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# The Optimal Time to Dunk an Oreo, According to Science

iStock // Lucy Quintanilla

Have you submerged an Oreo into a glass of milk and lingered too long? Did you watch in horror as America's supposedly favorite cookie disintegrated before your very eyes? Fear no more! Here's how to find (and elongate) your optimal dunk time.

Well, it depends. Do you prefer a crispy cookie masked in a thin veneer of milk? A cookie that has metamorphosed into unrecognizable gloop? Do you believe in a Goldilocks zone, a Platonic middle-ground that’s neither too dry, nor too spongy, but just right? It’s all subjective. But let’s assume you want an Oreo that is pleasantly soggy and has maintained its structural dignity.

There’s math for that. In the late 1990s, Len Fisher, then a professor of physics at the University of Bristol, sparked a media storm when he argued that a decades-old mathematical formula could predict the perfect dunk time for a cookie. It’s all thanks, he claimed, to capillary action.

Water molecules are adhesive: They cling to solid surfaces. (It’s why water in a beaker shows a meniscus—it’s attracted to the sides of the container.) When water enters a small tube, the liquid can adhere to surfaces in ways that seem to defy gravity: This is why water may crawl up your drink’s straw and why a paintbrush seems to slurp up liquid. That’s capillary action in a nutshell.

On a microscale, a cookie is essentially a series of small, starchy tubes. Fisher writes in his book How to Dunk a Doughnut that a dunking liquid (in our case, milk) is “held in place in the porous matrix by the pressure across the meniscus in the smallest of pores.” In other words, capillary action helps the milk spread through the cookie. In the early 20th century, the American scientist E.W. Washburn cooked up a formula to describe this watery journey.

Lucy Quintanilla

Washburn tested and confirmed his formula by observing ink blots spread through paper. (A simplified version of his equation explains how inkjet printers spit out dry, sharp-looking text.) But it took nearly a century for someone such as Fisher to apply the formula to baked goods: After finding reliable numbers for the variables, Fisher rearranged the equation and solved for T (time).

He discovered that the perfect dipping time for a typical British dunking biscuit with a conventional dip was three-and-a-half to five seconds.

But Fisher never tested Oreos. So in 2016, members of Utah State University’s Splash Lab—an academic group studying the behaviors of fluids—put Oreos to the test. (Splash Lab, we should note, has an appetite for quirky experiments: They’ve studied the fluid dynamics of urinal splashback, analyzed the physics of the perfect skipping stone, and even tested the insulating properties of beards.)

Three researchers gathered Oreos, Chips Ahoy, Nutter Butter, and Graham Crackers and dipped the cookies halfway in 2 percent milk for half a second to seven seconds. After dunking, the team weighed the treats and measured how much milk had been absorbed.

The results: Oreos absorbed 50 percent of their potential liquid weight in just one second. After two seconds, they absorbed 80 percent. The number flatlined briefly for a second. After the fourth second, the cookie maxed out: It absorbed all its possible milk. “This data indicates that for the tested cookies, keeping your cookie in the glass any longer than five seconds does not lead to any additional milk entering the cookies,” their study suggested.

Oreo cookies absorbed milk at the same rate as Nutter Butter, taking in 100 percent of their liquid weight in four seconds.
Splash Lab

Splash Lab then performed a second test, dunking all cookies for six seconds and attaching them horizontally to a clamp. They waited for the cookies to collapse. The Oreo lasted an impressive five minutes! Compare that to measly Graham Crackers, which crumbled after eight seconds.

The takeaway: Three seconds is enough time to saturate most of an Oreo. There’s no benefit to dunking longer than four seconds. (Unless you want to watch the cookie crumble into your milk. As Splash Lab’s Randy Hurd, a mechanical engineering Ph.D. candidate, told us: “Waiting for the crisp cookie structure to break down is not necessarily a waste of time if that’s what you prefer.” We don’t judge.)

However, things get more complicated if you choose a different kind of dairy.

Your choice of milk could change the optimal dunk time by a few split seconds.

