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Plotters Decide to Kill the Archduke

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beThe First World War was an unprecedented catastrophe that killed millions and set the continent of Europe on the path to further calamity two decades later. But it didn’t come out of nowhere. With the centennial of the outbreak of hostilities coming up in August, Erik Sass will be looking back at the lead-up to the war, when seemingly minor moments of friction accumulated until the situation was ready to explode. He'll be covering those events 100 years after they occurred. This is the 110th installment in the series. 

March 26 - 27, 1914: Plotters Decide to Kill the Archduke

In March 1914, the Balkan cauldron was simmering away, as Austria-Hungary faced fresh difficulties in Albania and Serbia and Montenegro threatened to merge, promising further instability. But it was a plot unfolding behind the scenes that lit the fuse for the greatest conflict in history. 

At first glance March 7, 1914 marked a diplomatic success for Austria-Hungary, as a German aristocrat, Prince Wilhelm Friedrich Heinrich of Wied, arrived in the Albanian city of Durazzo to take the throne of the new nation. This was supposed to be the culmination of several years of diplomacy and saber rattling by Austria-Hungary’s foreign minister Count Berchtold, who persuaded the other Great Powers to create a new, independent Albania to deny Serbia access to the sea after the First Balkan War (the Austrians feared Russia might use a Serbian port as a naval base). The only problem with the scheme was that it completely ignored reality: The Prince of Wied commanded neither troops nor loyalty in Albania, and his “authority” was confined to Durazzo, propped up by a small Dutch-Austrian force. It wasn’t long before a powerful tribal leader, Esad Pasha Toptani, began plotting rebellion in the hopes of grabbing the crown.

Meanwhile, Montenegro and Serbia were in talks to create a customs union as a precursor to a full political union. This was another nightmare scenario for Austria-Hungary, as it would give Serbia its long-coveted access to the sea and set the stage for the final struggle to liberate the Dual Monarchy’s Southern Slavic peoples. Montenegro’s King Nikola wasn’t necessarily thrilled about the idea of Serbia absorbing his tiny kingdom but the great Slavic patron, Russia, supported the merger. So on March 15, Nikola tried to put the best face on things by inviting Serbia’s King Peter to negotiations for an eventual union that would, the Montenegrin king wrote, “give joy not only to the peoples of Serbia and Montenegro but also to the brother Serbs not yet liberated [and] all Southern Slavism…” On April 2, Serbia’s King Peter responded with a letter expressing “tremendous joy” over the idea, as “such fraternal agreement would form the best foundation for the future of Serbia…”

Although negotiations were put on hold by the outbreak of hostilities a few months later, contemporaries recognized that the Serbian-Montenegrin union was itself a possible flashpoint for a continent-wide war. Following a visit to Vienna, on April 5 Kaiser Wilhelm II reported an alarming rumor to the German foreign office: “King Nikita is secretly to sell his land to Serbia, Russia would in the event advance the sum and thereby acquire a claim to compensation on the coast… If it later comes to light and Austria wants to put up an opposition and call the Serbs to account, Russia would at once go to their help and world war would be upon us.”

The Conspirators Target Franz Ferdinand 

In March 1914, a ragtag group of part-time high school students, pamphleteers, and coffeehouse intellectuals began plotting a murder that would shake the world to its foundations—although at the time none of them had any idea what its real impact would be. While many details remain murky due to conflicting accounts, historians have pieced together the rough outline and timing of the plot, including the role played by members of Unity or Death, an ultranationalist cabal directed by Serbian military officers in Belgrade also known as the Black Hand, and Young Bosnia, an underground organization in Austrian Bosnia.

For several years, a Bosnian Serb teenager and member of Young Bosnia, Gavrilo Princip (above, top row, left), had been drifting back and forth between Sarajevo, the provincial capital of Austrian-controlled Bosnia, and the Serbian capital Belgrade, where he was supposedly attending high school but actually spent most of his time talking politics with other radical Serbian nationalists in grimy cafés. On March 13, 1914, after a visit home to Bosnia Princip returned to Belgrade, where he was soon to be found in his usual haunts.

