Camlann: Season 1, Episode 4:
"Into The Fire"
Transcript created: 22nd February 2024
Last updated: 22nd February 2024
SHOW NOTES
Content Warnings can be found at the end of the show notes.
Who let the dogs out?
Follow us on social media @camlannpod to stay updated. Share your thoughts with us using #Camlann. If you’d like to support the future of the show, you can do so on Ko-Fi and Patreon.
If you’d like to listen along live to episodes as they come out with Ella and Amber, you can do that on Tin Can Audio’s Twitch channel from 8-10pm GMT on Mondays. On Wednesdays at the same time, Amber will be going through the process of composing the score, and on our ‘off weeks’ on Mondays, Amber will go through the sound design for the show. Camlann is made possible with funding from Creative Scotland and the Inevitable Foundation.
The Welsh folk song featured in this episode is Sosban Fach, a children’s nursery rhyme about a frying pan.
This episode featured: Tobias Weatherburn as Dai, Angharad Phillips as Morgan, Robyn Holdaway as Perry and Nicole Miners as Gwen (or Shújūn). Special thanks to Hobbes the Lion for playing Gelert. This episode was written and directed by Ella Watts, with original scoring and sound design from Amber Devereux at Tin Can Audio, and additional Music Direction from Alessa Catterall. Additional sound design for this episode was provided by guest sound designer, Cai Gwilym Pritchard. Our Production Manager is Ross McFarlane.
Special thanks to: Angharad Gilbey, Holly Thwaites Bee, Samuel Thompson, Sara-Luise Edge-Smith, Elizabeth Campbell, Marc Sollinger, Sarah Shachat, David K. Barnes, Rosenkranz Vermilion and Max Degan. We wouldn’t have got here without you.
Diolch yn fawr iawn am wrando. Thank you so much for listening.
Keep the fires burning.
Content Warnings: Nightmares, Fantasy Violence, Strong Language, Mind Control, Abusive Relationships, Animal Attack (XX-XX), Emergency Surgery (XX-XX)
SCENE 1
[It’s late afternoon. The bonfire is crackling, there’s a light breeze, birds are singing, and behind them we can hear the rustling of trees and the rushing of the stream.]
DAI: Sosban fach yn berwi ar y tan
Sosban fawr yn berwi ar y llawr
A’r gath wedi sgramo Joni bach.
[A banjo plucks a tune reminiscent of the one Dai was singing to himself, upbeat and pacey. Dai begins to speak as the music continues with long arco strings.]
DAI: Everybody dies. That’s life, right? That’s the one, big, endless, inescapable truth of existence. Things end. Things have to end. We change and we grow and we unravel.
Nothing lasts forever, and that’s a good thing. I think we mean more because we stop. Because we’re mourned. Just because something happens once doesn’t mean it gets forgotten. The infinite recycling of matter is the universe’s way of remembering itself.
Breaking out of that is like a broken record, stuck repeating the same phrase, falling out of time with the music. You’re trapped on your own, endlessly repeating yourself in a place you were never meant to be.
[The music fades out.]
Eventually, you forget there was ever anything else.
SCENE 2
[The creaking rust-howl of the garage door opening.]
MORGAN: And this is the garage!
[A loud, persistent drip echoes in the cavernous concrete space. Gelert pants happily, claws skittering on the stone floor.]
MORGAN: I’m going to fix the leak.
GWEN: It’s lovely.
MORGAN: It’s not much. But it’s home, for now at least.
GWEN: How long were you travelling before?
[Gwen wanders the space, picking up objects and placing them down. Metal scrapes, wood clunks.]
MORGAN: About six months? We were with a group of survivors for the first three, but it didn’t work out.
GWEN: I don’t think I’ve stayed in one place since the Cataclysm. It always felt too dangerous.
MORGAN: We have Perry to thank for that. We have Perry to thank for a lot of things.
[Morgan closes over the garage door with rusty screech.]