In 2011, researchers published a study in the Journal of Food Science that explained why milk doesn’t immediately turn breakfast cereal into mush: Fats and other solids in the dairy hindered “liquid infiltration,” slowing absorption. The same process is true of cookies, says Jennifer Fideler, a graduate student in food science at North Carolina State University.

Milk, for one, is full of sugars. Sugars are hygroscopic, meaning they hold onto moisture and can prevent liquid from seeping into the cookie. Additionally, fat and carbohydrate molecules are big. They can prevent the water in the milk from infiltrating the cookie’s porous matrix.  “Not only is it likely that the fat content of the milk (whole, 2 percent, skim, even heavy whip!) would affect the rate of moisture migration ... but the fat included in the cookie—and even moreso the cream filling—would help resist the influx of fluid,” Fideler wrote in an email.

Fat content doesn’t just slow down absorption time. It’s also known to enhance the flavor. In 1999, Len Fisher tested more than 200 British biscuit and drink combinations and concluded that milk could make a cookie 11 times more flavorful. (This wasn’t peer-reviewed, and it was sponsored by a biscuit company, so take it for what it’s worth.) “Milk is essentially fat droplets suspended in water and those fat droplets stay around in your mouth and they hang on to the flavour in the biscuit so that the aroma can be released up to the back of your nose,” Fisher told the BBC.

So, if you’re the type of person who dreams of extending the optimal Oreo dunk time while enhancing the flavor, toss the skim milk down the drain and pour a cup of high-fat dairy. Whole milk (3.25 percent butterfat) spiked with half-and-half (generally 10 percent butterfat) could extend your dunk time. But if you wanted to indulge and throw a Hail Mary—and have a few spare notches left in your belt—try dunking in heavy cream (36 percent butterfat). Heck, while we’re at it, why not go all the way and dip it in melted butter (80 percent butterfat).

(We’d like to take this moment to say we are not licensed to give nutritional advice and are not liable for culinary crimes against humanity. So maybe don't do this.)

If you wanted to boost the optimal Oreo dunk time even longer, there’s another principle you can hack: Water Activity.

Water activity is a measurement of how likely something gives away moisture. It’s measured on a scale from 0 to 1: Milk, for example, possesses a high water activity of 0.98. It readily gives its water away. A cookie, on the other hand, has a water activity hovering around 0.3. It holds onto its moisture and is more likely to absorb water.

Food manufacturers and processors have to constantly contend with water activity. It’s critical in determining a product’s safety, stability, and shelf life: Controlling water activity is the easiest way to prevent—and predict—the spread of dangerous bacteria [PDF]. (That’s because items with a high water activity are more likely to give water away to nasty microorganisms, causing spoilage.)

But for our selfishly sweet-toothed purposes today, water activity is just another factor affecting the critical cookie dipping time. A liquid with a lower water activity will hold onto its moisture more tightly than standard milk, Fideler explains. So, if you wanted to extend the optimal dunk time further, you should try to dip your Oreo into dairy that not only contains lots of fats and carbs, but also possesses a relatively low water activity. With that in mind, we have the perfect recommendation: Sweetened condensed milk. (We don’t actually recommend this.)

Boasting a high butterfat content (8 percent), obscene loads of carbs (166 grams per cup), and a relatively low water activity (.87), sweetened condensed milk is perfect if you’re the kind of person who relishes long dunk times and believes “calories” are just another government conspiracy designed to scare you from chugging modernity’s decadent ambrosias.

Dunk away!

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18 Tea Infusers to Make Teatime More Exciting
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Make steeping tea more fun with these quirky tea infusers.

Mental Floss has affiliate relationships with certain retailers and may receive a small percentage of any sale. But we only get commission on items you buy and don’t return, so we’re only happy if you’re happy. Thanks for helping us pay the bills!

#### 1. SOAKING IT UP; \$7.49

Amazon

That mug of hot water might eventually be a drink for you, but first it’s a hot bath for your new friend, who has special pants filled with tea.

#### 2. A FLYING TEA BOX; \$25.98

There’s no superlaser on this Death Star, just tea.

