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“A Leap In The Dark”

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The First World War was an unprecedented catastrophe that shaped our modern world. Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 129th installment in the series. 

July 14, 1914: “A Leap In the Dark” 

On July 14, 1914—the day Austria-Hungary’s leaders finally decided on war with Serbia—Germany’s Chancellor Bethmann-Hollweg told his friend and advisor, the philosopher Kurt Riezler, that Germany was about to take “a leap in the dark” by backing the plan. But to be honest, Germany and Austria-Hungary were already operating in the dark, stepping on each other’s toes as they stumbled towards war.

By mid-July, Berlin and Vienna had agreed on exactly one thing: Austria-Hungary was going to use the murder of Archduke Franz Ferdinand as a pretext to crush Serbia, which would (hopefully) end the threat of Pan-Slav nationalism once and for all. But all the critical details, including the timing of the attack, remained undecided.

To be fair, nothing was ever simple in Austria-Hungary, especially if it involved big decisions, which were avoided whenever possible. When an important decision simply had to be made, it required consultation and consent from both the Austrian and Hungarian halves of the Empire. In this case, Imperial Foreign Minister Count Berchtold and chief of the general staff Conrad von Hötzendorf (both Austrians) had to convince Hungarian Premier Count István Tisza to support their war plan. But Tisza was not the kind of man to be maneuvered into a decision he disagreed with, even if it had the support of Emperor Franz Josef himself.

Wikimedia Commons (1, 2, 3

Following the first crown council on July 7, Tisza still had serious reservations about the plan to attack Serbia, warning it could easily lead to war with Serbia’s patron Russia. To reduce the risk, he demanded that Austria-Hungary first present its case diplomatically by documenting Serbian involvement followed by a “last chance” for Serbia to knuckle under. This was the origin of the ultimatum plan devised by Berchtold as a diplomatic fig leaf: Austria-Hungary would gather evidence of Serbian complicity and then present Belgrade with demands so outrageous the Serbs would have to reject them.

From July 10 to 14, 1914, everything finally came together to sway Tisza to the war party. First his demand for evidence was satisfied by the investigation of Baron Friedrich von Wiesner, who arrived in Sarajevo on July 11 and on July 13 sent a preliminary report that cleared Serbia’s government of involvement but traced the plot back to Serbian army officers, stating there was “hardly a doubt that the crime was resolved upon in Belgrade, and prepared with the cooperation of Serbian officials…" 

Around this time, the Austrians also received a promise of neutrality from Romania in the event of war, removing another source of hesitation for Tisza, who feared unrest in Hungary’s Romanian population. But the trump card was the attitude of Berlin. Tisza knew that Austria-Hungary depended on Germany for security, and Berchtold pounded home the message that Berlin expected Vienna to settle the Serbian problem now—and if it didn’t, the exasperated Germans might decide the alliance wasn’t worth the trouble.

The foreign minister could point to a string of messages from Berlin urging action (in a typically Byzantine ruse, Berchtold may have secretly asked the Germans to send these messages to help him convince Tisza). On July 12, the Austro-Hungarian ambassador to Berlin, Count Szőgyény, advised Vienna that “Kaiser Wilhelm and all other responsible personages here … invite us not to let the present moment pass but to take vigorous measures against Serbia and make a clean sweep of the revolutionary conspirators’ nest there once and for all.” As for the risk of a wider war, the Germans believed “It is by no means certain that if Serbia becomes involved in a war with us, Russia would resort to arms in her support… The German Government further believes it has sure indications that England at the present moment would not join in a war over a Balkan country…”

As a conservative nobleman, Tisza’s main goal was maintaining the traditional order, which above all meant preserving the Hapsburg monarchy, the source of all political legitimacy. On top of this and evidence of Serbian complicity, German pressure finally tipped the balance, and at a second meeting of the crown council on July 14, 1914, Tisza agreed to the plan for an ultimatum followed by war. This should have been cause for rejoicing in Vienna and Berlin—but now the allies found themselves at odds over timing, as the Germans pressed for immediate action and the Austrians pleaded for delay.