GWEN: They certainly seem like a useful person to have around.
MORGAN: We all have our skills. For example - I’m the team engineer, and I just finished fixing up this beauty.
[Morgan knocks on the bonnet of the truck. A pause. Something heavy clunks to the floor.]
GWEN: Wait, that thing actually works?
MORGAN: She isn’t pretty, but she’ll do the job.
[Gwen wanders over to the workbench, starts shuffling through some papers on the surface.]
GWEN: Are these yours?
MORGAN: Yeah. It looks a lot worse than it is. I just keep having these nightmares.
GWEN: About dogs?
[Soft, forboding piano fades in.]
MORGAN: Not exactly? I don’t think they’re normal dogs. When I dream of them, they’re this pack of huge black hounds with glowing red eyes
GWEN: Like the Hound of the Baskervilles in Sherlock Holmes?
MORGAN: Sort of? But these are older. Angrier. They feel like they’re caught between me and the land. Sometimes they feel like women. Very angry women. People who are hurting. Other times they’re just big dogs. It’s better when they’re dogs.
GWEN: What does that mean?
MORGAN: I don’t know. It just feels better. They feel free. Which, now I’m saying it out loud is actually more terrifying.
GWEN: Why?
MORGAN: Think about it. The Phenomena are step one. We’re seeing these bizarre, terrifying things. They’re killing us. But what’s step two? What if it’s assimilation? We start wanting it. We start seeking it out. Like a fever, or the way depression makes you scared of getting better. Sickness wants to stay.
GWEN: So in this hypothesis, what’s step three?
MORGAN: Total transformation. We become them.
[The Camlann theme plays.]
DAI: Camlann. Episode Four, Into the Fire.
[The Camlann theme fades out.]
SCENE 3
[Morgan and Gelert moving about, the clatter of cutlery and dishes. Morgan tends to a boiling pot. Outside there’s a fine drizzle of rain outside.]
MORGAN: Perry you had a head wound three days ago, sit down.
PERRY: A head wound which doesn’t exist any more
GWEN: That happens to you as well?
DAI: (twigging) Right, you’re Guinevere. Yeah, injuries only stick around while they’re plot relevant. Peredur doesn’t get his head cracked open by a Lantern Man, so our Perry magically heals.
PERRY: Guinevere never really gets hurt by anything - not even her pyre, as long as Lancelot shows up in time to save her.
GWEN: I’m trying not to think about it.
MORGAN: It’s ok. Just because they speak with confidence doesn’t mean they know how this works. None of us do.
PERRY: We’ve figured out some things.
DAI: Like the fact that my bonfire was a great idea. Right, Gwen? It worked!
GWEN: Is it still burning? It’s pouring with rain.
DAI: I gave it a roof. Found a tarpaulin in the garage.
MORGAN: Because everyone loves the smell of burning plastic
PERRY: And huge fire hazards
DAI: It has a chimney! Well, it has a hole in the tarp. But the point is that it brought Gwen here, which is a good thing. Right, Morgan?
MORGAN: (distracted) What? Yeah, of course.
GWEN: Honestly, it doesn’t feel real.
PERRY: How long were you alone out there?
GWEN: Long enough.
DAI: Well you’re not alone any more. And we’re glad to have you. Aren’t we, Per?
PERRY: Did you bring any supplies with you?
GWEN: No, sorry. I’d lost pretty much everything by the time I got to the woods.
MORGAN: Which isn’t your fault. Here, coffee’s up.
GWEN: I still can’t believe you have actual coffee.
[Gwen takes the coffee, clinking metal spoon to ceramic as she stirs.]
DAI: I’m not sure we can call it ‘actual’ coffee
PERRY: Morgan, how’s the truck coming on?
MORGAN: She’s ready, why?
PERRY: I’m thinking it’s time for a supply run. We can head into Carmarthen, see what we can see.
DAI: Can I come?
PERRY: No.
DAI: I could be useful!