In late March, one of Princip’s café colleagues, Nedjelko Čabrinović (above, top row, right), supposedly received an envelope with no return address, containing a clipping from a Bosnian or Croatian newspaper about Archduke Franz Ferdinand’s planned visit to Sarajevo on June 28—known to Serbs as Vidovdan, the anniversary of the Serbian defeat by the Turks at the Field of Blackbirds in 1389. In this version of events, Čabrinović showed the clipping to Princip, who shared his indignation at the apparent insult in the visit’s timing, and on March 27 the friends swore a secret oath to assassinate the heir to the Austrian and Hungarian thrones.

Meanwhile Princip’s best friend in Sarajevo, a nationalist newspaper editor named Danilo Ilić (who had recently joined Unity or Death, also known as the Black Hand—above, top row, center) also received word about the Archduke’s planned visit around this time—again, supposedly from a newspaper clipping sent to him anonymously. However he learned about it, Ilić was thinking along the same lines as Princip by late March, when he met his friend Muhamed Mehmedbašić (not pictured), a Bosnian Muslim and fellow member of Young Bosnia, who was still hoping to carry out an earlier plot to assassinate Oskar Potiorek, the Austrian governor of Bosnia.

On March 26, 1914, Ilić told Mehmedbašić that the plan to kill Potiorek had been canceled by the Black Hand’s shadowy leadership—but added that a new plot was being organized against the life of the Archduke. Princip later claimed that he wrote to Ilić around Easter (April 12, 1914) to recruit him into the conspiracy, only to find that Ilić was already considering a similar plan. In the following weeks the conspiracy grew as Princip and Čabrinović recruited their friend Trifun Grabež in Belgrade (above, bottom row, left), while Ilić enlisted Vaso Čubrilović (bottom row, center) and Cvjetko Popović (bottom row, right), both living in Sarajevo.

Some of the conspirators later denied that they had any outside help organizing the “outrage” (as terrorist attacks were termed): At their trial, Čabrinović claimed, “In the company we frequented the conversations always turned on outrages… Nobody told us straight out: ‘kill him,’ but in those circles we came round to the idea by ourselves,” and Princip insisted, “The idea of it originated with us and it is we who carried it out.” But they were almost certainly inspired and directed by members of the Black Hand, led by the chief of Serbian military intelligence, Dragutin Dimitrijević, codename Apis (below, left).

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For one thing, the plotters needed weapons; thus Princip got in touch with a middle-aged nationalist radical named Milan Ciganović (below, right), an employee of the Serbian national railway who’d fought in the Balkan Wars and belonged to the Black Hand. Ciganović sometimes worked for Major Vojislav Tankosić (below, center), who was in turn the right-hand man to Dimitrijević. Ciganović obtained four pistols and several small bombs from a Serbian military armory, which Princip claimed he sent to Ilić sometime in April, and it seems impossible that Ciganović would have done this without the knowledge and approval of Dimitrijević.

Furthermore, the whole story of anonymous newspaper clippings seems rather suspicious, as does the coincidence of Princip and Ilić spontaneously arriving at the same idea; while the clippings may have played some role in advancing the conspiracy (perhaps as a previously agreed signal) it seems more likely the entire plan was coordinated from an earlier date, following the failure of the plot against Potiorek. Through his spy network Dimitrijević likely heard of Franz Ferdinand’s visit to Sarajevo shortly after the Archduke agreed to the trip in mid-February, and well before it was publicized in the newspapers. According to several other accounts, Princip was in contact with Tankosić and Ilić as early as January, and Tankosić told him that the Black Hand had decided to kill the Archduke soon after.

Serbia’s civilian government smelled a rat: On March 18, Serbian Prime Minister Nikola Pašić ordered an investigation of the Black Hand, which he rightly suspected of plotting a military coup against him because of his moderate stance towards Austria-Hungary. Eventually Pasic got wind of the plot against the Archduke from Ciganović, who was apparently an informer for the government inside the Black Hand. But it was all too little, too late.

Meanwhile on March 16, 1914, the bellicose Austrian chief of the general staff, Conrad von Hötzendorf, once again called for war in a conversation with the German ambassador to Vienna, Baron Heinrich von Tschirschky. But Tschirschky politely reminded Conrad that a key figure stood in the way—Archduke Franz Ferdinand, who opposed any suggestion of preemptive war.

See the previous installment or all entries.

