2025-12-26 22:00:43
This is Behind the Blog, where we share our behind-the-scenes thoughts about how a few of our top stories of the week came together. This week, we discuss our recommendations for the year.
SAM: Whenever we shout out a podcast, book, TV show, or other media or consumable product on our own podcast or in a Behind the Blog, you guys seem to enjoy it and want more. To be totally real with you, I get a ton of great recommendations from you, the readers and listeners, all year long and am always learning a lot from the things you throw in the comments around the site and on social media. The 404 Media community has good taste.
We talked through some of our top recommendations of the year in this week’s podcast episode, but here’s a more complete list of what each of us has enjoyed this year, and thinks you might also find worth digging into.
2025-12-25 22:00:41
I am starting to think I will never receive my personalized, likely AI-generated horny Shrek Christmas ornaments I purchased from Wear and Decor. I had hoped the indecent and probably unauthorized Shrek ornament depicting the green ogre getting a blowjob would arrive before Christmas and, ideally, before I traveled home for the holidays. I doubt that’s going to happen. I think I’ve been rooked.
The ornament depicts Shrek, his eyes wide and a smile on his ogre lips, as a long haired Fiona descends upon his crotch. “Let’s get Shrekxy and save Santa the trip,” reads a caption above the scene on the online retailer Wear and Decor read. There was space at the bottom where I could personalize the ornament with the name of myself and a loved one, as if to indicate that I was Shrek and that Fiona was my wife.
When I showed it to my wife weeks ago, after we first put up our Christmas tree, she simply said “No.” “Don’t you think it’s funny?” I said.“You’re supposed to be shopping for a tree topper,” she said.
“It’s only $43.99 for two,” I said. “That’s a bargain.”She stared.
I had been shopping for a tree topper online when I stumbled into the strange world of AI generated pornographic custom ornaments starring popular cartoon characters listed on sites of dubious repute. I do not know what it says about my algorithms that attempting to find a nice, normal, and classy tree topper for Christmas led me to a horrifying world of horny—and seemingly AI generated— knock off novelty Christmas ornaments. I don’t want to reflect on that. I just want to show you what I’ve stumbled upon.
There is a whole underground world of erotic Christmas ornaments starring famous cartoon characters. Some of them are on Etsy, but most are dubious looking sites with names like Homacus and Pop Art. There are themes that repeat. Spanking. Butts. In flagrante delicto bedroom scenes. The promise that the purchaser can personalize these gifts with the name of their loved one and the logo of their favorite football team. I am sure the Baltimore Ravens love that you can buy an ornament depicting a nude Grinch gripping the ass of a female Grinch (notably not that of his canonical wife Martha May Whovier) emblazoned with their logo.
“My butt would be so lonely without you touching it all the time,” reads the inscription above Zootopia’s Nick Wilde with Judy Hopps bent over his knee. You can purchase this same scene with Belle and Beast, Rey and Ben from Star Wars, a pair of Grinches, or Jack Skellington and Sally from Nightmare Before Christmas. In another variant, a male cartoon character is bent over the ass of a presenting female. Shrek is nose deep in Fiona’s ass. “I adore and love every part of you—Especially your butt. Merry Grinchmas,” the caption reads.
The ornaments rarely carry the name of the actual characters they’re depicting. They are “Funny Fairytale Ornament” and “Funny Green Monsters” and “Personalized Funny Lion Couple Christmas Ornament, Custom Name Animal Lovers Decoration, Cute Romantic Holiday Gift.” These titles feel like hold overs from the prompt that was, I assumed, used in an AI image generator to create the ornaments. There are other signs.
Some of the Shrek ornaments refer to the green ogre as Grinches. Shrek often looks correct but Fiona is sometimes Yassified, her ogre features smoothed and made more feminine. In an ornament with Belle draped over Beast’s leg, the smiling prince has seven fingers on his left hand. The lighting in the “photos” of the objects is never quite right.
Time Magazine declared the “Architects of AI” as its Person of the Year in 2025 and there is something about flipping through these listings for cheap and horny ornaments that feels like living in the future. This is the world the architects have built, one where some anonymous person out there in the online ether can quickly generate a lewd cartoon drawing of something from your childhood in an attempt to swindle you for a few bucks while you’re shopping for a Christmas tree topper.