PERRY: Dai. You know why it can’t be you.
DAI: I - fine.
PERRY: I was actually thinking Gwen could come with me. You had to trek through Carmarthen to get here, right?
MORGAN: Absolutely not
PERRY: Why not?
MORGAN: Perry, she got here three days ago. She’s exhausted and traumatised and in no state to be going on field trips.
PERRY: We’re all exhausted and traumatised
MORGAN: Really? Is this what we’re doing now?
GWEN: It’s ok. I’ll go. Perry’s right, I’ve been through most recently. I can help. I want to help.
PERRY: Thank you Gwen
DAI: Welcome to the team!
SCENE 4
[The truck is parked outside the cottage. Trees sway in a light breeze. Perry is loading the truck with supplies.]
DAI: Hey, Per, can you get something for me while you’re out there?
PERRY: I can try, what is it?
DAI: I found this radio. I think the uh, transceiver's broken? Can you see if you can find any spare parts?
MORGAN: I can have a look at it, if you want
PERRY: I’ll see what I can do
DAI: Thanks guys.
GWEN: What’s with the crossbow?
PERRY: Ideally it’d be a spear. That’s more in keeping for Peredur.
DAI: Story weapons for story monsters. Not many AK-47s show up in folklore, so in this apocalypse you actually can bring a knife to a gunfight. Bullets do pretty much nothing to Phenomena, but a crossbow bolt is a literal stake to the heart. Not that we’ve tried everything. I still think we should go all Buffy and get a rocket launcher.
[Perry heaves themself into the truck and clanks the door shut]
PERRY: And when you find that magical supply closet, Dai, you can indulge your inner pyromaniac to your heart’s content. We’ll be back by sundown.
[Perry starts the car. Gwen climbs in. Door closes.]
MORGAN: And if you’re not?
PERRY: It was nice knowing you.
DAI: Don’t mind them, they’re an optimist.
The truck drives off over scattering gravel. As the engine get quieter and the sounds of the fire, trees and stream swelling to fill their place. Gel whines a little.]
MORGAN:
Come on, let’s get inside.
SCENE 5
[The rumbling of the truck rolling down an uneven road, rattling and grumbling. Otherwise, quiet. PERRY’s fingers drumming on the steering wheel.]
[Perry hums Sosban Fach absentmindedly.]
[Gwen clears her throat.]
PERRY: Is there a problem?
GWEN: I was actually going to ask you that.
PERRY: All good here.
GWEN: No, it’s not.
PERRY: What makes you say that?
GWEN: You’ve just been very tense.
PERRY: It’s the end of the world
GWEN: It’s more than that. Have I done something to offend you? Whatever it is, I apologise.
[Perry lets out a long, slow breath through their nose.]
PERRY: No, you’re right, I’m sorry. It’s just your name.
GWEN: Shújūn?
PERRY: Guinevere. We’ve had bad experiences with monarchs in the past. I’ve had bad experiences with monarchs in the past.
GWEN: “Monarchs”?
PERRY: King Arthur, specifically. We’ve got story names, right? The names of characters from famous stories.
GWEN: Except Dai
PERRY: Except Dai. For whatever reason the apocalypse doesn’t apply to any religion we know of, so Dafydd doesn’t help him here.
GWEN: Ok. So what happened with Arthur?
PERRY: The first group of survivors we fell in with were based in Bristol. They called themselves the Knights of the Round Table. (smirking) The Knights. Mostly they were the university rugby team.
GWEN: What happened?
PERRY: We figured out some things pretty quickly. We had a good sized group of survivors and a lot of Names. Specifically, story names. Even more specifically, compatible names. Turns out if you’re between the West Country and Wales, you get a lot of Arthuriana.
So we figured things out. Story weapons work better than modern ones. The more people you have in your story, the stronger it is. And the more you lean into it, the better it works.
Arthur and his men knew that they were safer if they acted more like medieval knights. But everything they knew about medieval history came from Game of Thrones. So you can imagine how that went.