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20 Things You Might Not Have Known About Firefly
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© 2002 Twentieth Century Fox

As any diehard fan will be quick to tell you, Firefly's run was far, far too short. Despite its truncated run, the show still offers a wealth of fun facts and hidden Easter eggs. On the 15th anniversary of the series' premiere, we're looking back at the sci-fi series that kickstarted a Browncoat revolution.

1. A CIVIL WAR NOVEL INSPIRED THE FIREFLY UNIVERSE.

The Pulitzer Prize-winning novel The Killer Angels from author Michael Shaara was Joss Whedon’s inspiration for creating Firefly. It follows Union and Confederate soldiers during four days at the Battle of Gettysburg during the American Civil War. Whedon modeled the series and world on the Reconstruction Era, but set in the future.

2. ORIGINALLY, THE SERENITY CREW INCLUDED JUST FIVE MEMBERS.

When Whedon first developed Firefly, he wanted Serenity to only have five crew members. However, throughout development and casting, Whedon increased the cast from five to nine.

3. REBECCA GAYHEART WAS ORIGINALLY CAST TO PLAY INARA.

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Before Morena Baccarin was cast as Inara Serra, Rebecca Gayheart landed the role—but she was fired after one day of shooting because she lacked chemistry with the rest of the cast. Baccarin was cast two days later and started shooting that day.

4. NEIL PATRICK HARRIS WAS ALMOST DR. SIMON TAM.

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Before it went to Sean Maher, Neil Patrick Harris auditioned for the role of Dr. Simon Tam.

5. JOSS WHEDON WROTE THE THEME SONG.

Whedon wrote the lyrics and music for Firefly’s opening theme song, “The Ballad of Serenity.”

6. STAR WARS SPACECRAFT APPEAR IN FIREFLY.

Star Wars was a big influence on Whedon. Captain Malcolm Reynolds somewhat resembles Han Solo, while Whedon used the Millennium Falcon as inspiration to create Serenity. In fact, you can spot a few spacecraft from George Lucas's magnum opus on the show.

When Inara’s shuttle docks with Serenity in the pilot episode, an Imperial Shuttle can be found flying in the background. In the episode “Shindig,” you can see a Starlight Intruder as the crew lands on the planet Persephone.

7. HAN SOLO FROZEN IN CARBONITE POPS UP THROUGHOUT FIREFLY.

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Nathan Fillion is a big Han Solo fan, so the Firefly prop department made a 12-inch replica of Han Solo encased in Carbonite for the Canadian-born actor. You can see the prop in the background in a number of scenes.

8. ALIEN'S WEYLAND-YUTANI CORPORATION MADE AN APPEARANCE.

In Firefly’s pilot episode, the opening scene features the legendary Battle of Serenity Valley between the Browncoats and The Union of Allied Planets. Captain Malcolm Reynolds takes control of a cannon with a Weyland-Yutani logo inside of its display. Weyland-Yutani is the large conglomerate corporation in the Alien film franchise. (Whedon wrote Alien: Resurrection in 1997.)

9. ZAC EFRON'S ACTING DEBUT WAS ON FIREFLY.

A 13-year-old Zac Efron made his acting debut in the episode “Safe” in 2002. He played Young Simon in a flashback.

10. CAPTAIN MALCOLM REYNOLDS'S HORSE IS A WESTERN TROPE.

At its core, Firefly is a sci-fi western—and Malcolm Reynolds rides the same horse on every planet (it's named Fred).

11. FOX AIRED FIREFLY'S EPISODES OUT OF ORDER.

Fox didn’t feel Firefly’s two-hour pilot episode was strong enough to air as its first episode. Instead, “The Train Job” was broadcast first because it featured more action and excitement. The network continued to cherry-pick episodes based on broad appeal rather than story consistency, and eventually aired the pilot as the show’s final episode.

12. THE ALLIANCE'S ORIGINS ARE AMERICAN AND CHINESE.

The full name of The Alliance is The Anglo-Sino Alliance. Whedon envisioned The Alliance as a merger of American and Chinese government and corporate superpowers. The Union of Allied Planets’ flag is a blending of the American and Chinese national flags.

13. THE SERENITY LOUNGE SERVED AS AN ACTUAL LOUNGE.

Between set-ups and shots, the cast would hang out in the lounge on the Serenity set rather than trailers or green rooms.