#### 3. SPACE STATION; \$9.99

ThinkGeek

This astronaut's mission? Orbit the rim of your mug until you're ready to pull the space station diffuser out.

#### 4. BE REFINED; \$12.99

This pipe works best with Earl Grey.

#### 5. A RIBBITING OPTION; \$10.93

This frog hangs on to the side of your mug with a retractable tongue. When the tea is ready, you can put him back on his lily pad.

#### 6. ‘TEA’ ALL LIVE IN A YELLOW SUBMARINE; \$5.95

It’s just like the movie, only with tea instead of Beatles.

#### 7. SHARK ATTACK; \$6.99

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This fearsome shark patrols the bottom of your mug waiting for prey. For extra fun, use red tea to look like the end of a feeding frenzy.

#### 8. PERFECT FOR A RAINY DAY; \$12.40

This umbrella’s handle conveniently hooks to the side of your mug.

#### 9. AN EGGCELLENT INFUSER; \$5.75

Amazon

Sometimes infusers are called tea eggs, and this one takes the term to a new, literal level.

#### 10. FOR SQUIRRELY DRINKERS; \$8.95

If you’re all right with a rodent dunking its tail into your drink, this is the infuser for you.

#### 11. HANGING OUT; \$12.85

This pug is happy to hang onto your mug and keep you company while you wait for the tea to be ready.

#### 12. ANOTHER SHARK OPTION; \$5.99

If you thought letting that other shark infuser swim around in the deep water of your glass was too scary, this one perches on the edge, too busy chomping on your mug to worry about humans.

#### 13. RUBBER DUCKIE, YOU’RE THE ONE; \$8.95

Let this rubber duckie peacefully float in your cup and make teatime lots of fun.

#### 14. DIVING DEEP; \$8.25

This old-timey deep-sea diver comes with an oxygen tank that you can use to pull it out.

#### 15. MAKE SWEET TEA; \$10

This lollipop won't actually make your tea any sweeter, but you can always add some sugar after.

#### 16. A SEASONAL FAVORITE; \$7.67

When Santa comes, give him some tea to go with the cookies.

#### 17. FLORAL TEA; \$14.99

Liven up any cup of tea with this charming flower. When you’re done, you can pop it right back into its pot.

#### 18. KEEP IT TRADITIONAL; \$7.97

If you’re nostalgic for the regular kind of tea bag, you can get reusable silicon ones that look almost the same.

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14 Behind-the-Scenes Secrets of Hollywood Food Stylists
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Hollywood food stylists are little short of magicians—only instead of pulling rabbits out of hats, they’re turning piles of mashed potatoes into ice cream sundaes. Indeed, making food (or food-like products) appear photogenic and appetizing onscreen is a job for a true illusionist. Mental Floss spoke to a few food stylists working in TV, film, and commercials—from Game of Thrones to Taco Bell—to bring you the tricks of their magical trade.

#### 1. MOST OF THE FOOD BEING FILMED IS REAL.

While food stylists are well-versed in the old-school swap tricks—using a pint of white glue to impersonate a glass of milk, for example—those are being phased out. Now, directors want actors to interact with their food, and high-definition camera lenses have made the fake stuff much more obvious. Plastic food props only appear in the background of scenes today, where they're less visible and susceptible to scrutiny.

“I only deal with real food,” says Chris Oliver, who has styled food for movies including Gone Girl (2014) and TV shows such as Seinfeld and Big Little Lies. “You also have to think about how a character would cook something or put a plate together. Realistic food is not all beautiful and perfect. I make ugly food and burnt food, too.”

There’s a trend in commercial food styling to present dishes that are less-than-perfect, too. Shellie Anderson, who styles food ads for clients including Burger King and Ragù, says it’s the consumers who are demanding food look more realistic and therefore more approachable.

“People are tired of seeing something in a TV commercial and then ordering it in a restaurant and it doesn't look the same,” she says. “You don’t want it to look staged anymore. You want a burger to look like the cheese naturally dripped off and landed on the plate.”