GWEN: I’m sorry. But I don’t understand what this has to do with me.
[The soft, forboding music returns.]
PERRY: There’s this thing that monarchs can do. It’s this compulsion. Arthur didn’t even realise he was doing it at first. He’s just an entitled prick. It’s how he talks to people. But when you give commands, they stick. If you’re Nameless, you’re basically defenceless. It was like he was hypnotising people en masse. They’d do things they never would’ve...
GWEN: And what if you have a Name?
PERRY: Depends on whether you’re part of his story. If you’re not, the stories kind of clash. You can pick a different version, a different ending. But me and the others? The whole point of us was to exist at his whim. I can still feel it.
The worst part is that it doesn’t even feel bad. It’s this endless aching longing for him. For all of them. All I want is to go home. Take up my spear. Be who I’m supposed to be.
GWEN: But you’re here.
PERRY: Because that place isn’t home. Not for me, or Morgan, or Dai. Honestly, Gwen, you scare me.
GWEN: Then why tell me all of this? Why give me that power?
PERRY: You already had it. In the same way I know how to use a crossbow. You can feel it at the back of your head, like Pandora’s Box, just waiting for you to open it.
[For a long moment, Gwen is silent.]
GWEN: I don’t want to hurt you, Peredur.
PERRY: I’m not sure that matters.
[The music fades out.]
SCENE 6
[Carmarthen is a ghost town. Rubbish blowing in the wind, feral street dogs barking in the distance. The chittering skittering faintly of faerie swarms. Creaking doors on hinges singing in the wind.]
[The truck rumbles down the road and its breaks screech to a stop.]
[The engine stops and Gwen and Perry get out.]
PERRY: This place is a ghost town
GWEN: Hopefully not literally. Come on, the supermarket’s this way.
PERRY: Did you see anything last time you were here?
GWEN: No, but I was on my own. I didn’t want to stick around for too long.
PERRY: Right.
GWEN: Here we are
PERRY: It’s untouched
GWEN: If there are any survivors near here, they’ve been getting their supplies from elsewhere
PERRY: Or no one else survived
GWEN: Cheerful outlook
[Perry starts using a crowbar to force the automatic glass doors open.]
PERRY: (heaving) I’m a realist
[The doors slide open with a shuddering thump. Inside, we hear rats skittering about on the floors.]
PERRY: Did you see anyone at all on your way here?
[Perry walks in, footsteps echoing off epoxy floors filling a cavernous shopping centre.]
[Gwen doesn’t reply.]
PERRY: Neither did we.
GWEN: I found you.
PERRY: And your name is Guinevere. I don’t think that’s a coincidence.
GWEN: So, what? You think only people with Names survived?
[Perry climbs over some collapsed shelving, their feet crunching through plastic.]
PERRY: I think the Nameless were hit hardest. Morgan thinks we’ve already lost. That this is some kind of zombie apocalypse purgatory. That we’ve been raptured without realising it.
GWEN: I don’t remember Guinevere spending this much time in Wilkos
PERRY: That’s my point. Oh, great, water.
[Perry starts unpacking things from the shelves.]
[We hear a low, rumbling growl, very quietly.]
PERRY: Gwen, can you help me with this?
[A gentle topple of goods falling off a shelf.]
[The growl again, a little louder this time.]
PERRY: Guinevere?
GWEN: Sorry, sorry. I was just getting these.
[A rattle and click of knitting needles.]
PERRY: Yarn?
GWEN: And circular needles. We’re going to need warm clothes as it gets colder.
PERRY: Any other skills I should know about?
GWEN: Well, I was actually-
[The growl again, much louder this time, interrupting Gwen.]
GWEN: Did you hear that?
[Perry has already moved away.]
PERRY: Toilet roll! Yes!
GWEN: Perry, I think there’s something in here with us.
PERRY: Hang on, just let me get this
[Perry is packing their bags.]