I clicked “purchase” on the $40 Shrek blowjob ornament on November 28. The money was deducted from my account but I have not received confirmation of shipping.
2025-12-25 22:00:22
Scientists have discovered a hotspot of weird marine life more than two miles underwater in the Arctic, making it the deepest known example of an environment called a gas hydrate cold seep, according to a new study in Nature Communications.
Researchers found the thriving ecosystem some 2.2 miles under the Greenland Sea using a remote operated vehicle during the Ocean Census Arctic Deep EXTREME24 expedition in 2024. Gas hydrate seeps are patches of seafloor that releases large amounts of gasses, such as methane; the newly discovered site is more than a mile deeper than any previously documented gas hydrate.
The discovery sheds new light on these influential seeps, which play a role in the climate and carbon cycle and support chemosynthetic ecosystems that feed on seafloor gasses instead of sunlight. Giuliana Panieri, the chief scientist of the expedition and lead author of the new study, recalled yelling out with excitement when the team received the first visuals of the seafloor hotspot, which the researchers named the Freya gas hydrate mounds.
“It was crazy because we saw several of these mounds, which are filled with gas hydrates, and all the organisms living there,” said Panieri, who is a professor at University of Tromsø – The Arctic University of Norway and the director of the Italian National Research Council's Institute of Polar Sciences, in a call with 404 Media.
“What is fascinating when we have this kind of expedition is the organisms that are living down there,” she added. “At a water depth of almost 4,000 meters, you have these dense oases of organisms. I know that there are many new species. I have to admit, it was very exciting.”
Some of the lifeforms found at Freya mounds: Image: UiT / Ocean Census / REV Ocean
Panieri and her colleagues decided to explore this region after previous detections of massive plumes of gassy bubbles rising up from the seafloor. One of these plumes measured two miles in height, making it the tallest plume of this kind ever found in the oceans. While the team expected to find geological activity, it was still a surprise to see this wealth of gas-stuffed mounds, leaking crude oil and methane, as well as the ecosystem of tubeworms, snails, crustaceans, and microbes that are fueled by chemicals from the seep.
In addition to discovering this biological hub at the Freya mounds, the team also explored ecosystems living on hydrothermal vents in the nearby seafloor in the Fram Strait. Hydrothermal vents form at fissures in the seafloor where hot mineral-rich water erupts into the ocean, and they are also known for supporting rich chemosynthetic ecosystems.
The expedition revealed that the organisms living in the hydrate seeps and the vent systems are related, suggesting an ecological connectivity in the Arctic that is absent in other parts of the ocean.
“The Fram Strait of the Arctic is a rare place where deep-sea vents and seeps occur close to each other,” said study co-author Jon Copley, a professor of ocean exploration and science communication at the University of Southampton, in an email to 404 Media.
“The deep Arctic is also a part of the world where there aren't as many deep-sea species overall as other regions, because deep-sea life is still recovering from when a thick ice sheet covered much of the ocean around 20,000 years ago,” he continued. “But hydrothermal vents and cold seeps are an important part of deep-sea biodiversity there today, because life carried on in those chemosynthetic oases beneath that ice-capped ocean.”
Freya gas hydrate mounds with different morphologies. Image: UiT / Ocean Census / REV Ocean
Gas hydrates also store huge volumes of greenhouse gases, like methane, which could potentially be released as ocean temperatures rise, making these environments a bit of a wild card for climate predictions. While the Freya mounds are too deep to be affected by ocean warming, its discovery helps to fill in the map of these oily, gas-rich sites in the ocean.
To that point, these seeps are also potential sites for resource extraction through offshore oil drilling and deep sea mining. A central goal of the Ocean Census Arctic Deep expedition is to explore these remote regions to document their ecological activity and assess their vulnerability to future industrial activities.
“Research has already established that hydrothermal vents must be protected from deep-sea mining anywhere in the world, because of the unique colonies of species that live around them,” Copley said. “Our study indicates that deep cold seeps in the Arctic will need similar protection, because they are part of the same web of life with hydrothermal vents in that region. And there are undoubtedly more deep methane hydrate seeps like the Freya Mounds out there in the Arctic, as other deep bubble plumes have been detected nearby.”
“So our discovery shows how much there still is to explore and understand about Arctic deep-sea life—and the need for caution and protection if the Norwegian government resumes plans for deep-sea mining there,” he added, noting that Norway’s parliament has put these plans temporarily on hold, but they could reverse that decision in the future.