Critical Delays

The first problem was the discovery by chief of the general staff Conrad that a large part of Austria-Hungary’s military was away on summer leave until late July. Second, Berchtold and his fellow ministers knew that French President Raymond Poincaré and Premier René Viviani were due to visit France’s ally Russia from July 20-23; if the ultimatum became public while they were still guests of Tsar Nicholas II in St. Petersburg, the French and Russian leaders would be able to confer in person and work out a coordinated response to the Austrian gambit—exactly what Berchtold didn’t want. On the other hand, if Austria-Hungary waited until after the visit to send the ultimatum, the French leaders would be at sea and relatively isolated, as long-distance ship-to-shore radio communications were still dodgy at best. The sudden death of the Russian ambassador to Serbia, Baron Nicholas Hartwig, on July 10 could only add to the confusion (hugely obese, Hartwig died of a heart attack while visiting the Austro-Hungarian embassy, fueling gossip of a covert assassination).

Beginning with the crown council on July 14, the Austrians formulated a plan employing deception on a grand scale. They would deliver the ultimatum to Serbia on the evening of July 23, after Poincaré and Viviani were safely at sea, and give Belgrade 48 hours to respond, so they could proceed immediately to mobilization on July 25. Until then, however, Vienna and Berlin would avoid any hint of belligerence in order to lull Russia, France and Britain into a false sense of security. 

The Germans weren’t happy about Vienna’s decision to wait until late July, reasoning it was better to strike now in the hopes of catching the Triple Entente flat-footed. On July 11 Riezler recorded Bethmann-Hollweg’s attitude: “[The Austrians] apparently require a frightfully long time to mobilize… That is very dangerous. A quick fait accompli, and then friendly toward the Entente, then we could survive the shock.” In the same vein, on July 13 the German chief of the general staff, Helmuth von Moltke (on vacation in Karlsbad, Bohemia) urged, “Austria must beat the Serbs and then make peace quickly.”

The Italian Question

Berlin and Vienna also disagreed on the critical question of whether to inform Italy, the unreliable third member of the Triple Alliance, about their plans. The only way Italy might be persuaded to join them in a war of aggression was the promise of territorial concessions—specifically Austria’s own ethnic Italian lands in the Trentino and Trieste (top and below, in red), long coveted by Italian nationalists as the final missing piece of a united Italy. But the Germans and Austrians didn’t see eye-to-eye on this issue: While the Germans were quite comfortable offering up chunks of their ally, the Austrians were understandably reluctant to give up lands that had been part of the Hapsburg patrimony for centuries. 

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As early as June 30, the German ambassador to Vienna, Tschirschky, urged Berchtold to consult Italy, and on July 2 he repeated the advice to Emperor Franz Josef, but the Austrians brushed off the German concerns. The issue reemerged in the following weeks, when it became clear Italy might not stand idly by if Austria-Hungary attacked Serbia. On July 10, Italy’s Foreign Minister San Giuliano (above) warned the German ambassador, Baron Ludwig von Flotow, that Italy would have to be compensated for any expansion by Austria-Hungary in the Balkans, naming Austrian Trentino as the price. Increasingly alarmed by the Italian attitude, on July 15 Germany’s Foreign Secretary Gottlieb von Jagow again urged Austria-Hungary to take Italy into her confidence in a message to Tschirschky, the German ambassador in Vienna:

There is no doubt in my mind that in an Austro-Serbian conflict, [Italian public opinion] would side with Serbia. A territorial extension of the Austro-Hungarian Monarchy, even a further spread of its influence in the Balkans, is viewed with horror in Italy and regarded as an injury to Italy’s position there… It is therefore in my opinion of the highest importance that Vienna should discuss with the Rome Cabinet the aims it proposes to pursue in the conflict and should bring it over to its side or… [at least] keep it strictly neutral… In strict confidence, the only compensation regarded as adequate in Italy would be the acquisition of the Trentino.

