leg any better and that's the real success of this dish.


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[Assistant] We now have the tough decision of working out which three of you have done a good enough job to continue this week in that search for the ultimate power. Which three of you joined Ben and Kristen on the gantry to cook no more until the elimination?


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[Assistant] Jess, Chloe, you had to recreate the beef dinner and we love the way you both use all those ingredients in radically different ways. Jess, that combination of corn puree and bitter.


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[Assistant] Kale Dust is spectacular, we love that. Chloe, what a dish.


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[Assistant] The flavor, the texture, the balance, the beautiful beef, the toastness of the roasted rice made that dish a really spectacular revisioning of the beef dinner and that's why Chloe, no doubt about this one, you win, you're safe, well done.


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[Assistant] The pool gets smaller, but the fish get bigger. Three of you left in this search for the ultimate master chef superpower. So go home, get some rest, check your freezer, see if you've got those lovely roast dinners in there for tonight. We'll see you tomorrow. Get out of here guys, well done. See you guys.


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[Assistant] All six of us are good cooks. Whoever I get is gonna be a very tough challenge.


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[Assistant] I do get TV dinners. When I was working in the police force, this what we get.


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[Assistant] Flavors, flavors, flavors. Me and Khan are going against each other. It's going to be interesting. It's going to be a real cook-off today.


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[Assistant] I'm a very competitive person. I like this kind of competition. Cooking against someone, one on one kind of a thing. It actually puts me in my game.


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[Assistant] Fish and chips is classic for me. I will go to a fish and chips shop. I always like to have lots of tartar sauce. I love my tartar sauce with fish and chips, so I'm making something similar. My dill and caper sauce. Dill, capers, sour cream, lemon zest, and a little bit of salt.


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[Assistant] The dill and caper sauce is ready. So, I'm starting with my pistachio crumb for the fish.


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[Assistant] A crunch element for fish and chips is very important. So...


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[Assistant] Khad has got some amazing feedback. Everything has been positive for him.


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[Assistant] Uh, we will get sometimes fish and chips, sometimes we will get some rice with curry, so it can be anything. Uh,


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[Assistant] You may ask, is this information being disclosed? Has this information been publicized, distributed?


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[Assistant] Toxic pollutants. And our poor, pinky and lovely lungs are suffering all of that.


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[Assistant] Look at the cocktail here. Soil and road dust. Sea salt. Toxic metals.


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[Assistant] Air pollution is not just affecting our lungs, it's affecting as well our brain. This is our brain. Beautiful. We all have it. We all need it. Hopefully, we all use it. Some more than others.


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[Assistant] And in the last 10 years of history, the research about the relationship between air pollution and our brain's health has been increased dramatically. So maybe now our brain is going up in smoke.


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[Assistant] We used to say that air pollution has no borders, and it's true as well within our bodies, because air pollutants will cross the placental barrier


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[Assistant] Altering the immune response, and as well, leading to


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[Assistant] We are sending them to school every day to expand their minds. The society is investing in their education, and yet the air they breathe while waiting for the school bus is influencing negatively the development of their brain. Let's go to the third. What about adults?


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[Assistant] According to recent scientific evidence, long-term exposure


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[Assistant] Whether you live in a rural area or an urban area, whether you live in a high income country or a low income country,


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[Assistant] Everybody's brains, including yours, are at risk.


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[Assistant] Some places are more polluted than others, but this is a global issue, and no individual


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[Assistant] There might be thousands of lives that we will lose, but if we postpone it by one year, we might be losing again seven millions.


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[Assistant] Every policymaker, every politician needs to be aware.


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[Assistant] This is not the first time in history that we are confronted to the risks of this invisible killer. This was London in 1952, and as was done in London in the 50s and the 60s, governments


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[Assistant] And from now on, no politician will be able to say, I didn't know. So the question here is, how many lives


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[Assistant] I will request you that while our brain is still functioning, while we are still intelligent, please exercise your right


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[Assistant] Hate to break it to you, Kyrie. But this is no laughing matter.


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[Assistant] You could go and tell the mayor we took care of the merc. Just like you wanted.


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[Assistant] Hey, remember me? You're that guy from Corneos. Leslie.


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[Assistant] What's next for you and the others? We're looking for something too. Need to find it ASAP.


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[Assistant] I did, I, but... Let's focus on finding Dio in the Keystone for now.


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[Assistant] Yeah, well, all I gotta do is win it all, right?