This is why Panieri and her colleagues believe that it is critical to secure more funding and support for Arctic exploration, and ocean research more broadly. These expeditions not only reveal new and exotic organisms, they have also been inspired novel biomolecules used in medicines, among other applications.
“The sea floor and the ocean is almost unknown,” Panieri said. “There is so much to be investigated. I think this is also the take-home message here: Every time that we have the possibility to see the seafloor, we discover something new.”
2025-12-24 22:00:14
Whenever I tell people I’m getting back into tapes, their faces immediately light up.
There’s a genuine excitement in peoples’ expressions these days when I mention physical media. Lately I’ve been talking about the cheap walkman I bought on a recent trip to Tokyo, and the various little shops where I hunted for music on cassettes. Unlike in Europe and the US, physical media never went out of vogue in Japan, and many people still have a strong preference for shopping in-person. This made Tokyo the ideal place to rediscover my love of portable analog music.
I searched through racks of tapes stacked on top of an old piano in a back-alley store on the edge of Shimokitazawa, a neighborhood known for thrifted fashion and oddball record shops. On recommendation from a friend-of-a-friend, I checked out a specialist shop on a sleepy street in Nakameguro, where cassettes easily outnumbered vinyl records 10-to-1. Almost always, I steered myself toward local artists whose names I didn’t recognize. Sometimes, I bought tapes based on the cover art or description alone. Most second-hand music stores in Tokyo keep everything sealed in plastic, so you either have to bother the shopkeep, or just trust your gut and take a chance.
This kind of music discovery delights people when I describe it to them. Sometimes they start telling me about rediscovering their old CD collection, or wanting to track down an old iPod Classic to experience their music library away from the surveillance and excess of big tech platforms. Maybe it’s just because I live in a particular social bubble in a particular countercultural pocket of New York City. But recently, the conversations I’ve had on this topic have got me feeling like the culture of music is shifting.
People are leaving Spotify, and those who aren’t seem embarrassed about using it. Major artists pulled their music off the platform this year in protest of the company’s ICE recruitment ads and connections to military drones, and posting your Wrapped stats has gone from a ubiquitous year-end pastime to a cultural faux pas. Many folks are sick of streaming in general. They’re sick of giant corporations, algorithmic playlists, and an internet infested with AI slop. Artists are tired of tech platforms that pay them virtually nothing, owned by degenerate billionaires that see all human creativity as interchangeable aesthetic wallpaper, valued only for its ability to make numbers go up. Everywhere I go, people are exhausted by the never-ending scroll, desperately wanting to reconnect with something real.
My own path to re-embracing physical media unfolded in stages. Last year, I canceled my Apple Music subscription and started exclusively listening to music I bought from artists on Bandcamp. I still have a large mp3 library, and I thought about setting up a self-hosted media server to stream everything to my phone. But ultimately, I got lazy and wound up just listening to albums I downloaded from the Bandcamp app. Then I ran out of storage on my phone, and the amount of music I had available on-the-go shrank even more.
When I came to Tokyo, a friend took me to a store that sold cheap portable cassette players, and I knew it wouldn’t be a huge leap to take my music listening fully offline. The walkman I bought is unbranded and has a transparent plastic shell, allowing you to watch all the little mechanical gears turning inside as the tape spools around the wheels and past the playheads. It was one of the easiest purchasing decisions I’ve made in recent memory: After years of psychic damage from social media and other phone-based distractions, I was ready to once again have a dedicated device that does nothing but play music.
There are lots of advantages to the cassette lifestyle. Unlike vinyl records, tapes are compact and super-portable, and unlike streaming, you never have to worry about a giant company suddenly taking them away from you. They can be easily duplicated, shared, and made into mixtapes using equipment you find in a junk shop. When I was a kid, the first music I ever owned were tapes I recorded from MTV with a Kids’ Fisher Price tape recorder. I had no money, so I would listen to those tapes for hours, relishing every word Kim Gordon exhaled on my bootlegged copy of Sonic Youth’s “Bull in the Heather.” Just like back then, my rediscovery of cassettes has led me to start listening more intentionally and deeply, devoting more and more time to each record without the compulsion to hit “skip.” Most of the cassettes I bought in Tokyo had music I probably never would have found or spent time with otherwise.
