
Baked with love: Recipe for a light, airy pavlova that will woo your Valentine
As a baker, I relish making a Valentine's Day dessert. Instinct says to seduce with a decadent chocolate treat, but sadly, my Valentine for the past 20 years isn't the biggest chocolate lover. But I found a way to his heart: a pavlova.
This meringue-based dessert was named after Russian ballerina Anna Pavlova over a century ago. It's enchantingly messy, with a shattering, melting outer crust yielding to a soft, marshmallow-like center. To complement the lean, sweet meringue, add a pile of whipped cream, a dribble of tangy lemon curd, a shower of fresh, juicy fruit and maybe some chopped nuts to sink your teeth into. (Oh, and it happens to be gluten-free.)
Pavlova is a classic dessert in Australia and New Zealand, but I won't argue about where it originated. Instead, I asked my Melbourne-based baking buddy Adam Miller, a finalist on the 'Great Australian Bake Off,' his thoughts. 'It's one of Australia's most iconic desserts.' he said, 'Especially in summer. Even more so at Christmas time. You'll struggle to find a Christmas dessert table across the country that doesn't feature a glorious pavlova, smothered with whipped cream and bejeweled with seasonal fruits.'
Since the Aussies whip up pavlova this time of year, you should try your hand at one to channel some of their antipodean summers. It provides the perfect ray of sunshine during our long winter. Our groceries are full of glorious winter citrus, which adds brightness to this ethereal dessert, which is bound to entice your Valentine.
Pavlova
This light, airy meringue relies on egg whites and sugar to achieve billowy peaks. The key is to use superfine sugar to ensure the sugar is fully dissolved, as regular granulated sugar is a challenge to dissolve.
Prep time: About 15 minutes active time, 70 minutes baking, and at least 2 hours cooling time.
Yield: 6-inch pavlova, which is two to four servings.
Ingredients:
100 g (1/2 cup) superfine sugar
1 wedge of lemon
2 large fresh egg whites (save the yolks for the lemon curd)
Pinch of fine sea salt
1 teaspoon corn starch
1/2 teaspoon lemon juice (from the lemon wedge)
1/2 teaspoon vanilla extract
Directions:
1. Put the granulated sugar into a blender or food processor and pulse until finely ground, almost powdery, if you don't have superfine sugar. This helps the sugar dissolve more easily into the egg whites.
2. Heat oven to 250 degrees Fahrenheit with a rack in the middle of the oven.
3. Rub the inside of a clean stand mixer bowl with the cut side of the lemon wedge. Add the salt and egg whites, fit the mixer with a whisk attachment, and turn it to medium speed (6 on a KitchenAid). When the egg whites look like a frothy bath (just before soft peaks), about 1 minute, spoon in the sugar, one heaping teaspoon at a time, while the mixer is running. After adding all of the sugar, pause the mixer and scrape down any sugar stuck to the side of the bowl and the whisk. Keep mixing at medium until the sugar is dissolved — that's the most important thing. Stop the mixer every minute or so and rub the meringue between your fingers. If you feel any sugar granules at all, keep mixing. This usually takes 5 to 7 minutes, but it all depends on your mixer and the size of the sugar granules.
4. Stop the mixer once the sugar has dissolved, and sift the cornstarch on top, then turn the mixer on medium speed and mix until the cornstarch is thoroughly mixed in. Stop the mixer, scrape the sides of the bowl, and add the lemon juice and vanilla, then turn the mixer on to medium speed and mix until combined. Check to see that you have barely stiff peaks by lifting the whisk out of the meringue, then flip it upside down. The meringue should have peaks that point straight up or curl just slightly, like the top of a soft-serve ice cream cone. If your meringue isn't quite there, turn the mixer to medium-high and whip until you get those peaks.