[The dog growls again.]
GWEN: Peredur, seriously
PERRY: What is it?
GWEN: Something’s watching us. Can’t you feel it?
[Slowly Perry puts down their bag and gets out their crossbow. They load a bolt with a thunk which echoes in the quiet.]
[Perry and Gwen stand still, static crackles and distorts like magic in the air.]
[After a long moment, we hear the rustle of PERRY picking up their bag.]
PERRY: Whatever it is, it’s leaving us alone for now. Come on.
[They take two, echoing footsteps down an aisle.]
[Growling, snapping, barking and biting, a dog flies at Perry.]
[Perry's bags and crossbow fall to the floor with an almighty clatter as more dogs emerge from the darkness.]
[Perry cries in pain. Gwen screams in fear.]
PERRY: GWEN! HELP!
[Perry tries to shove the dogs off. One of them gets their leg and breaks it with a grisly snap.]
[Gwen begins to run away.]
PERRY: (distant) GUINEVERE!
[Gwen runs, breathing jagged.]
PERRY: (d.) NO! GUINEVERE!
[Perry's cries and the snarling, attacking dogs begin to fade further and further into the distance as Gwen sprints away.]
[Gwen barrels behind one of the checkout counters, shoving things aside with a plastic crash of miscellaneous items.]
GWEN: Please, please, please...
[Perry screams dreadfully from down the echoing shopping centre halls.]
GWEN: Yes! Please please work
(The static of an intercom bursts into life.]
GWEN: (over an intercom) Hello?
[The dogs keep snarling.]
GWEN: Is this thing working?
[The dogs keep snarling. Gwen’s voice echoes through the building.]
GWEN: (I.) Please listen.
[Music begins below Gwen's voice, deliberate and positive despite the fear.]
GWEN: I don’t know who or what you are. But you’re hurting my friend and I want - I need you to stop.
[The dogs fall quiet.]
GWEN: I don’t want to hurt you. Neither of us do. And I get it. You’re scared. You’re angry. You’re confused. This isn’t where I- you’re supposed to be. This isn’t where any of us are supposed to be. And maybe you can’t take it out on whoever or whatever did this to you, but you can take it out on us and that’s good enough.
[A throaty howl from the dogs.]
GWEN: But if you are like us, if you are like me, then it should matter that we aren’t the people who hurt you. You don’t have to be the monster that everyone thinks you are. You’re still you. And you have a choice. Please. Please. Leave us alone.
[Gwen breathes heavily.]
[Then the dogs whine, and begin to move, claws scraping against the floor.]
[We hear them walk past - heavy and huge, with loud breath and soft growls and snarls. When they get outside, they run away into the town.]
[Gwen jumps over the counter and runs back to Perry.]
GWEN: PERRY!
[Gwen starts to shake Perry. They don’t respond.]
GWEN: (distraught) Wake up. Come on, please, wake up. Perry! Please. Please, I can’t do this again. Please don’t make me do this again.
[Gwen takes two big breathes and calms herself.]
GWEN: (commanding) Ser Peredur, I am ordering you to wake up.
[Nothing happens.]
GWEN: (crying) Please, wake up.
SCENE 7
Morgan and Dai are behind the cottage, where Morgan is tightening nuts with a wrench with deliberate force.]
DAI: So, are we going to talk about it?
MORGAN: I don’t know. Did your near-death experience make you reconsider anything about the way you’re currently handling the apocalypse?
DAI: That’s not fair
MORGAN: Isn’t it?
[Morgan abandons her work, throwing down the wrench.]
MORGAN: I had to watch you drown. Do you have any idea how frightening that was?
DAI: It wasn’t exactly sunshine and roses for me
MORGAN: But it didn’t have to happen. You could have stopped it.
DAI: And something worse could have happened instead. Neither of us understands how this works, Morgan. We’re off the map. If I’d tried then-
[The truck comes squealing down the track, coming to a violent stop as Gwen jumps out and starts dragging Perry out too.]