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[Assistant] Shouldn't have to tell you this, but seeking revenge would be stupid.


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[Assistant] But regrettably, We're sorry you're going home. It wasn't to be for Reese.


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[Assistant] Welcome to finals week. It's come down.


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[Assistant] A monthly column in Australia's leading premium food and lifestyle magazine, Delicious. $250,000 to kickstart their food dream and the title of Australia's next MasterChef.


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[Assistant] You know the situation. At the end of the day, one of you is going home. We are all fighting for our place in the competition.


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[Assistant] You're cooking my... The most difficult pressure test yet.


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[Assistant] Let's go. But. Have you checked all the measurements on this? No, uhm. Take their eyes off the prize.


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[Assistant] You clean up at the fights and the races. C'mon, you wanna? No.


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[Assistant] Oh, so you really were after our little prize. You sir are. Well, you're welcome to. You've earned it. Just as a little show of good faith. Go on. Hope you shine. And then maybe think over that deal. Pretty please.


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[Assistant] Hello! Where did you come from, beautiful? You lookin' to get in good with the Gus man?


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[Assistant] I'm hoping that I don't crash, that I just stay focused and stay calm.


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[Assistant] It smells so good. It looks complicated. I know it has a lot of different ingredients.


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[Assistant] A lot of the ingredients have already been picked and it's just getting harder and harder to pick out which ingredients which.


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[Assistant] I taste something sweet. Sugar?


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[Assistant] I'm feeling a lot of pressure because this one guess is gonna be that ticket to whether I'll be in top 5 or I'll be in the bottom.


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[Assistant] All I can taste is cheese, but I just, I can't really tell what type of cheese it is.


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[Assistant] It's got a crumbly texture, but I still can't picture what it is.


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[Assistant] I can't believe I'm in the next round. I'm really devastated because if I'm going up against Reese or Ben...


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[Assistant] Such wonderful cooks and I am feeling the pressure at this point. I can just feel my dream just drifting away.


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[Assistant] Rich is one of my closest friends in the house. To be fighting against him really makes me really sad. I don't know how I'm going to get through this cook.


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[Assistant] I'm trying to be extra creative with my dessert. I really wanna do different flavors that no one's really heard about.


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[Assistant] I think the quince, the pears, the orange kinda works well together, so I'm just gonna go with that.


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[Assistant] I'm cooking up against Reese and that really gives me a sign that this could be my last cook. So just kind of have fun with it.


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[Assistant] What's the ice cream machine for, Jess? I'm going to make a orange and ginger ice cream. Thinking I might add something else.


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[Assistant] Then I temper in the hot milk mixture and bring it back onto the stove top.


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[Assistant] To get the flavour in my ice cream, I'm gonna infuse orange zest and the bay leaves in the anglaise mixture. I've gone bay leaf crazy. Keep it moving, Jessie. Come on!


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[Assistant] It is a risky move using quince. I've never used quince before. I'm not sure what it's supposed to taste like. But judging on how it tastes similar to pear, I'm hoping that it has a good flavor for this dish. I don't want to do something that is so classic like normal orange and vanilla or orange and chocolate. I just want to do something different.


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[Assistant] Well I'm making a ginger, bay leaf and orange ice cream with, I was thinking with the potato because I can fry them up with a bit of coriander seeds and a bit of cinnamon and cumin to give that nice punch. And then with a granita which I'm gonna also use the quince. I'm gonna braise that in some liquid with the reserved lemon.


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[Assistant] I'm gonna kinda poach it in a liquid and then use the actual liquid for the granita.


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[Assistant] I'm gonna kinda poach it in a liquid and then use the actual liquid for the granita instead.


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[Assistant] But I feel like it's time to kind of experiment. I know it's taking a risk. It's not coming so close to top five, but you know, it's that type of competition where you gotta try new things.


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[Assistant] I place sugar and water into the saucepan and bring it to a boil, then I add my diced up quince, a bit of my pear, and I add a bit of orange zest for that bitterness as well, and I'm gonna add some bay leaves. I was going to pair it up with some preserved lemon. Thought that preserved lemons would be quite sweet. Ooh.


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[Assistant] Whilst my granita is in the gloss chiller, I'm gonna get onto my dehydrated piss.


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[Assistant] Take my dehydrated pears, I'm gonna cut them really nice and thin.


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[Assistant] I've got my pear gyrating in the oven. I've got my ice cream churning and my granita in the blast chiller. I'm going on to my potato crisp.