5. Use a flat cookie sheet (without edges or rims) or turn a regular baking sheet upside down. This makes it much easier to remove the fragile pavlova. Cut a piece of parchment to fit the baking sheet. Draw a circle with a 5- to 6-inch diameter on one side of the parchment. Dab a bit of the meringue on all four corners of the baking sheet, then place the parchment paper on the baking sheet. (The meringue dabs act as a glue to keep the parchment in place when you spread the meringue.)
6. Dollop the meringue onto the circle in a tall mound, almost like a column. Using a small offset spatula or spoon, gently push the meringue down to match the circle you drew. Then, take your offset spatula or a butter knife and go around the edge of the pavlova to create nice, straight, even sides. Put the tip of the spatula (or the tip of a spoon) on the bottom of the outer edge of the pavlova and pull upward, creating an indentation in the pavlova with a bit of a peak on top. Go around the entire pavlova to give it this fun pattern.
7. Put the pavlova into the preheated oven carefully. Bake at 250 degrees Fahrenheit for 10 minutes. Turn the oven down to 200 degrees Fahrenheit and bake for 60 minutes more. Turn off the oven. Allow the pavlova to cool completely in the oven — at least 2 hours with the door closed. Cooling completely in a closed oven will prevent it from cracking too much. You can make this ahead a day or two in dry conditions, but be sure to keep it airtight, either sealed with plastic wrap or in an airtight container.
Note: It's hard to make pavlova on a very humid or rainy day. If you're somewhere very humid, a different dessert might be a better bet.
You can make the pavlova base one day before serving. Store in an airtight container somewhere dry and dark.
Lemon curd
Everyone should know how to make lemon curd. This tangy, creamy spread adds some tartness to this pavlova. You can also spread it on a biscuit, swirl it into your morning yogurt, use it as a cake filling — or just eat it with a spoon.
Prep time: 15 to 20 minutes
Yield: 1 small jar (about 1 1/2 cups)
Ingredients:
1 medium lemon
75 g (1/4 cup and 2 tablespoons) sugar
Pinch of salt
Pinch of ground turmeric (optional, but amps up the golden color)
1 large egg and 2 egg yolks
56 g (4 tablespoons) butter, cubed
1. Zest the lemon into a small saucepan and add the sugar. Rub the zest into the sugar with your fingers. Juice the lemon.
2. Add the salt, turmeric, egg and yolks, and lemon juice to the saucepan with the zesty sugar and whisk to combine.
3. Cook on low heat for 5 to 6 minutes while stirring with a heat-proof spatula until the curd feels very warm. Then, turn the heat up to medium-low and cook, stirring constantly, until it thickens and reads 170 degrees Fahrenheit on an instant-read thermometer, about 4 to 5 more minutes.
4. Add the cubed butter and stir until the butter has melted and emulsified into the curd.
5. Push the curd through a fine mesh strainer, put it into a jar and refrigerate until needed. The curd will keep in the refrigerator for about 2 weeks.
Whipped cream, garnishes and assembly
Prep time: About 10 minutes
Ingredients:
120 g (1/2 cup) heavy cream, cold
1 to 2 blood oranges, navel oranges or grapefruit
3 tablespoons chopped pistachios or almonds
Directions:
1. Whip the cream at medium-high speed until soft peaks form using a stand or hand mixer.
2. Slice the top and bottom off the orange or grapefruit. Set the fruit on one of the flat sides, then, using a very sharp knife, slice off the rind and all of the white pith, revealing the flesh.
3. Use the knife to go in between the membranes to remove the orange segments, and place them in a bowl.
4. Just before serving (I mean it: don't top it until everyone is ready to eat) put the pavlova on a serving plate. Top the pavlova with the whipped cream, then dollop about 4 tablespoons of lemon curd on the cream and gently swirl it with a spoon