#### 2. THEY GO THROUGH A LOT OF FOOD ...

iStock

If a food stylist needs one sprig of parsley for a shoot, they’ll often order 10 bunches. They never know what the condition of the parsley is going to be when it arrives from the produce vendor, or if the shoot is going to require more than they originally planned for. Carving a turkey in a scene? That may require two dozen birds if an actor keeps flubbing his line.

“It really depends on how much of a story point the food is and how important the scene is for the director,” Oliver says.

Food stylists usually have relationships with produce vendors, who can look for products with the specific size, shape, and color that stylists need. No bruises or dents, and no frozen lettuce! But stylists can hide those things if they have to.

Ice cream is infamously hard to keep intact because it melts so quickly. Food stylists have been known to replace the scoops with dollops of meringue, which don’t melt, or butter rolled in sugar. Oliver makes her sundaes the day before and sticks them in the freezer, spoons and straws and all. If they freeze rock hard overnight, they can last a few hours on set the next day before being replaced with another sundae lined up in the deep-freeze. Anderson sprays her ice cream with cold spray, an aerosol can of super-chilled gas used for cooling electronics.

#### 3. ... BUT THE FOOD RARELY GOES TO WASTE.

On film and TV shoots, there are rarely leftovers. In fact, good food stylists often compete with the caterers: Actors usually have to eat the food during their scenes, and the crew finishes off the scraps. While shooting a Chinese New Year scene for the show Fresh Off the Boat recently, actress Lucille Soong told Oliver, who was styling that episode, that she was going to skip lunch because she wanted to enjoy eating her food on camera. “That was pretty freaking flattering!” Oliver says.

Because Oliver works on multiple TV shows in a single day, if an item doesn’t get used on set and never comes out of her cooler, she can just take it back to her shop and recycle it for use on another show. If something can’t be used again, she’ll take it home and make salsa or jam. “When it gets really old, I'll just stick it in vodka,” she says.

Commercial shoots tend to have more unused food. Anderson says anything that’s still edible will be given to a food pantry. “I once donated an entire swordfish when we did a commercial for a fish restaurant,” she says. “We never even used it. So I kept it on ice and took it to a men's homeless shelter. They were thrilled to have it.”

#### 4. THEY VALUE FOOD SAFETY.

Another reason food stylists swap out on-camera food so much is because of safety concerns—hot and cold foods need to be kept at certain temperatures that may not be practical on-set. Sushi-grade tuna may be replaced with watermelon, for example, because the fish spoils so easily.

Oliver requires all of her employees to have a food handler’s license. She also only works out of commercial kitchens (including the one on her fully-equipped food styling truck). But not every food styling team does; some prepare food in their homes. “The reason that I get so much work is that everybody knows I'm a chef and I have a real kitchen,” Oliver says. “People trust my food. I’ve done a bunch of movies with Reese [Witherspoon] because she knows that if I’m on set, the food is safe to eat.”

#### 5. WOMEN DOMINATE THE FIELD.

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While there are a few well-known male food stylists, for the most part the key food stylists in the U.S. are women. (Both of Anderson’s daughters are food stylists, too.) The reason for this dates back decades.

Before food styling became its own career in the 1990s, it was up to network employees with home economics degrees (almost always women) to cook on-camera food. Then props departments became responsible. “But props guys can’t even make spaghetti,” Oliver says, laughing. So according to her, these guys would go home and ask their girlfriends or wives to make whatever food was required for the next day’s scene. “Eventually they would just hire their girlfriends or wives to do it; keep the money in the family,” she says. “I know five food stylists who at one time were in relationships with prop masters.”

Also in the 1990s, networks began making more multi-camera TV shows. A lot more food began appearing on screen, and actors openly discussed their dietary restrictions. They were vegan, sugar-free, and low-carb all of a sudden. Oliver trained at the Culinary Institute of America and had worked in restaurants and catering jobs before stumbling into this career. “Because I was a chef, and I understood how food works, I knew how to feed people and make food last on set,” she says. “And I could charge anything I wanted to.”

