We break down the entire fish from head to tail, exploring the different cuts of tuna, how the fat content and texture change throughout the fish, and which parts are best suited to sushi, sashimi, grilling and cooking. Along the way, we taste some of the most prized and unusual cuts.
In this video:
• Break down a whole 200kg bluefin tuna • Learn professional tuna butchery techniques • Explore the different cuts of bluefin tuna • Taste lean, medium-fatty and fatty tuna • Learn how tuna is prepared for sushi and sashimi • Discover rarely seen cuts • Learn traditional Japanese sushi techniques
• See how different parts of one tuna can taste completely different
The curious thing is that this passionate way of teaching Western culture is thriving right now—but outside of the West. In the US, the insiders who speak candidly will tell you that the humanities is in crisis. You can measure it in many ways—declining enrollment, shrinking departments, poor test results, increased cheating, resistance to reading, etc. All the metrics are bad.
But that’s not what’s happening in China. The study of western culture is in the ascendancy there. You could even say it’s hot and trendy.
People got a taste of this recently when director Christopher Nolan sat down for an interview with Yiyang Zhuge, who is a trained classicist perhaps best known for translating Plutarch’s Moralia into Chinese (and Hannah Arendt, too).
Nolan was probably expecting another pop culture discussion of his film version of Homer’s Odyssey. But what he got was something very different.
Whichever side of the sinophone media sphere you’re on, you’ve likely already seen it: The interview about The Odyssey, a conversation between Chinese podcaster Zhuge Yiyang (who goes by Zhong Shu) and Christopher Nolan. In the interview, Zhong seems intent on getting beneath the film’s surface, pressing Nolan on the philosophical and religious underpinnings of his adaptation and connecting his directorial choices to the anxieties of “an age that demands apology from greatness.” She asks whether Nolan has “Christianized” the story by introducing concepts like atonement.
The interview quickly went viral on X, where English-speaking viewers praised it as one of the most thoughtful Nolan interviews they’d seen in years, while not quite hiding their surprise that it came from China. But as the Chinese and American internets started reacting to one another, things got weird.
Internet sleuths on X and Xiaohongshu traced Zhong’s ties to American conservative and libertarian intellectual networks. Zhong dropped a podcast episode bashing her newfound critics, after Western audiences and media struggled to interpret her. Chinese commentators went after her for misrepresenting philosophical ideas. Meanwhile, she landed on the cover of Esquire China alongside a handful of other podcaster-influencers. More recently, Chinese internet users have begun claiming (and unearthing evidence) that many of her episodes directly lift arguments and passages without attribution from English-language sources, including the podcast Old School, and from The Atlantic, and The New Yorker magazines.
As someone who spends an unhealthy amount of time on both internets, it has been surreal to watch how Zhong Shu has been interpreted and received so differently by intellectuals inside and outside of China. [...]
But to understand why this interview happened in the first place, it helps to understand the media ecosystem that produced someone like Zhong Shu. For Western readers, it’s easy to mistake the depth of this interview as evidence that China has an especially vibrant cultural media. In some ways, the opposite is true.
Zhong Shu is not the only independent creator Nolan spoke to on his China media tour for The Odyssey; Universal Pictures apparently sought out independent creators rather than traditional entertainment reporters, a strategy increasingly common for publicity organizers for Western celebrities visiting China, from Tim Cook to Maye Musk. As traditional media has lost much of its cultural credibility and become more constrained, influence has shifted toward specialized online communities anchored by creators with their own audiences. The PR strategy is an acknowledgment that the supposedly mainstream cultural press once mediating these conversations is now practically nonexistent.