But once again, the German warnings fell on deaf ears in Vienna. Frustrated by Vienna’s repeated refusals, the Germans took matters into their own hands on July 11, when Flotow tried to get the ball rolling by secretly outlining Austria-Hungary’s plans in a meeting with Foreign Minister San Giuliano. Even worse from the Austro-Hungarian (and later German) perspective, the leak began spreading as San Giuliano sent telegrams to Italy’s ambassadors across Europe, warning that Austria-Hungary was planning something big. Because all the Great Powers routinely eavesdropped on diplomatic communications, Russian intelligence probably decrypted the Italian messages and informed Russian diplomats, who in turn spread the word to France and Britain. Thus Poincaré and Viviani likely knew something was afoot when they met the tsar and his ministers from July 20 to 23, giving them plenty of time to coordinate their response. 

See the previous installment or all entries.

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10 Things We Know About The Handmaid’s Tale Season 2
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Though Hulu has been producing original content for more than five years now, 2017 turned out to be a banner year for the streaming network with the debut of The Handmaid’s Tale on April 26, 2017. The dystopian drama, based on Margaret Atwood’s 1985 book, imagines a future in which a theocratic regime known as Gilead has taken over the United States and enslaved fertile women so that the group’s most powerful couples can procreate.

If it all sounds rather bleak, that’s because it is—but it’s also one of the most impressive new series to arrive in years (as evidenced by the slew of awards it has won, including eight Emmy and two Golden Globe Awards). Fortunately, fans left wanting more don’t have that much longer to wait, as season two will premiere on Hulu in April. In the meantime, here’s everything we know about The Handmaid’s Tale’s second season.

1. IT WILL PREMIERE WITH TWO EPISODES.

When The Handmaid’s Tale returns on April 25, 2018, Hulu will release the first two of its 13 new episodes on premiere night, then drop another new episode every Wednesday.

2. MARGARET ATWOOD WILL CONTINUE TO HELP SHAPE THE NARRATIVE.

Fans of Atwood’s novel who didn’t like that season one went beyond the original source material are in for some more disappointment in season two, as the narrative will again go beyond the scope of what Atwood covered. But creator/showrunner Bruce Miller doesn’t necessarily agree with the criticism they received in season one.

“People talk about how we're beyond the book, but we're not really," Miller told Newsweek. "The book starts, then jumps 200 years with an academic discussion at the end of it, about what's happened in those intervening 200 years. We're not going beyond the novel. We're just covering territory [Atwood] covered quickly, a bit more slowly.”

Even more importantly, Miller's got Atwood on his side. The author serves as a consulting producer on the show, and the title isn’t an honorary one. For Miller, Atwood’s input is essential to shaping the show, particularly as it veers off into new territories. And they were already thinking about season two while shooting season one. “Margaret and I had started to talk about the shape of season two halfway through the first [season],” he told Entertainment Weekly.

In fact, Miller said that when he first began working on the show, he sketched out a full 10 seasons worth of storylines. “That’s what you have to do when you’re taking on a project like this,” he said.

3. MOTHERHOOD WILL BE A CENTRAL THEME.

As with season one, motherhood is a key theme in the series. And June/Offred’s pregnancy will be one of the main plotlines. “So much of [Season 2] is about motherhood,” Elisabeth Moss said during the Television Critics Association press tour. “Bruce and I always talked about the impending birth of this child that’s growing inside her as a bit of a ticking time bomb, and the complications of that are really wonderful to explore. It’s a wonderful thing to have a baby, but she’s having it potentially in this world that she may not want to bring it into. And then, you know, if she does have the baby, the baby gets taken away from her and she can’t be its mother. So, obviously, it’s very complicated and makes for good drama. But, it’s a very big part of this season, and it gets bigger and bigger as the show goes on.”

4. THE RESISTANCE IS COMING.

Just because June is pregnant, don’t expect her to sit on the sidelines as the resistance to Gilead continues. “There is more than one way to resist," Moss said. “There is resistance within [June], and that is a big part of this season.”

