The Puppet Master by Abigail OsborneManipulated by fear and love...could you cut the strings and take back control?
Billie’s hiding from the world, believing it to be the only way to take control of her life as she lives in fear of the man who nearly destroyed her. But what she doesn’t realise is that she’s exactly where he wants her; isolated and afraid. A chance meeting with budding journalist Adam sparks a relationship that could free her from the terror that controls her. But will Adam be able to see the real Billie buried under her terror and pain?
Adam knows exactly who Billie is and is determined to expose her and get justice for the lives she ruined. But first, he needs to convince her to open up to him but as unwanted attraction and feelings blossom between them, Adam is forced to realise that all is not as it seems.
Most of their lives have been unknowingly governed by the desires and needs of someone who considers himself their master. He has influenced and shaped them for years, meticulously weaving a web of lies and control around them. Can Billie and Adam survive the betrayals in store and cut the strings that bind them?
One thing is for sure. The master wants his puppets back – and he’ll do anything to keep them.
Puppet Master (1989) - Movie Review
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Where does puppet master come from?
Because puppeteers usually perform hidden in the background, puppet master lent itself to a shadowy, metaphorical agent that controls from behind the scenes, manipulating people and things like a puppeteer operating a puppet. This notion of a puppet master as an evil, manipulative figure has no doubt been helped by popular media. The rock supergroup Metallica released the album Master of Puppets in It contained a lot many angry political lyrics and imagery, with the implication that the puppet masters were the ruling political upper class, sending soldiers to their graves. The horror movie The Puppet Master , featuring terrorizing puppets animated by an ancient curse, was released in and led to multiple sequels.
Since seeing On Emotion at Soho theatre last year, I've developed an interest in puppetry done well. Gregory Doran's Midsummer Night's Dream made me realise that puppetry presented pitfalls to the overzealous director; I thought the idea of Titania's changeling child as a puppet lovingly manipulated by fairies had merit, but in practice it failed to come off and looked a bit gimmicky. The Little Angel's puppet-making workshop at Hay seemed a grand opportunity to amend my ignorance of the actual mechanics. Standing in a hot, hot tent in a queue of small, sticky people, waiting for a star-and-sparkle-crusted door to open, I questioned the blithe judgment in aiming the workshop squarely at eight-toyear-olds; short of seizing an unclaimed child, I couldn't pass for a mother, and was beginning to get quizzical looks from bona fide parents. Nigel and Janet from the Little Angel theatre are hardened campaigners — although the average age, even with my weighty contribution, looked to be well under eight, they contrived to fascinate everyone, including the few genuine mums, for two solid, sweaty hours.