GWEN: MORGAN! DAI! I NEED YOUR HELP!
MORGAN: Oh my god
DAI: Perry.
SCENE 8
[Gwen, Morgan and Dai are heave Perry’s body from outside into the kitchen.]
[Gelert is barking anxiously, following everyone around.]
DAI: There’s so much blood
MORGAN: Dai, they’re slipping, grab their shirt not their arms
GWEN: Morgan, clear the table
[Morgan sweeps everything off the table with a clatter. They put Perry on the table with a thump.]
GWEN: Get me water and clean cloth, now
MORGAN: (leaving) On it
[Morgan runs deeper into the cottage. Distantly we hear her slamming drawers open.]
DAI: What happened?
GWEN: We were attacked. Help me prop up their legs.
DAI: But you’re fine
GWEN: Perry was attacked first.
DAI: How long have they been out?
[Gwen doesn’t answer. Morgan comes back in with rags and water. Gwen starts cleaning the wounds.]
GWEN: Thanks. Press down on any open wounds you can see, we need to stop the bleeding.
DAI: Gwen, how long have they been out?
GWEN: Just over an hour
DAI: Oh my god
GWEN: Dai, you’re not helping. So either pull yourself together and do something or get out of my way.
[Dai takes a minute to collect himself.]
DAI: Ok. Ok. What do you need?
GWEN: Wake them up. Morgan, I need all the medical supplies you’ve got, now.
MORGAN: Ok
[Morgan leaves again. Gwen keeps cleaning the blood off Perry's body.]
[Dai leans in close to Perry, brushing the hair out of their face.]
DAI: (close) Hey Per. I can’t believe the damn cowlick survived all of this. Rest assured that even in life-threatening peril, you still have perfect hair.
I need you to wake up now, ok? Because if you don’t wake up then things are going to be really bad, and that’s not going to happen because that’s not how this story goes. You don’t meet your ending without me. We’re a matched set, right? Butch and Sundance. Thelma and Louise. Sculder and Mully. You’re not going to leave me like this.
Wake up, Peredur.
[A crackle, thunder rolls in the background.]
[Perry stirs, takes two pain breaths.
PERRY: Dai?
DAI: We’ve got to stop meeting like this
PERRY: (pained) Everything hurts
DAI: Yeah, I know
PERRY: I’m tired
DAI: I know, but you can’t go to sleep yet, ok?
[Morgan comes back in with the medical supplies.]
MORGAN: Anything else?
GWEN: Help me hold their leg still.
[Perry cries out in pain. And again, louder as with a crunch, Gwen rests their bone.]
DAI: Shhh, shh, it’s ok. Hey, look at me. Talk to me about the Mabinogi. You love doing that. And you’re a hell of a lot more interesting than my secondary school Welsh teacher.
PERRY: Low bar.
DAI: Humour me.
PERRY: You know Gwydion?
DAI: One of my favourites, the cheeky bastard.
PERRY: I always thought that there was something queer about his relationship with Lleu. Like, trans. Because Gwydion was a mother, kind of. And then his children were taken from him. And then he gets so fixated on having this kid, and protecting him, no matter what....
[We fade out on Perry’s mumbled explanation.]
SCENE 9
[Dai softly snores on the couch.]
Morgan enters the room with a creak of floorboards]
MORGAN: Bath’s ready
GWEN: What?
MORGAN: I made you a bath. Figured I wasn’t useful down here.
GWEN: You got the hot water working?
MORGAN: I used the fire.
GWEN: Morgan, I -
MORGAN: I needed a distraction. I left some clean towels for you on the side.
GWEN: Right.
MORGAN: Go on, it’ll get cold otherwise.
[Gwen gets up, pausing to speak to Morgan.]
GWEN: It was the dogs
MORGAN: Oh, god.
GWEN: No, you don’t understand. You saved our lives.