5. WE’LL GET TO SEE THE COLONIES.

A scene from 'The Handmaid's Tale'
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Miller, understandably, isn’t eager to share too many details about the new season. “I’m not being cagey!” he swore to Entertainment Weekly. “I just want the viewers to experience it for themselves!” What he did confirm is that the new season will bring us to the colonies—reportedly in episode two—and show what life is like for those who have been sent there.

It will also delve further into what life is like for the refugees who managed to escape Gilead, like Luke and Moira.

6. MARISA TOMEI WILL APPEAR IN AN EPISODE.

Though she won’t be a regular cast member, Miller recently announced that Oscar winner Marisa Tomei will make a guest appearance in the new season’s second episode. Yes, the one that will show us the Colonies. In fact, that’s where we’ll meet her; Tomei is playing the wife of a Commander.

7. WE’LL LEARN MORE ABOUT THE ORIGINS OF GILEAD.

As a group shrouded in secrecy, we still don’t know much about how and where Gilead began. That will change a bit in season two. When discussing some of the questions viewers will have answered, executive producer Warren Littlefield promised that, "How did Gilead come about? How did this happen?” would be two of them. “We get to follow the historical creation of this world,” he said.

8. THERE WILL BE AT LEAST ONE HANDMAID FUNERAL.

A scene from 'The Handmaid's Tale'
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While Miller wouldn’t talk about who the handmaids are mourning in a teaser shot from season two that shows a handmaid’s funeral, he was excited to talk about creating the look for the scene. “Everything from the design of their costumes to the way they look is so chilling,” Miller told Entertainment Weekly. “These scenes that are so beautiful, while set in such a terrible place, provide the kind of contrast that makes me happy.”

9. ELISABETH MOSS SAYS THE TONE WILL BE DARKER.

Like season one, Miller says that The Handmaid’s Tale's second season will again balance its darker, dystopian themes with glimpses of hopefulness. “I think the first season had very difficult things, and very hopeful things, and I think this season is exactly the same way,” he told the Los Angeles Times. “There come some surprising moments of real hope and victory, and strength, that come from surprising places.”

Moss, however, has a different opinion. “It's a dark season,” she told reporters at TCA. “I would say arguably it's darker than Season 1—if that's possible.”

10. IT WILL ALSO BE BLOODIER.

A scene from 'The Handmaid's Tale'
Hulu

When pressed about how the teaser images for the new season seemed to feature a lot of blood, Miller conceded: “Oh gosh, yeah. There may be a little more blood this season.”

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6 Surprising Facts About Nintendo's Animal Crossing

by Ryan Lambie

Animal Crossing is one of the most unusual series of games Nintendo has ever produced. Casting you as a newcomer in a woodland town populated by garrulous and sometimes eccentric creatures, Animal Crossing is about conversation, friendship, and collecting things rather than competition or shooting enemies. It’s a formula that has grown over successive generations, with the 3DS version now one of the most popular games available for that system—which is all the more impressive, given the game’s obscure origins almost 15 years ago. Here are a few things you might not have known about the video game.

1. ITS INSPIRATION CAME FROM AN UNLIKELY PLACE.

By the late 1990s, Katsuya Eguchi had already worked on some of Nintendo’s greatest games. He’d designed the levels for the classic Super Mario Bros 3. He was the director of Star Fox (or Star Wing, as it was known in the UK), and the designer behind the adorable Yoshi’s Story. But Animal Crossing was inspired by Eguchi’s experiences from his earlier days, when he was a 21-year-old graduate who’d taken the decisive step of moving from Chiba Prefecture, Japan, where he’d grown up and studied, to Nintendo’s headquarters in Kyoto.