14. INARA SERRA'S NAME IS MESOPOTAMIAN.

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Inara Serra is named after the Mesopotamian Hittite goddess, the protector of all wild animals.

15. THE CHARACTERS SWORE (JUST NOT IN ENGLISH).

The Firefly universe is a mixture of American and Chinese culture, which made it easy for writers to get around censors by having characters swear in Chinese.

16. THE UNIFORMS ARE RECYCLED FROM STARSHIP TROOPERS.

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The uniforms for Alliance officers and soldiers were the costumes from the 1997 science fiction film Starship Troopers. The same costumes were repurposed again for the Starship Troopers sequel.

17. "SUMMER!" MEANS SOMEONE MESSED UP.

Every time a cast member flubbed one of his or her lines, they would yell Summer Glau’s name. This was a running gag among the cast after Glau forgot her lines in the episode “Objects In Space.”

18. THE SERENITY SPACESHIP WAS BUILT TO SCALE.

The interior of Serenity was built entirely to scale; rooms and sections were completely contiguous. The ship’s interior was split into two stages, one for the upper deck and one for the lower. Whedon showed off the Firefly set in one long take to open the Serenity movie.

19. "THE MESSAGE" SHOULD HAVE BEEN THE SHOW'S FAREWELL.

Although “The Message” was the twelfth episode, it was the last episode filmed during Firefly’s short run. Composer Greg Edmonson wrote a piece of music for a funeral scene in the episode, which served as a final farewell to the show. Sadly, it was one of three episodes (the other two were “Trash” and “Heart of Gold”) that didn’t air during Firefly’s original broadcast run on Fox.

20. FIREFLY AND SERENITY WERE SENT TO THE INTERNATIONAL SPACE STATION.

American Astronaut Steven Ray Swanson is a big fan of Firefly, so when he was sent to the International Space Station for his first mission (STS-117) in 2007, he brought DVD copies of Firefly and its feature film Serenity aboard with him. The DVDs are now a permanent part of the space station’s library.

This post originally appeared in 2014.

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10 Hush-Hush Facts About L.A. Confidential
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On this day 20 years ago, a rising star director, a writer who thought he’d never get the gig, and a remarkable cast got together to make a film about the corrupt underbelly of 1950s Los Angeles, and the men and women who littered its landscape. This was L.A. Confidential, a film so complex that its creator (legendary crime writer James Ellroy) thought it was “unadaptable.” In the end, it was one of the most acclaimed movies of the 1990s, a film noir classic that made its leading actors into even bigger stars, and which remains an instantly watchable masterpiece to this day. Here are 10 facts about how it got made.

1. THE SCRIPTING PROCESS WAS TOUGH.

Writer-director Curtis Hanson had been a longtime James Ellroy fan when he finally read L.A. Confidential, and the characters in that particular Ellroy novel really spoke to him, so he began working on a script. Meanwhile, Brian Helgeland—originally contracted to write an unproduced Viking film for Warner Bros.—was also a huge Ellroy fan, and lobbied hard for the studio to give him the scripting job. When he learned that Hanson already had it, the two met, and bonded over their mutual admiration of Ellroy’s prose. Their passion for the material was clear, but it took two years to get the script done, with a number of obstacles.

"He would turn down other jobs; I would be doing drafts for free,” Helgeland said. “Whenever there was a day when I didn't want to get up anymore, Curtis tipped the bed and rolled me out on the floor."

2. IT WAS ORIGINALLY INTENDED AS A MINISERIES.

When executive producer David Wolper first read Ellroy’s novel, he saw the dense, complex story as the perfect fodder for a television miniseries, and was promptly turned down by all the major networks at the time.

3. JAMES ELLROY DIDN’T THINK THE BOOK COULD BE ADAPTED.

Though Wolper was intrigued by the idea of telling the story onscreen, Ellroy and his agent laughed at the thought. The author felt his massive book would never fit on any screen.

“It was big, it was bad, it was bereft of sympathetic characters,” Ellroy said. “It was unconstrainable, uncontainable, and unadaptable.”

4. CURTIS HANSON SOLD THE FILM WITH CLASSIC LOS ANGELES IMAGES.

To get the film made, Hanson had to convince New Regency Pictures head Arnon Milchan that it was worth producing. To do this, he essentially put together a collage of classic Los Angeles imagery, from memorable locations to movie stars, including the famous image of Robert Mitchum leaving jail after his arrest for using marijuana.