MORGAN: Perry is -
GWEN: Alive, because of you.
MORGAN: How?
GWEN: Because you’re right. They’re like us. I don’t know how literal that is. If it is the final stage of the infection or something else. But they can think, and feel, and respond to reason.
MORGAN: That’s not how it works
GWEN: But it is how this worked! Morgan, I was able to talk to them. And the only reason I even thought to try was because of you.
MORGAN: What’s your point?
GWEN: Maybe it doesn’t have to be kill or be killed. Maybe this isn’t a story about heroes and villains. Maybe it’s messier than that. You know what I saw, when they left? As they walked past the doors of the supermarket, I saw their reflection in the glass. And in the glass they weren’t these huge, terrifying dogs. They were women. Just normal women.
[Dai stops snoring, but doesn’t otherwise move or make a sound.]
MORGAN: The bath really is going to go cold.
GWEN: Right, sorry. Thank you again.
MORGAN: Don’t mention it.
[Gwen leaves.]
MORGAN: [Deep breath]
[Distantly, wolves howl into the night.]
CREDITS
Camlann, Episode Four: Into the Fire, was written and directed by Ella Watts. It was produced by Amber Devereux, with additional sound design from guest sound designer Cai Gwilym Pritchard. The original score is by Amber Devereux with additional music direction by Alessa Caterall. Our production manager is Ross Macfarlane.
This episode featured Tobias Weatherburn as Dai, Angharad Phillips as Morgan, Robyn Holdaway as Perry, and Nicole Miners as Gwen (or Shújūn). Special thanks to Hobbes the lion for playing Gelert.
This podcast is a Tin Can Audio Production, made possible with support from Creative Scotland and The Inevitable Foundation.
HOUSEKEEPING
Hello! It’s Ella again, thank you so much for listening to episode 4! We were really lucky to have guest sound design this episode from Cai Gwilym Pritchard, who is an incredibly talented noisemaker and artist. Please do check out their fantastic, epic mythological science fiction podcast Chain of Being. The series stars a pantheon of gods and immortals fighting for the future of all sentient species, and it’s great.
If you’d like to follow us on social media, you can do that wherever the internet is found @camlannpod. If you’d like to give us a tip, we’d be very grateful for your support.
Whilst series one of Camlann was generously funded by Creative Scotland and The Inevitable Foundation, we currently have no guarantee of future funding for more series. If you like the show and you want to give us a bit of cash, you can give us a tip on Ko-Fi dot com slash Camlannpod or on Patreon.
This money will be used exclusively on the show for things like producing merchandise, performing live shows and producing future seasons. As a team, we are committed to only doing these things if we can pay our creatives a fair wage, so none of this is guaranteed. But much like our core trio, we live in hope.
If you’d like to join Amber, Ella and occasionally other members of the cast and crew for a live listen along of each episode of Camlann as it releases, you can do that on Mondays from eight til ten pm GMT. On Wednesdays at the same time, Amber will be taking you through the process of composing the music for the show, and on our off-weeks, Amber will be doing a behind the scenes stream on Mondays where they break apart the project file for each episode and explain how they did the sound design.
These streams are always a fun and cozy time, and if you have any questions about the show for Amber and I, it’s a good opportunity to ask them.
Finally, I’d like to give you a podcast recommendation! Specifically, two podcast recommendations. The first is Hotel Daydream. Hotel Daydream gives me the coziest, early seasons of Welcome to Night Vale vibes. It’s about the Concierge of a nigh-on infinite hotel and the colourful, improbable residents of that sprawling expanse. It’s just lovely.
Second, I want to recommend another show from Cai! This one is Ethics Town. It’s a horror podcast with a twist which I won’t spoil for you, but it’s fantastically written and brilliantly performed. If you like your spooks slow-burn and mind-bending, then this is the show for you. Tell January I said shwmae.
Thank you so much again for your support, and remember - keep the fires burning. Diolch am wrando.
