witchfinder_general: (Desk)
Pearse Harman, in this AU incarnation, never joined the Jesuits or took orders. After completing Jesuit school, he went to study law, and became a high-powered lawyer in London, specialising in personal finance and inheritance. After he found some irregularities in the will of a client's uncle who had emigrated to Brazil, Harman became aware of the existence of vampires and was persuaded to keep their secret and work for them.

Ever since, he has been working on administering the large funds those vampires command, helping them finance their secret projects and retain control of their fortunes after their deaths. However, he has never allowed himself to be bitten.

He lives in a posh, expensive flat in he newly developed London Docklands, with the sole company of an ancient grey parrot. He owns a grand piano, has a very passable singing voice, a fondness for West End musicals, and no discernible interest in relationships or sexuality.

The year is still 1998.
witchfinder_general: (Questioning)
It' the same featureless blue corridor as before, but this time, there are still people about in it.

Nobody, however, is paying any attention to them: two women with papers under their arms are chatting to each other, and a man is wheeling a trolley of scientific equipment into an open door.

Father Harman holds the door of the supply closet open for Javert.
witchfinder_general: (zz -- Angie)
Pearse walks into the supply closet, with a long black coat, a stack of books, and a laptop computer, a closes the door.

And opens the door again, immediately, emerging in a black polo shirt with a Jesuit logo (what??) and carrying a plate of cake.

What??

Angie turns the corner and walks towards him. He even looks less pale than one minute ago.

"I was meaning to talk to you," he says, calmly. "Would you like some cake? It's quite nice, and I'm told it's considered very superior."

She looks at him, the cake, and then goes to open the closet door.

There's just shelves of office supplies, and hardly enough room for her to turn around in, much less for a tall man like Pearse.

There is no long dark coat in there, no books or laptop computer, and definitely not a whole cake which he might have cut the piece off of.

"We do need to talk," Angie says, turning back to him.

"We do," Pearse says, smiling calmly, and offering her the plate of cake again. "For one thing, have you ever heard of a Dr. Hannibal Lecter, and if so, what book was it that he wrote again?"

Angie stares at him, and then gives him a disbelieving smile.

"I will accept the cake, but you have to begin at the beginning."
witchfinder_general: (zz -- Angie)
It's a long, institutional, blue corridor, with medium brown office doors on either side. All the corridors on this floor look the same; they exude an aura of complete uninterestingness that a simple white corridor never could.

Even the light has a blueish tinge to it.

The sole occupant of this particular corridor is, at the moment, Father Pearse Harman, wearing his long dark coat and carrying some books and a small laptop computer. He opens one of the doors (which actually leads to a supply closet), steps inside, and closes it behind himself.

Dr. Angela Marsh, who has just turned the corner, stares and shakes her head. What is Pearse always doing in there?
witchfinder_general: (Church)
This is the first time Father Harman is bringing somebody from Milliways to his world, and he is rather quiet about it.

The door leads onto a windowless corridor with plain brown doors, all closed and looking somewhat official.

"Simply follow me," he says. "There aren't many people here at this time of night, but if we meet anybody here who questions who you are, I will say it's about a spiritual problem, nothing to do with my work here."
witchfinder_general: (Ultraviolet)
I like to stay very clear about the problematic aspects of my charries -- starting with Teja, whose canon has been weighed down with problems by history, even though the text iself is quite innocent for its time.

Watching 'Ultraviolet', I kept wondering about what the hell they were saying with their treatment of the vampires, and where the story was going before its unfortunately incomplete ending. Lovely actors, interesting story, some hairy contemporary problems addressed from an unusual angle, fascinating characters -- but what is the take-away message from it all? Might it even be that we're supposed to doubt the ostensible moral of the story?

Apparently, I'm no the first person to ask themselves that. There is even an academic paper about this very question. One that proudly quotes Slavoj Zizek, so it must be the Real Thing. I'm not going to join Questia to read just the one paper, but yes, somebody managed to make a relevant statement about the moralised conflicts of recent history using 'Ultraviolet' as an example, and got published in a peer-reviewed publication. Good for them.

Dehumanising is what we must do in order to calmly eliminate the enemy; if they're not people, there is no reason to feel compunction over whatever we inflict on them. That is what 'Ultraviolet' is about -- quite overtly so, even, in the episodes with a) the experimental vampire baby and b) the episode with the pedophile and the child vampire. And among the personnel of 'Ultraviolet', Father Harman is the most ruthless neo-conservative hardliner (at least where vampires are concerned; with everything else, he can afford to be quite liberal as it doesn't really concern him), the one who formulates the team's ideological underpinnings, and the one who makes sure there is no deviation from the ideology and the ruthlessness. Yes, he is the inquisition -- and the true faith he's upholding is 'Code Fives are not people'.

I am aware of that, and it's not going to change, as that is what makes the character interesting.-

Also, their vague but menacing government-Vatican joint venture must be avidly using GCHQ-collected data.-

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witchfinder_general: (Default)
Father Pearse J. Harman

July 2015

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