To get a job as a food stylist today, it helps to know someone already in the industry and have a culinary background. Everyone starts as an intern, and then may be able to work their way up to being an assistant and then a stylist. “Not everybody can be a food stylist,” Anderson says. “You have to be able to cook, but you still have to be creative. And you have to be able to work fast and under pressure.”

#### 6. THEY LIVE OUTSIDE OF LOS ANGELES NOW.

Now that movies and TV shows are frequently filmed all over the world, instead of just on sets in Los Angeles, food stylists can be based anywhere. There is a concentration of stylists who live in Vancouver, British Columbia, for example, because that's where many shows are now filmed. Labor laws also often require production crews to hire locally, so residing outside of L.A. can be a real advantage.

Some commercial food stylists, like Anderson, are flown in for shoots. “Food stylists can make or break a commercial,” she says. “And if you have trouble and you don't know what you're doing, it can be a real problem for production.” This is especially true on out-of-the-country shoots, when stylists don't have the resources that they’re used to. So clients who know her and her skill level, such as Taco Bell, will fly her to wherever they're filming.

#### 7. THEY TALK LIKE CHEFS AND FILMMAKERS.

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Food stylists use a mix of back-of-the-house kitchen lingo and film jargon. Some examples: The “hero” is the food that is written into the script, is being shot, and must appear in front of the actor. “Bite and smile” is when an actor takes a bite of food and pretends to like it. “All day” is the total number of items needed; if they needed five turkeys on a set, they would say “five all day.”

#### 8. NOT EVERYONE WANTS TO BE IN THE MOVIES.

Food stylists usually specialize in different media: film, TV, commercials, or print editorial. Stylists often prefer one over the other. Print editorial is shot in a controlled studio and tends to have more leeway for creativity. Commercials are tied to a brand’s specifications. Film and TV shoots on location are in unpredictable settings and can be physically demanding. But everyone tends to work long, 12- to 14-hour days. For commercials, it can often take three days to shoot one 30-second spot.

When working on a movie or TV show, the actors’ demands usually take precedence over the food needs. After working on one film, Anderson had had enough and dedicated herself to commercial work. “When I do commercials, the food is the star,” she says. “So [the directors] want to make sure I have everything I need. On a movie, they could care less about you.”

#### 9. FOOD STYLISTS DON’T JUST MAKE FOOD.

NBC

Sometimes food stylists are expected to create sci-fi props—what would a person eat in the year 3000?—or fantasy items that they have no experience with. While working on the TV show Agents of S.H.I.E.L.D., Oliver made gooey, edible slime from her imagination. “I also had to roll with the [actors’] different dietary needs,” she says. “I had to be able to make vegan slime, sugar-free slime, gluten-free slime, gelatin-free slime … Slime, any way you want it.”

Oliver also has to make items that you don’t really want to put in your mouth. While filming the TV show Big Little Lies, she made green-colored vomit for actress Reese Witherspoon of cucumbers and parsley. She says it was tasty, like green gazpacho. For a war film, she had to make 400 pounds of “dirt” for a group of prisoners of war to eat. She got Pakistani soil shipped to California so she could match it exactly. (Her recipe: ground-up Oreos and graham crackers, mixed with brown sugar and white sugar.)

Janice Poon, the food stylist behind the cannibal-centric TV show Hannibal, had a more challenging obstacle: how to make dishes that resembled human flesh. She refused to do research on cannibalism websites, she told HopesAndFears.com, but she studied a lot of anatomy books. “I’m just like Dr. Frankenstein,” Poon said. “I’m always stitching things, exchanging, putting one kind of meat on a different bone, patching stuff together. ... The key is to let the viewer’s imagination do more of your work.” She transformed veal shanks into human legs, and used prosciutto slices to mimic slivers of a human arm.

#### 10. THEY PACK SOME SERIOUS GEAR.

When shooting, stylists need to be prepared for anything. They carry tools including tweezers, scissors, paint brushes, knives, offset spatulas, wet wipes, syringes, rulers, Q-tips, and spritz bottles.