5. Garnish with citrus segments and sprinkle with chopped nuts.
6. Serve immediately.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


USA Today
4 hours ago
- USA Today
LSU quarterback Garrett Nussmeier, Arch Manning star in Raising Cane's ad
'At least your dad didn't move to Louisiana and start calling plays' This is a fun one. Louisiana football royalty descended on Thibodeaux this week for the Manning Passing Academy, with legendary New Orleans Saints quarterback Archie Manning joining his sons Peyton, Eli, and Cooper and grandson Arch for an opportunity to mentor the next generation of passers. On the way, several members of the Manning family stopped by the Baton Rouge-based Raising Cane's to put in a celebrity "shift" and pulled into the drive-thru to cut a commercial. You can see it for yourself here, but they weren't alone. Raising Cane's founder Todd Graves, a popular pick among fans to buy the Saints should owner Gayle Benson ever put them up for sale, sat in the back seat with LSU Tigers quarterback Garrett Nussmeier. Grandfather Archie questioned grandson Arch as to whether his Super Bowl-winning uncles Peyton and Eli were going too hard on him; the younger Manning and Nussmeier roomed together this week as counselors at the clinic. "Tell me about it. At least your dad didn't move to Louisiana and start calling plays," quipped Nussmeier, son of new Saints offensive coordinator Doug Nussmeier. That's when Arch's father Cooper leaned in from the drive-thru window to remind his son to order with a "please" and "thank you," while telling Nussmeier that his father already called in his order: "He doesn't trust your judgment." Rookie Saints quarterback Tyler Shough is also working at the event as a counselor, and he's the first to do so after going pro. With almost 1,500 high school quarterbacks in attendance, the Mannings could use all the help they can get. As for Graves? Between all this high-maintenance bickering among quarterbacks, he joked that he needs "to start hanging out with linemen." We're guessing Erik McCoy and Cameron Jordan would be more than happy to show him around town.


Newsweek
5 hours ago
- Newsweek
Tom Cruise Posts Emotional Throwback to Iconic NASCAR Film Amid Sequel Rumors
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Hollywood star Tom Cruise has posted an emotional throwback to the iconic NASCAR-based movie Days of Thunder on X,celebrating 35 years on June 27, the day he partnered with the late director Tony Scott. Coincidentally, the anniversary also marked the release of another action-packed racing movie - F1, produced by Cruise's friend, Jerry Bruckheimer. Cruise started a thread on X with throwback pictures from his Days of Thunder days, and ended by congratulating Bruckheimer, Brad Pitt, and F1 director Joseph Kosinski. His role in Days of Thunder was that of a young driver, Cole Trickle, who was new to racing. However, a rivalry sparked between him and a veteran driver, which grew into a friendship after the two were involved in a major crash. American actor Tom Cruise on the set of Days of Thunder, directed by Tony Scott. American actor Tom Cruise on the set of Days of Thunder, directed by Tony Scott. Paramount Pictures/Sunset Boulevard/Corbis/Getty Images Revealing his love for racing movies, Cruise wrote on X: "I always love the fun and adrenaline of a racing film. Today marks two racing milestones for my friend Jerry Bruckheimer, the release of F1 and the 35 year anniversary to the day of our collaboration with the great Tony Scott on Days of Thunder." I always love the fun and adrenaline of a racing film. Today marks two racing milestones for my friend Jerry Bruckheimer, the release of F1 and the 35 year anniversary to the day of our collaboration with the great Tony Scott on Days of Thunder. 1/7 — Tom Cruise (@TomCruise) June 27, 2025 While Cruise congratulated the crew of F1, former NASCAR driver and chairman of Hendrick Motorsports, Jeff Gordon, suggested there will be a sequel to Days of Thunder starring Cruise. Gordon believes NASCAR needs a Hollywood boost to expand its reach to the masses. Considering the rise of streaming platforms, Gordon emphasized that this is the right time to produce Days of Thunder 2. Newsweek Sports reported his comments: "Let's do Days of Thunder 2, I am all for that. Tom Cruise has told me it's gonna happen, so let's make it happen. I can't go back to driving, I am too old for that, so gonna have to be one of our four or all four of our Hendrick drivers, Alex Bowman, Chase Elliott, Kyle Larson, William Byron. When I came into NASCAR, Days of Thunder had just come out. It played a huge role in the growth of NASCAR. So let's bring it back." He added: "I've absolutely talked to Tom about it because I want him to do the project, and we want to be a part of it if it were to happen." Explaining why this is the perfect time to work on a NASCAR-based movie, he said: "There's this kind of resurgence, which is awesome, and there's also a whole new landscape of opportunities with streaming services and docuseries and also the big screen, which I think it would be amazing to do. "I am seeing just a lot more momentum in projects like this coming through NASCAR and coming to Hendrick Motorsports and just more interest. So that's good, right? It talks a lot about where the sport is at, where it's heading, the amazing crowd that was [at Daytona], not just today, new TV partners."