"Now you've seen the image of L.A. that was sold to get everybody to come here. Let's peel back the image and see where our characters live,” Hanson said.

Milchan was sold.

5. KEVIN SPACEY WAS ON HANSON’S WISH LIST FOR YEARS.

Though the other stars of the film were largely discoveries of the moment, Kevin Spacey was apparently someone Hanson wanted to work with for years. Spacey described Hanson as a director “who’d been trying for years and years and years to get me cast in films he made, and the studio always rejected me.” After Spacey won an Oscar for The Usual Suspects, Hanson called the actor and said, “I think I’ve got the role, and I think they’re not gonna say no this time.”

6. SPACEY’S CHARACTER IS BASED ON DEAN MARTIN.

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Though he cast relative unknowns in Russell Crowe and Guy Pearce, Hanson wanted an American movie star for the role of Jack Vincennes, and decided on Kevin Spacey. In an effort to convince Spacey to take the role, Hanson invited him to dine at L.A.’s famous Formosa Cafe (where scenes in the film are actually set). While at the cafe, Spacey asked a vital question:

“If it was really 1952, and you were really making this movie, who would you cast as Jack Vincennes?” Hanson said “Dean Martin.”

At that point, Spacey looked up at the gallery of movie star photos which line the cafe, and realized Martin’s photo was right above him.

“To this day, I don’t know whether he sat us in that booth on purpose, but there was Dino looking down at me,” Spacey said.

After his meeting with Hanson, Spacey watched Martin’s performances in Some Came Running (1958) and Rio Bravo (1959), and realized that both films featured characters who mask vulnerability with a layer of cool. That was the genesis of Jack Vincennes.

7. HANSON CHOSE MUCH OF THE MUSIC BEFORE FILMING.

To help set the tone for his period drama, Hanson began selecting music of the early 1950s even before filming began, so he could play it on set as the actors went to work. Among his most interesting choices: When Jack Vincennes sits in a bar, staring at the money he’s just been bribed with, Dean Martin’s “Powder Your Face With Sunshine (Smile! Smile! Smile!)” plays, a reference to both the character’s melancholy, and to Spacey and Hanson’s decision to base the character on Martin.

8. THE CINEMATOGRAPHY WAS INSPIRED BY ROBERT FRANK PHOTOGRAPHS.

To emphasize realism and period accuracy, cinematographer Dante Spinotti thought less about the moving image, and more about still photographs. In particular, he used photographer Robert Frank’s 1958 collection "The Americans" as a tool, and relied less on artificial light and more on environmental light sources like desk lamps.

"I tried to compose shots as if I were using a still camera,” Spinotti said. “I was constantly asking myself, 'Where would I be if I were holding a Leica?' This is one reason I suggested shooting in the Super 35 widescreen format; I wanted to use spherical lenses, which for me have a look and feel similar to still-photo work.”

9. THE FINAL STORY TWIST IS NOT IN THE BOOK.

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[SPOILER ALERT] In the film, Jack Vincennes, Ed Exley, and Bud White are all chasing a mysterious crime lord known as “Rollo Tomasi,” who turns out to be their own LAPD colleague, Dudley Smith (James Cromwell). Though Vincennes, Exley, and White are all native to Ellroy’s novel, the Tomasi name is entirely an invention of the film.

10. ELLROY APPROVED OF THE MOVIE.

To adapt L.A. Confidential for the screen, Hanson and Helgeland condensed Ellroy’s original novel, boiling the story down to a three-person narrative and ditching other subplots so they could get to the heart of the three cops at the center of the movie. Ellroy, in the end, was pleased with their choices.

“They preserved the basic integrity of the book and its main theme, which is that everything in Los Angeles during this era of boosterism and yahooism was two-sided and two-faced and put out for cosmetic purposes,” Ellroy said. “The script is very much about the [characters'] evolution as men and their lives of duress. Brian and Curtis took a work of fiction that had eight plotlines, reduced those to three, and retained the dramatic force of three men working out their destiny. I've long held that hard-boiled crime fiction is the history of bad white men doing bad things in the name of authority. They stated that case plain.”

Additional Sources:
Inside the Actors Studio: Kevin Spacey (2000)

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