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[Assistant] I'm really happy, it's nice and thin and it's really crispy, and I'm just gonna add some herb salt to that.


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[Assistant] I take my grenade out of the blast chiller and I'm really happy it's frozen. It's nice and hard so I can scrape out nice shots of ice. Come on, Jessie.


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[Assistant] In these last few minutes, I'm feeling really good. I'm in a good mind space. I think I'm accepting the fact that, you know, there's always going to be one person going home.


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[Assistant] I'm walking my dishes to the judges and I'm worried.


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[Assistant] I think the judges will find it quite odd that I'm kind of mixing savory flavors and sweet flavors together, but I'm just hoping that they would like it as well.


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[Assistant] I've cooked a orange and bay leaf ice cream with a quince and pear granita and some potato crisps on top.


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[Assistant] It is a competition and there's only gonna be one winner but it's the friendship that we've made together is something that you can't really win in anything and it's a friendship that would last forever.


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[Assistant] The order is decided by a knife tool.


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[Assistant] I really wanted to start because that means I can get the most obvious ingredients out of the way.


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[Assistant] I look at the tagine, straight away I'm thinking that's chicken. Chicken?


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[Assistant] I know that Ben's gone for this thing that looks like a pear and he got it wrong, but I have a feeling it's something that's like a pear but not. I taste a thing that I think looks like a pear. It's a little bit grainy. It's a little bit stringy.


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[Assistant] I know that Ben's gone for this thing that looks like a pear and he got it wrong, but I have a feeling it's something that's like a pear but not. I taste a thing that I think looks like a pear.


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[Assistant] Another round done. It's Quince. I'm really happy right now.


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[Assistant] Jess, you've got some of your favorite ingredients there as well, remember that. There's chocolate, there's yogurt.


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[Assistant] This is so fun, I can't believe we're doing another masterclass.


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[Assistant] It's pretty awesome to be in the top five. I didn't think we'll have another masterclass at this point and to have that as well is just topping it all off.


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[Assistant] Today, you'll be cooking


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[Assistant] This is the original flavour from season 2 finale. The strawberry guava and custard apple.


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[Assistant] Absolutely, yeaah. So if you don't put enough full in, you don't get enough creaminess, you know, it's all a balance.


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[Assistant] Just breathe, okay? You gotta breathe. Otherwise you'll make mistakes.


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[Assistant] What do you think is going to happen when you put them together to make a globe? Where are you going to put the ice cream? Yeah. If I was you, I'd be doing them again.


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[Assistant] Guys, the praline shul is the most important thing. Make sure you make enough of them. Make sure that they're the right thickness.


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[Assistant] That's good. You're remembering your proportions. Excellent.


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[Assistant] And seeing you put them together and you kept so calm, you finished like a star.


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[Assistant] The texture of the meringue's spot on, ice cream's spot on. The flavour's there. Overall, it's pretty hard to fault.


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[Assistant] The meringue is really good. It's the right consistency, the right shape for the snow egg, and that's a pretty important component of the dish. Ice cream works well in the middle, a nice thin chill. But there's a little bit of a problem with the cream. With the fall,


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[Assistant] It is great. Yep. From the moment it seems split.


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[Assistant] It did melt quickly and it has thrown the balance out a bit. The ratio might be wrong. She might have put too much sugar.


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[Assistant] There's some good flavor, but it's such a shame. Snow eggs, grainy.


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[Assistant] What do you reckon? Ah, I was super impressed. I mean, you guys had less time to do it than they did in year two and, uh, you all got all of the snow eggs up for us to taste.


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[Assistant] I've gotta say a big congratulations, Jess. You, uh, super impressed me today.


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[Assistant] Especially with your dish up and how under control you were and how calm and methodical you were. That's exactly what you need in a high pressure situation. Well done.


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[Assistant] Yeah, I'm going to do one of my long-term signature dishes. My fascination of pork and seafood. But it's the latest variation of that. So, I think there's a few interesting techniques in there for you guys.


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[Assistant] Coming up. What we're going to do is the combination and the idea of mixing hawk and seafood. The man himself, Peter Gilmore. This is like an amami bomb in its own right. With a recipe. A little bit of the squid. You won't want to miss.


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[Assistant] The very first thing we're going to do is make a consomme. This here is a smoked pig trotter stock. And we want to clarify that and make it really beautiful and clear. Now, these are dried shiitake mushrooms that we've sliced and dried ourselves. This is hamon.