Time Magazine
a day ago
- Time Magazine
Jamie Lee Curtis on Her Big Moment in 'The Bear' Season 4
Jamie Lee Curtis manifested her role on The Bear. She remembers watching the show's first episode—specifically a scene between Carmen 'Carmy' and Natalie, when the chef doesn't have enough money for his restaurant's food supply, so his sister brings him his jacket to sell. Before she leaves, she asks him a question. 'Have you called mom?' He hasn't. 'You should,' she tells him. At that moment, sitting at home inside what she calls her 'witness protection cabin,' Curtis began envisioning what their mother might be like. 'Oh, I think I'm going to be her,' she thought. It didn't take long. In 'Fishes,' the sixth episode of the second season, she debuted as Donna Berzatto, embodying Carmy and Natalie's mother whose alcoholism and mania has turned her home—and large family gatherings—into a mental trauma zone. Though very different from her character, Curtis could relate to Donna's substance abuse issues and mothering challenges, and leaned into her most toxic traits. By the end of the electric and overwhelming episode, for which Curtis won an Emmy, Donna has drunkenly left the Christmas dinner table and crashed a car into her house, effectively fracturing her relationship with her son. But in Season 4, Donna gets a chance to make amends. About five years after the disastrous holiday, she spends the majority of the ninth episode, 'Tonnato,' sharing her regrets with Carmy inside her home. While looking at old family photos together, Donna admits she's been sober a year and then reads an apology letter, acknowledging the pain she's caused and explaining the reasons for her poor choices. Carmy eventually reciprocates, sharing his guilt for leaving the family and expressing his love for her. It's a powerful, emotional exchange that crystallizes the season's redemptive, healing themes. Then, as an act of reconciliation, Carmy prepares for his mother a chicken dinner that he learned to make while training as a chef at The French Laundry. Here, Curtis unpacks that emotionally charged sequence as she talks about the experience of playing Donna, and how her own life informed parts of the character. I'll be honest, I get anxiety every time your character appears on the show—and I think it's mostly because we've only really seen you through Carmy's perspective. What was genius from the beginning was you don't meet Donna for 16 episodes. The anxiety is built up through hearing about her from other people and the amount of anxiety Carmen carries. She's designed to create instability. What I found beautiful is that in episode 10 of Season 2, when they're opening the restaurant and Donna's out front chain smoking—I said to [creator Chris Storer], 'I think [Donna] is sober four months. She has enough self knowledge now to know that she has an effect on people, particularly when she's drinking. And so the pacing in front of the restaurant is the 'Do I? Don't I?' push and pull of addiction, which, when you're newly sober, you're very fragile. You show up in a couple episodes this season, specifically for Episode 9's conversation with Carmen. How does it feel for you to parachute in and out of Donna's headspace every year? We shot Season 3 and 4 simultaneously. So the truth is, I did the scene with Sugar in the hospital, which was an entire episode. And two days later, I did my part at the wedding. And then the next day, my scene with Jeremy at the house. So it was a lot of Donna, which was not dissimilar to the Christmas episode where I came in for like a three-day bombardment and then was gone. I've been an actress since I was 19. I've done a lot of different work. Some of it good, some of it great, some of it awful—much of it awful. Everybody works differently. I also didn't know how Chris worked before we met on the Christmas episode. Our entire relationship was a text relationship where he said, 'So excited you're coming!' And I said, 'How do you want her hair to look?' And he sent me a picture of Monica Vitti. And then I said, 'What about her nails?' And he sent me a picture of the desperate housewives of New York and that was the entirety of the background that I got from him before I walked in the kitchen the day we shot 'Fishes.' I got a sense that he understood that I was going to show up fully-loaded ready to shoot. That gave me a lot of confidence and a lot of freedom because I knew, having seen the level of intensity, what the show was like. What was your initial impression when you read