Eguchi wanted to recreate the feeling of being alone in a new town, away from friends and family. “I wondered for a long time if there would be a way to recreate that feeling, and that was the impetus behind Animal Crossing,” Eguchi told Edge magazine in 2008. Receiving letters from your mother, getting a job (from the game’s resident raccoon capitalist, Tom Nook), and gradually filling your empty house with furniture and collectibles all sprang from Eguchi’s memories of first moving to Kyoto.

2. IT WAS ORIGINALLY DEVELOPED FOR THE N64.

Although Animal Crossing would eventually become best known as a GameCube title—to the point where many assume that this is where the series began—the game actually appeared first on the N64. First developed for the ill-fated 64DD add-on, Animal Crossing (or Doubutsu no Mori, which translates to Animal Forest) was ultimately released as a standard cartridge. But by the time Animal Crossing emerged in Japan in 2001, the N64 was already nearing the end of its lifespan, and was never localized for a worldwide release.

3. TRANSLATING THE GAME FOR AN INTERNATIONAL AUDIENCE WAS A DIFFICULT TASK.

The GameCube version of Animal Crossing was released in Japan in December 2001, about eight months after the N64 edition. Thanks to the added capacity of the console’s discs, they could include characters like Tortimer or Blathers that weren’t in the N64 iteration, and Animal Crossing soon became a hit with Japanese critics and players alike.

Porting Animal Crossing for an international audience would prove to be a considerable task, however, with the game’s reams of dialogue and cultural references all requiring careful translation. But the effort that writers Nate Bihldorff and Rich Amtower put into the English-language version would soon pay off; Nintendo’s bosses in Japan were so impressed with the additional festivals and sheer personality present in the western version of Animal Crossing that they decided to have that version of the game translated back into Japanese. This new version of the game, called Doubutsu no Mori e+, was released in 2003.

4. K.K. SLIDER IS BASED ON ON THE GAME'S COMPOSER.

One of Animal Crossing’s most recognizable and popular characters is K.K. Slider, the laidback canine musician. He’s said to be based, both in looks and name, on Kazumi Totaka, the prolific composer and voice actor who co-wrote Animal Crossing’s music. In the Japanese version of Animal Crossing, K.K. Slider is called Totakeke—a play on the real musician’s name. K.K. Slider’s almost as prolific as Totaka, too: Animal Crossing: New Leaf on the Nintendo 3DS contains a total of 91 tracks performed by the character.

5. ONE CHARACTER HAS BEEN KNOWN TO MAKE PLAYERS CRY.

A more controversial character than K.K. Slider, Mr. Resetti is an angry mole created to remind players to save the game before switching off their console. And the more often players forget to save their game, the angrier Mr. Resetti gets. Mr. Resetti’s anger apparently disturbed some younger players, though, as Animal Crossing: New Leaf’s project leader Aya Kyogoku revealed in an interview with Nintendo's former president, the late Satoru Iwata.

“We really weren't sure about Mr. Resetti, as he really divides people," Kyogoku said. “Some people love him, of course, but there are others who don't like being shouted at in his rough accent.”

“It seems like younger female players, in particular, are scared,” Iwata agreed. “I've heard that some of them have even cried.”

To avoid the tears, Mr. Resetti plays a less prominent role in Animal Crossing: New Leaf, and only appears if the player first builds a Reset Surveillance Centre. Divisive though he is, Mr. Resetti’s been designed and written with as much care as any of the other characters in Animal Crossing; his first name’s Sonny, he has a brother called Don and a cousin called Vinnie, and he prefers his coffee black with no sugar.

6. THE SERIES IS STILL EVOLVING.

Since its first appearance in 2001, the quirky and disarming Animal Crossing has grown to encompass toys, a movie, and no fewer than four main games (or five if you count the version released for the N64 as a separate entry). All told, the Animal Crossing games have sold more than 30 million copies, and the series is still growing. In late 2017, the mobile title Animal Crossing: Pocket Camp was released for iOS and Android. It's a big step for the franchise, as Nintendo is famously selective about which of its series get a mobile makeover. A game once inspired by the loneliness of moving to a new town has now become one of Nintendo’s most successful and beloved franchises.

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