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[Assistant] Kombu seaweed, uh, dried. And this is like an umami bomb in its own right. And then for the clarification, we have some chicken breast and we have some egg white.


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[Assistant] Just so that they're all in small pieces so they really bring out their flavour and it helps with the clarification process.


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[Assistant] What I'll do is I'll just start whisking. It's important to get a little bit of whisk action happening in the egg whites just to help incorporate a little bit of air. This helps with the clarification process. Alright mate, I'll get you to throw all that stuff in.


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[Assistant] Now, when you, uh, start off with, uh, consomme, you always wanna start off with cold stock. And so, we're gonna put it in, and you're gonna whisk constantly as it goes in.


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[Assistant] You wanna keep whisking until it's almost reaching simmering point. And then you turn the heat right down. Really low, as low as possible. And you let it tick over for about an hour. George, can I get you to keep whisking that? I'd love to. Thanks mate.


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[Assistant] Okay, so next thing we're going to do is we're going to prepare some of the extra ingredients that go into this dish. One of them is the shiitake mushroom. So just taking the skin off. Comes off quite easily really. And then uhm,


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[Assistant] To a nice sharp knife, we're actually, instead of slicing the shiitake down, we're gonna come across the shiitake. And this changes the texture of the shiitake. And you can see, you can actually get it really thin and really beautiful.


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[Assistant] So we've got a cleaned piece of squid here. This is a lovely southern squid.


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[Assistant] This is going to be one of the other textures in the dish. Cutting a squid across the squid like this, we should get some really nice, just lightly curled pieces, but I want to keep it super, super thin. So just coming down and taking some strips. All right. So that's that one.


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[Assistant] The next item is some, uh, some scallops. Again, I'm going to go across the scallop, okay, with the knife and, uh, just,


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[Assistant] Okay, but that's what, yeah, when I end up with a really nice strip of scallop. Okay. So that's that.


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[Assistant] So over here, you've just got about a kilo of butter. So as you can see, the butter's boiling away now. At this point, you want to stop it. You've got that beautiful nut brown colour just starting to happen on the foam.


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[Assistant] Okay, so at this point what I do is I just pour the whole lot over into a bowl just to stop the heat. Okay, because we want to cool it down rapidly. Okay.


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[Assistant] I want to just take off some of the scum that's on top of here with a ladle.


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[Assistant] Now, uh, the next thing I'd like to do is I'd like to infuse this butter with some juniper, some bay and some jamon.


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[Assistant] So, very straight forward, come on straight into the butter. I like to put the juniper in a mortar and pestle, just give it a little break. Not a lot, just a bit of a bruise.


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[Assistant] That's it. Same with the bay leaf. Pop that in there and just bruise the bay leaves a little bit. Not much. And take all of these ingredients and pop them straight in.


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[Assistant] And how long would you leave it in there for? Now what I would do with this, I would leave that, because the butter's quite hot at the moment, I just let that infuse in there, uh, a couple of hours, until it goes cold, then strain everything else off, and you're away. Now, pig jowl.


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[Assistant] Now essentially all I do with this is I take a cryback back.


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[Assistant] I'll pop it into a bag just like this with some chicken stock. And then I cook this overnight in the bag in a steam oven at 85 Celsius and it's cooked for at least eight to 10 hours. So in this case, I'm just going to grab a little tray.


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[Assistant] What I want to do is I want to just cut the skin off because for this dish I don't really want the skin. So I'm just going to bring the knife through.


[User] Please transcribe this text

[Assistant] And take it off and then we'll cut it into the width that I need for the dish. So probably looking at about there. So it's cold at the moment. We're going to take a little sieve and you're going to pour in the clarified butter. Okay.


[User] Please transcribe this text

[Assistant] And again, just because we want to add more flavour, so it's already cooked, then it's going to get re-warmed up in the clarified. Okay, and that, that will just go on the stove on a very low heat for about five to six minutes before we're ready to serve it. The next thing we're going to do is we're going to talk about the sea cucumber crackling part of it.


[User] Please transcribe this text

[Assistant] Alright, so we've got the cucumber here. Now this is, uh, frozen. What I'm gonna do is gonna take a grater.


[User] Please transcribe this text

[Assistant] See cucumber? Let me spread it out on the tray like this. Okay.


[User] Please transcribe this text

[Assistant] That then goes into the dehydrator for 12 hours. After 12 hours, and like they do on TV, here's one I prepared earlier, uh, you get this.