“Think about your kitchen: all of your mixing bowls and utensils … I have that times 10 in my kit,” Anderson says. She also has a torch on hand for quick-cooking burgers and cold spray for extending the life of ice cream. Other stylists may have glycerin for adding shine or Kitchen Bouquet sauce for adding color. Poon often uses a white ceramic knife so she can see what she's doing on dark sets and work more quietly, so as not to disturb the acting process.

Food stylists sometimes work in erratic environments. Oliver brings her own 17-foot, cab-over truck to shoots. “It has a lift gate and everything's on wheels, so I can take everything out and have a kitchen in the middle of the desert, if I want,” she says. Inside, she has a full commercial kitchen: a six-burner stove, refrigerator, microwave, grill, freezer, prep tables, storage, TV, and a generator.

#### 11. THEY’RE SKILLED AT IMPROV.

When production starts, the prop team sends memos to actors or their reps asking about food allergies and dietary restrictions. As trained chefs, most food stylists are happy to accommodate such limitations, cooking convincing swap-outs. “I find out what they will eat and make it happen,” Oliver says.

For example, Poon once made a convincing vegan “raw meat” on Hannibal using only grains. “I made lamb tongues out of bulgur and water,” Poon told HopesAndFears.com. “It’s like making a Lebanese kibbeh. You mix cracked wheat with water and it makes a kind of mush that holds together. The texture is a little 'nubbly,' so I added a pink food coloring, made little tongues out of kibbeh dough, steamed them up, and they were my little lambs’ tongues.”

Sometimes a director changes his or her mind at the last minute, and what was supposed to be a spaghetti dinner, for example, is now a breakfast spread. So the food stylist will squish down the meatballs and turn them into sausage patties. In an interview with NPR, food stylist Melissa McSorley recalled a time when a movie director suddenly decided to cut open a birthday cake she had made. The problem: It wasn’t real.

“So we had to cut the cake that was made out of Styrofoam, and I had to use a saw in order to do it because none of my knives could get through it,” McSorley said. “And then we had to layer in cake so it did look like it was real and then we had to send people scurrying to many markets to find white layer cake so it looked like people in the background could be actually be eating the cake.”

#### 12. THERE’S ALWAYS THE SPIT BUCKET OPTION.

HBO

Professional actors will often pick at the food in front of them, but not eat it because they know their scenes are going to require a lot of takes; they could be eating birthday cake for eight hours straight. Others dive right in. For a scene in The Guilt Trip (2012), actress Barbra Streisand had to pretend she was in a steak-eating contest. Oliver says they went through more than 300 pounds of meat for that scene’s three-day shoot and Streisand was totally game.

“But there’s a part towards the end where she has to eat really quickly and do a line without, you know, choking and dying,” Oliver says. “So I switched out the steak with seared watermelon. She took one bite and it sort of dissolved in her mouth, so she could do her line. If you watch it, and you really listen, you can hear the crunch of the watermelon.”

Sometimes, though, the spit bucket is the only option. In season one of Game of Thrones, the character Daenerys Targaryen had to eat a whole horse heart. But the actress who plays her, Emilia Clarke, actually had to eat 28. They were made of solidified jam, which tasted like “bleach and raw pasta,” she told The Mirror. “It was very helpful to be given something so truly disgusting to eat, so there wasn’t much acting required. Fortunately, they gave me a spit bucket because I was vomiting in it quite often.”

#### 13. SOMETIMES THEY’RE SURPRISED BY THE FINAL PRODUCT.

Food stylists who work on multiple projects at a time, like Oliver, can’t always stick around to see how their food will be used. They may later find out that a gorgeous spread was relegated to the background, or worse. For a scene in Seinfeld, Oliver was once asked to prepare a perfect, glistening turkey. “Later I was home watching the episode and they had put the turkey on Kramer!” she says. “I was literally crying I was laughing so hard. Never in a million years did I think my turkey was going to end up with a guy’s head.”

#### 14. THEY THROW EPIC DINNER PARTIES.

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You’d think that being around food all day would make food stylists tired of making things look nice. But most food stylists love to cook, and on the days they aren’t working, they love to throw parties. “People always expect to have beautiful food,” Anderson says. “And I don't disappoint.”

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