Getting reacquainted with tapes made me realize how much has been lost in the streaming era. Over the past two decades, platforms like Spotify co-opted the model of peer-to-peer filesharing pioneered by Napster and BitTorrent into a fully captured ecosystem. But instead of sharing, this ecosystem was designed around screen addiction, surveillance, and instant gratification — with corporate middlemen and big labels reaping all the profits.
Streaming seeks to virtually eliminate what techies like to call “user friction,” turning all creative works into a seamless and unlimited flow of data, pouring out of our devices like water from a digital faucet. Everything becomes “Content,” flattened into aesthetic buckets and laser-targeted by “perfect fit” algorithms to feed our addictive impulses. Thus the act of listening to music is transformed from a practice of discovery and communication to a hyper-personalized mood board of machine-optimized “vibes.”
What we now call “AI Slop” is just a novel and more cynically efficient vessel for this same process. Slop removes human beings as both author and subject, reducing us to raw impulses — a digital lubricant for maximizing viral throughput. Whether we love or hate AI Slop is irrelevant, because human consumers are not its intended beneficiaries. In the minds of CEOs like OpenAI’s Sam Altman, we’re simply components in a machine built to maintain and accelerate information flows, in order to create value for an insatiably wealthy investor class.
On one hand, I empathize with those who still feel like they get something out of streaming. Having access to so much music can feel empowering, especially when so many people feel like they lack the time and resources to develop a music-listening practice. “What streaming service should I use instead of Spotify?” is a question I’ve been seeing constantly over the past few months.
Here’s my contrarian answer: What if there’s no ethical way to have unlimited access to every book, film, and record ever created? And moreover, what if that’s not something we should want?
What if we simply decided to consume less media, allowing us to have a deeper appreciation for the art we choose to spend our time with? What if, instead of having an on-demand consumer mindset that requires us to systematically strip art of all its human context, we developed better relationships with creators and built new structures to support them? What if we developed a politics of refusal — the ability to say enough is enough — and recognized that we aren’t powerless to the whims of rich tech CEOs who force this dystopian garbage down our throats while claiming it’s “inevitable?”
Tapes and other physical media aren’t a magic miracle cure for late-stage capitalism. But they can help us slow down and remember what makes us human. Tapes make music-listening into an intentional practice that encourages us to spend time connecting with the art, instead of frantically vibe-surfing for something that suits our mood from moment-to-moment. They reject the idea that the point of discovering and listening to music is finding the optimal collection of stimuli to produce good brain chemicals.
More importantly, physical media reminds us that nothing good is possible if we refuse to take risks. You might find the most mediocre indie band imaginable. Or you might discover something that changes you forever. Nothing will happen if you play it safe and outsource all of your experiences to a content machine designed to make rich people richer.
2025-12-24 22:00:07
We start this week with Jason’s story about Flock exposing a bunch of AI-powered cameras. These cameras zoom in on people as they walk by, sometimes so closely you can read what’s on their phone screen. After the break, we talk about some of our biggest stories this year. In the subscribers-only section, we give some of our personal recommendations of games, other reporting, or just a more chill life.
Listen to the weekly podcast on Apple Podcasts, Spotify, or YouTube. Become a paid subscriber for access to this episode's bonus content and to power our journalism. If you become a paid subscriber, check your inbox for an email from our podcast host Transistor for a link to the subscribers-only version! You can also add that subscribers feed to your podcast app of choice and never miss an episode that way. The email should also contain the subscribers-only unlisted YouTube link for the extended video version too. It will also be in the show notes in your podcast player.
2025-12-23 07:46:13
Archivists have saved and uploaded copies of the 60 Minutes episode new CBS editor-in-chief Bari Weiss ordered be shelved as a torrent and multiple file sharing sites after an international distributor aired the episode.
The moves show how difficult it may be for CBS to stop the episode, which focused on the experience of Venezuelans deported to El Salvadorian mega prison CECOT, from spreading across the internet. Bari Weiss stopped the episode from being released Sunday even after the episode was reviewed and checked multiple times by the news outlet, according to an email CBS correspondent Sharyn Alfonsi sent to her colleagues.
“You may recall earlier this year when the Trump administration deported hundreds of Venezuelan men to El Salvador, a country most had no connection to,” the show starts, according to a copy viewed by 404 Media.