[User] Please transcribe this text

[Assistant] Now, first thing I'm going to do is I'm going to, um, drop my, um, beautiful sea scallops into this beautiful Hamon gingerbread and bay butter and the same with the squid.


[User] Please transcribe this text

[Assistant] Next thing we're going to do is the shiitake mushrooms and we're going to just saute them very briefly. So we'll take the shiitake, the sliced shiitake, we'll pop that into the pan.


[User] Please transcribe this text

[Assistant] And you can just see they're getting a little tiny bit of color and you can see how beautiful and fine they are like this. Okay. Again, onto a little draining cloth. Okay. Beautiful.


[User] Please transcribe this text

[Assistant] The very last, uh, touch is this consomme that we've made and we've reduced by half is now thickened, gorgeous and really delicious. And we're just gonna coat this in this consomme just to give it that beautiful bit of moisture and smoky, gorgeous flavour as well.


[User] Please transcribe this text

[Assistant] Then, we're gonna take a little bit of the hamon, juniper butter, and not much, I just want like a teaspoon, and just gonna drizzle that over the top and into and around the consomme. And then the last, uh, but not least, we're going to put on to our cucumber crackling, which goes on top. And that's it guys.


[User] Please transcribe this text

[Assistant] This is my smoked pig jowl with squid, shiitake mushrooms, scallops and sea cucumber crackling.


[User] Please transcribe this text

[Assistant] I have to stop my ice cream again. Why? I read the recipe wrong.


[User] Please transcribe this text

[Assistant] Congratulations you guys, final five, unbelievable job, it's nice to see you all.


[User] Please transcribe this text

[Assistant] I've been cooking beautiful beef. Aussie grass-fed beef. It's floating my boat right now. So I thought I'd cook you an incredible steak.


[User] Please transcribe this text

[Assistant] So I've got a little bit of fresh tarragon. I've also got some thyme.


[User] Please transcribe this text

[Assistant] Well what I thought I'd do is I'd share with you one of my favourite ingredients in the world. It's Aussie grass-fed beef.


[User] Please transcribe this text

[Assistant] This beautiful ribeye that I'm standing with here, this scotch fillet, uh, this comes from a place called Talon Springs, which is a farming Gippsland.


[User] Please transcribe this text

[Assistant] My uncle comes from Gippsland and he jokes about it and says it rains 300 days a year and it drips off the trees the other 65 days a year. And I've been out here to Tawin Springs and it's a really beautiful little farm with the most beautiful grass-fed beef. So what I'm going to make for you today.


[User] Please transcribe this text

[Assistant] He's a beautiful caramelised scotch-fellot steak with roasted kiffla potatoes and a sauce diablo.


[User] Please transcribe this text

[Assistant] I roast them off in a hot oven, like 230 Celsius or 210 if you're using a fan-forced oven. Then I throw in carrots, onions, leeks, and I put that in with the bones and let some of that fat that's rendered out of the bones actually caramelize the vegetables. And sort of shuffle that in.


[User] Please transcribe this text

[Assistant] Then what I do is I cover that with about 6 litres of water. But effectively what you're trying to do


[User] Please transcribe this text

[Assistant] And then just start lifting off some of that excess fat, right? So don't worry about putting fat into your stock because you're gonna take it back out. The one thing you never do with stocks is stir them.


[User] Please transcribe this text

[Assistant] Apart from right at the very beginning, because you're actually trying to, uhm, boil some of the impurities out of it, right? So you're trying to remove that to get a pretty clear liquid in the end. And that's gonna be the base of our sauce. Okay!


[User] Please transcribe this text

[Assistant] So it sounds really easy cooking a steak, but to cook a really brilliant steak, it's kind of technical. There's a few things that you've got to remember, right? So I'll get it started because we'll give ourselves plenty of time. I season it really generously. So I've got sea salt on both sides of my scotch fillet.


[User] Please transcribe this text

[Assistant] You'll notice I'm not putting any oil. You don't need to. That fat is gonna actually render out of the steak and it will release from your grill. And we're gonna put it on there for about 60 seconds before we turn it for the first time.


[User] Please transcribe this text

[Assistant] Right, while they're cooking, I wanted to show you these beautiful potatoes that I've got down here. They're called kithlas. What I've done is I've par blanched them. So I've cooked them for about 10 minutes, cut them in half in boiling salted water, right, and strained them off. And now I'm going to roast them. They're a beautiful accompaniment to steak.