this scene between Donna and Carmy, and how did you want to approach it? People forget that she hasn't seen Carmen since Christmas five years earlier. It's not like there's a chyron that's under the screen that reminds the audience at the wedding. And obviously she has seen the rest of the family. She attended the birth of her granddaughter. She goes to family birthdays. She sees Lee. She sees Jimmy. So there's an indication that she is a part of this interesting melting pot family, but she hasn't seen Carmen. So that moment when she sees him at the wedding—and the way all his friends come around him and are like, 'Hey, they need you in the kitchen right now.' Donna knows what's going on. She's very smart so she understands that this is a big moment for both of them. And then she has that lovely scene with Sydney and then she gets the f-ck out, because she understands. In recovery, there's a phrase, 'We suit up and show up.' So Donna is suiting up and showing up. And of course who does she run into? Michelle. And Michelle says, 'Are you good?' And we all know that question is Donna's fire starter. Right. That is the fire starter, one of those clicking flame things that we all have in our houses to light matches. It's that click. And her response, which is, 'I'm good.' And then get the f-ck out. I'm not going to play Michelle. I'm going to go. And so we've teed it up beautifully. Yep. I'm sober. I've been sober a long time. I talk to a lot of sober people. Part of being sober is acknowledging the past. There is a process within being a sober alcoholic or sober drug addict that in order to move freely into the future, you have to acknowledge the past. I don't think Donna wanted to acknowledge it with him for a long time. I think she's been working on that for the better part of a year. She's had that little piece of paper in her desk drawer, and when he comes over, I think the intention was to see him and keep it light and polite—another phrase we use in recovery. And I think that was her plan until she started going through the pictures and saw Mikey. Yeah, I wondering if you wrote that letter yourself. It was from the script, but of course I did! Was that a cathartic experience—thinking about what that symbolizes generally for a mother to a son, but then also specifically for Donna to Carmy? Very much cathartic. We both knew what we're doing. The script is beautiful. I learned that having a kid who you don't know how to help is one of the most powerless experiences as a parent. I personally have a child with special needs. I have a child who has a learning difference. And the powerlessness you feel when you can't actually help them—you can find people who can help them, but you can't. So the part of that scene that gets me every time is when she talks about Mike. Because clearly Mike had that problem since he was a little boy. And being a parent and not being able to help your kid and not knowing what to do to help them—and finding that alcohol just made it all more palatable and easy—to play a woman who has struggled with that, and then to have the beautiful writing that articulates that exact powerlessness and turmoil, and resulting shame and self-hatred, and then the addiction on top of it—I just thought it was a beautifully constructed. The line that hits me the hardest throughout your interplay is when you tell Carmy, 'I don't know you, and you don't know me, and I did that.' Was there a line or a moment in this conversation that impacted you the most? Oh yeah—what I just said about Mike. I did that as a statement of fact. I have to live with that. She also says it to Sugar in the hospital when Sugar says, 'You scared me and I don't want my baby to feel scared.' I said, 'I scared you?' Hearing that you have that effect on a human being's life is powerful. And so I can totally accept that we're operating as strangers in this family. That is when she really is showing the pain and suffering of her own childhood, her marriage, her being a mother to three. That is when Carmen really softens and says, 'I'm sorry, I wasn't there for you.' What does Leonard Cohen say? "There has to be cracks because that's where the light comes in." That's the moment when you understand that Carmen is now understanding the multitude of Donna and what she has struggled with. What was it like working with Jeremy that day? I feel very motherly toward all three of these kids. I've stayed a little in contact with them in the most cursory way. I'm not pretending we're buddies, but I also reach out