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Jeremy comes face to face with his nemesis: the badger. Clarkson is informed by Charlie that his cows are in danger of contracting Bovine Tuberculosis from the badgers on the farm. He decides to resolve the issue by killing the creatures but is informed that this is illegal in most cases. Faced with a danger to his herd, Clarkson must hope for the best.

Jeremy's restaurant opens in a matter of days, but it's all on the QT. Jeremy does not want the council to find out until just before it opens. Which is why Jeremy and Kaleb are laying pipes for water and electrics across a field in the dead of night. Pepper the heifer is still very much alive and is enjoying the company of Break Heart Maestro a lot.
Two days until Restaurant Opening Day, Jeremy informs the council and it's game on: Alan and his team of builders work at full throttle, Pip and her team of chefs do too, and the blend of excitement and panic is affecting everyone. The day itself arrives. Will the Diddly Squat Farm Restaurant sink or swim? Or will the council shut it down before the first steak hits the grill?

The results of the TB test are in... but just as important is the fact that numerous calves are scheduled to be born in the next couple of weeks. The first few happen very quickly in the dead of night before Jeremy's woken up, but soon he and Kaleb are dealing with some very challenging situations. Jeremy also meets local farmers to discuss a farmers' co-operative to supply the restaurant - much-needed by some who are really struggling - because the clock is counting down to Decision Day, when the Council will hold a public meeting to decide the fate of Jeremy's restaurant.
After weeks of waiting, the day of judgement for Clarkson's restaurant is at last here. He and Charlie set off to put their case to the powers that be. Is it a Yes? Or is it a No?

Spring has sprung at Diddly Squat Farm, and that heralds the release of cows and chickens from their winter captivity. Jeremy's restaurant plans are in tatters, but that's not the end of his dealings with the council, who are also sending letters raising issues about what's being sold in the shop itself. From here on in, Jeremy decides that he and all around him must operate in a world of loop-holes and just-within-the-law cunning wheezes. Pepper the prized heifer still isn't pregnant and her last chance saloon arrives in the shape of a bull called Break Heart Maestro.
A chat with Alan the builder provides a Eureka Moment: the restaurant idea is not dead after all! There's much excitement as building work begins and Jeremy meets a chef called Pip. There's less excitement when he has to take his first steer to the abattoir.

Everyone's still reeling from the council's decision and its implications: the money Jeremy's spent on cows for the restaurant, the locals who won't find work there now and the farmers' co-operative that's now defunct. Charlie sets out to find a legal team to help Jeremy appeal the decision, as Jeremy and Kaleb get to work on tagging the new calves and attempting to navigate a government helpline where you're supposed to register them.
There are other useful distractions from the council in the shape of Diddly Squat's Hedge Laying Competition and a mouse that brings the whole farm to a standstill. The legal team that Charlie has assembled pay a visit. They outline their strategy for the appeal, but also the costs that come with it.

(Click CC for subtitles) Ranjit, a farmer in India, takes on the fight of his life when he demands justice for his 13-year-old daughter, the victim of a brutal gang rape. His decision to support his daughter is virtually unheard of, and his journey unprecedented. Nominated for Best Documentary Award, the film has an undeniable and unshakable power. It is one of those documentaries where anyone who watches it won’t be the same person by the end as they were when it started.
To Kill a Tiger offers the viewer remarkable access to village life, not just in the modest home where Ranjit’s family make roti on an open fire, but in the fields where they herd goats and collect water from a pump. The camera finds quiet details, like Ranjit’s daughter carefully weaving ribbons into her hair. Women and men insist that the community, not the criminal court, should solve the issue with a forced marriage—to remove the ‘stain on her’. The men become increasingly hostile—to the family, and eventually to the film crew itself.