The contributors to "Seara" and "Libertatea" were, in general, outspoken social and cultural critics, with diverse grievances against the establishment. Historian Lucian Boia argues that, even though Bogdan-Pitești was on the German payroll, his switch from the Francophiles could have been a genuine form of conservatism. Boia thus notes that "Seara" was supportive of the Central Powers from the 1914 build-up to the war, that is even before Cantacuzino had come to decide which side he liked best. The core group of "Seara" men included socialists of various hues: Arghezi, who claimed that Serbian nationalism was the spark of the war; Felix Aderca, who depicted the German Empire as the more progressive belligerent; and Rodion, who rendered the complains of Germanophile intellectuals from Moldavia. Others were left-wing refugees from the Russian Empire, who wanted Romania to join the Central Powers and help liberate Bessarabia: Alexis Nour, from the Poporanist faction, and the old anarchist Zamfir Arbore. "Seara" was also a platform for some disgruntled Romanians from Transylvania region, a Romanian irredenta under Austro-Hungarian rule. They included a mainstream Conservative commentator, Ilie Bărbulescu, who advised Romanians to not to focus on Transylvania, and prioritized action against the Russians. Two distinct voices were those of poet Dumitru Karnabatt, who identified the Entente Powers with Pan-Slavism or British imperialism; and Ion Gorun, the Transylvanian writer and Habsburg loyalist. Beyond politics, "Seara" came out with news on culture, selected for publishing by Ion Vinea and poet Jacques G. Costin.