occasionally. So he and I have that. Again, not with any supposition that it's more than it is. He's just a beautiful performer. We use the term scene partner a lot in actor talk, but he's a scene partner. We don't rehearse it. We don't talk about it. We stay away from each other until it begins, and then it begins. And he has beautiful eyes, and they are expressive and soulful and sorrowful and very alive at times and very emotional at times. And I think you see all of that in this whole season, but in that scene in particular. And then the coup de grace, which is him cooking for her. I really love that he goes back to his time at French Laundry where he learned to make roast chicken. Do you feel like a meal is one of the kindest gifts you can give somebody? For sure. I'm not a foodie. I was raised by a very skinny woman. Food was not a friend in a generation of women in her industry who starved themselves under the tutelage of the studio system. My mother was incredibly beautiful and she held it all the way through her life. While many of her other friends succumbed to middle age, she starved it away. So I was raised around cereal and a grilled cheese sandwich, which would be like gold for me. But apparently I make really good penne with butter, garlic salt and a little parmesan cheese and my elder daughter, Annie, was talking with her friends about memories in their high school years of having me make that penne. Hearing that that is a memory for my daughter is something comforting. I'm kind of embarrassed by it because it's not a French Laundry chicken. And yet the act of making it and the act of receiving it as something special is very moving to me. Of course Carmy is going to truss and baste and bake and broil a beautiful chicken for his mother. It's a wordless moment and, needless to say, very moving. It's very clear that there's a path forward through that act that is him basically saying, 'I'm sorry that I didn't kind of meet you, that I stayed away from you and that I didn't face this.' It's pretty powerful to end a series on a full-circle moment. He also tells you not to wash chicken in the sink. Yeah, because, of course! What he's saying is that the salmonella goes all over the place. You think it's just going down the drain, but in fact, you're polluting your sink. This season felt very redemptive and healing in a lot of ways. What it was like to have a moment of reconciliation with Donna, as opposed to playing such a vicious antagonist? I'm the child of alcoholics. I'm a sober drug addict and alcoholic. I have lost so many friends to alcoholism and drug addiction. My baby brother died at 21 of an accidental heroin overdose. We're also living in a world that doesn't feel redemptive. When you talk about an antagonist, it feels like there are antagonists running the world right now. So from a spiritual place, if we're not healing, we're dying. And I didn't know if Donna was going to heal or get a chance to. I saw it in Season 3, but as I said to you, I already knew that Season 4 was coming. I don't know the origin stories necessarily, but if we're not healing, what are we doing? And so I'm beyond grateful that Chris gave everybody a moment of grace—every single person's story! The end of Season 3, Carmen says that in his vision for the restaurant, 'to make it good, you have to filter out the bad.' And I think this whole season was in line with that mission statement. It's just gorgeous work. The grace note at the end—you know those sandwich shops are going to be successful. We know what the numbers are going to be. They're going to blow the place up. But Carmen also knows he has to step away from this and let these people do it. And the fact that that's the gift that he's giving everybody, and that he'll now go figure out who Carmen is. And he'll be able to do it with a mother in his life now. Yeah, and Donna is sober now. Can Donna stay sober? I hope so. I've stayed sober. What was wack to me—the same day that this season of the show dropped, I woke up in the morning and a friend of mine in Los Angeles sent me a picture of a billboard on Sunset Boulevard. It's the Foundation for a Better Life, a program they run called 'Pass It On.' Inspirational people and ideas. And there's a billboard with my picture that says, 'My Bravest Thing? Getting Sober. Recovery. Pass it On.' And for Jamie and Donna, who had different stories but the same disease, to have that happen simultaneously was kind of another grace note. This interview has been condensed and edited for clarity