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Camlann: Season 1, Episode 5:

Transcript created: 9th March 2024

Last updated: 9th March 2024


Content Warnings can be found at the end of the show notes.

Gwaine finds what he’s been looking for.

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 Cariad Cyntaf, it means “first love”.

This episode featured: Tobias Weatherburn as Dai, Angharad Phillips as Morgan, Robyn Holdaway as Perry, Nicole Miners as Gwen (or Shújūn) and Paul Warren as Gwaine. 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. 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: Fantasy Violence, Strong Language, Heroic Suicide (XX-XX), Major Character Death (XX-XX)



[It’s early morning. The bonfire crackles, a dawn chorus of birds chirp amongst rustling trees.]


DAI: Mae prydfethwch ail i Eden

Yn dy fynwes gynnes, feinwen,

Fwyn gariadus liwus lawen.

Seren sym, clwy di’r claf.

[Plucked strings and long notes from the violin play a sombre, slow melody.]

PRESENT DAI: What’s the point of courage? Seriously though, what reason is there to be brave? Bravery is what makes people climb over the trenches. Bravery is what they say leaves corpses on top of Everest. Bravery is what sees people burning up in car crashes and train crashes and plane crashes. Bravery sees an astronaut into space and never lets her come back down. It’s our most stupid, self-destructive instinct. So what’s the point?


We are explorers. I don’t mean conquerors. I don’t mean liars. I don’t mean mass-murderers discovering inhabited continents and giving them different names. I mean people in the Pacific Islands building boats. I mean looking at the stars. I mean leaving home and seeing where the wind takes you.


Curiosity. Discovery. Learning. None of that happens without a little courage. Without that first deep breath. Without that leap into the unknown.


But not everyone survives the landing.

[Music fades out.]




[Dai and Perry are eating breakfast – a long pour of coffee into a mug. Morgan is Gwen with her knitting - Gwen stretches the end of a spool of wool.]

GWEN: Ok, so if you just hold your hands about this far apart

MORGAN: Like this?

GWEN: Perfect

[Gwen starts wrapping yarn around Morgan's hands.]

MORGAN: What are you doing exactly?


GWEN: This just makes it easier to wind the yarn into a ball. Which in turn will make it easier for me to get to work on some decent jumpers for the four of us.

MORGAN: I never really thought of medical students as knitting types

GWEN: We come in a lot of varieties. This helped me focus on lectures.

[Gwen continues wrapping wool around Morgan's hands.]

GWEN: Honestly, I never really wanted to be a doctor. I mean, it was a good career. My Dad was really proud. But it wasn’t what I was passionate about.


MORGAN: What did you want to do?

GWEN: You’ll laugh

MORGAN: I won’t. Scout’s honour.

DAI: And she actually was a scout, so you can trust that.

GWEN: I wanted to be a costume designer. You know, for movies and stuff? There was this trend for historical clothing on Douyin before everything went dark, and there were so many incredible outfits.


MORGAN: You’ll have to show me some time.

GWEN: We don’t really have the fabric to waste.

PERRY: Keeping ourselves sane isn’t wasteful. We’ll see what we can grab next time I’m in Carmarthen.

MORGAN: Which isn’t going to be for at least a month, right Peredur?

PERRY: Either way, I’m glad to have you with us.


DAI: Who wouldn’t be? She’s a doctor, she can knit, she can make a pancake from nothing - honestly, Gwen, what can’t you do?

GWEN: Speak Welsh. And I was a medical student, not a doctor. Big difference.

DAI: Pobody’s nerfect. Hey, I could teach you! Welsh, not how to be a doctor. Though who knows, we might discover a hidden talent in brain surgery

MORGAN: No one is letting Dai do brain surgery


PERRY: Agreed

DAI: Hey!

GWEN: And done! Thanks Morgan.

[Click of Gwen starting to knit. Morgan moves to the radio.]

MORGAN: Yeah, no worries. Ok, time to have a look at this. Dai, did you have a fist fight with the radio?

DAI: No! But Perry said there was a bwbach running about?


PERRY: In the studio down the hill. I hadn’t seen it in the cottage yet. (faux casual) How’s it look?

MORGAN: (concentrating) The damage is mostly superficial. Just give me a minute -


[There’s a satisfying click, and the radio switches on. Static fills the room. Very quietly, on an adjacent station, we can hear Gwaine’s message]

MORGAN: What is that?


DAI: Actually, can I just take that -

[Morgan smacks Dai’s hand away and starts switching stations.]

MORGAN: No you don’t. I’ve nearly got it.

[Click, switch, static. Click switch static. Each switch gets her closer to the message, until suddenly it’s there in full clarity.]

GWAINE: Hey, Dai. I’m guessing wherever you are the radio’s stopped working.

[Gwaine’s message keeps playing in the background.]

DAI: Fuck.

GWAINE: Well, I'm hoping the radio's not working because the alternative is... Well, let's just hope the problem's with the radio.

[Gwaine's message fades out.]

[The Camlann theme plays.]

DAI: Camlann. Episode Five, Gwaine.

[The Camlann theme ends.]



GWAINE: (through the radio) I’m going to leave this playing on a loop. Hopefully you’ll hear it. I’ll take a radio with me just in case, but I have a feeling I won’t be needing it where I’m going. Stay safe.


[There’s a glitch, scratch, thunk. Static hiss fills the air. The tape repeats. It keeps playing quietly in the background.]

DAI: I can explain


PERRY: Dai, a word? Outside. Now.


[Perry gets to their feet and swings the door open, harshly.]

GWEN: What’s going on?


MORGAN: It’s a long story


PERRY: Dai. I’m not going to ask again.


[Perry leaves. After a moment, Dai pushes his chair back - wooden chairlegs on stone floors, and gets to his feet and walks out. Gelert whines, picking up on the tension.]


DAI: I’ll be right back


[For a moment there’s quiet in the kitchen. Gelert whines again and Morgan pets him.]


MORGAN: Shh, it’s ok Gel


GWEN: Should we go after them?


MORGAN: Best not to get in the middle of it


GWEN: In the middle of what? Does this have something to do with Arthur and the Knights?


MORGAN: Dai’s relationship with Gwaine is complicated. It started before the Cataclysm. You know when you have that one friend who just keeps going back--

[Morgan fades out.]

[Outside. The door swings shut. Wind rushes by and trees rustle, Perry turns on Dai as soon as they are alone.]

PERRY: So when exactly were you going to tell us you’d been talking to Gwaine?


DAI: Has it occurred to you that it might be a bad thing that I didn’t feel like I could?

PERRY: Explain that to me. Why couldn’t you?

DAI: Because I knew you’d react like this!

PERRY: Dai, he’s lying to you. He’s always lying to you. 

DAI: Like you are?

PERRY: What are you talking about?


DAI: I know that radio didn’t break by accident. And you weren’t nearly surprised enough about the fact it existed at all. You spoke to someone, didn’t you? Was it Gwaine? Are you the reason he’s doing this? Got to gather more data, don’t we Peredur?


PERRY: What? No, I had nothing to do with this


DAI: Then why is he - (faltering) he’s going to get himself killed

[Sombre keys begin a slow melody behind the conversation.]

PERRY: (softening) No, he’s not. He’s a manipulative piece of work but he’ll be fine. He can handle himself. And I don’t know any versions of that story where the Green Knight doesn’t spare him.


DAI: Do you know any version of that story that happens in the 21st century? Any version where the Green Knight knows he’s in a story? Where he tells Gwaine to meet him ‘sooner’ than he should?


DAI: I can’t risk the life of the man I - of a real human person on a theory. What if Morgan’s right? What if it’s all a pantomime? Like how poisonous things are always beautiful. What if the Names are there to give us a false sense of security, so we walk right into the mouth of a Venus Flytrap?


PERRY: We’ve seen nothing that suggests that.


DAI: We’ve seen nothing that disproves it, either. Ser Peredur is never attacked by a pack of Shucky Dogs in Carmarthen. But you nearly died, Perry. I nearly watched you die.


PERRY: Dai, there was nothing you could have done.


DAI: Yes there was. I could have been there. And I am sick of the people around me making decisions for me. I’m not a child, Peredur. And I’m not stupid, either. Just because I haven’t chosen to take some special name doesn’t mean I don’t want to have an input.


PERRY: Alright. Then what do you want to do?


DAI: Don’t patronise me.


PERRY: I’m not. Seriously, he means more to you than he does to me. What’s our next step?

For a long moment, there’s quiet, tempered by the close up crackling and spitting of the fire, the distant trees, the more distant stream.


DAI: We need to find him and stop this before it’s too late.



[Dai and Perry come bursting back in. Gelert skitters his claws over the stone floors to greet the two as they return. Gwaine's message is still playing on a loop on the radio in the background.]


MORGAN: Oh good, you didn’t kill each other


DAI: Morgan, can you use his signal to track where he is?


MORGAN: Maybe, but wherever this message is coming from, I don’t think it’s where he is any more. And we’d need to be close - like a few hundred feet away, a mile at most.


DAI: So the first step is finding his active signal. Making contact.


MORGAN: Sure. But Dai, he could be anywhere. I mean if he’s in Bannau Brycheiniog then...well, it depends on how soon he’s meeting the Green Knight again, but if it’s in the next two days there’s no way we can make it in time.

DAI: New rule, let’s not give up before we’ve started

MORGAN: Dai, I’m just trying to be realistic

DAI: We’re trying to save Sir Gawain from the Green Knight. None of this is realistic. 

GWEN: Where do we start?

DAI: Gwen, get every book you can find on Sir Gawain, the Green Knight, the Green Man, whatever you think is relevant. The people who used to live here were either hippies or pagans, but they’ve got about a dozen decent Arthurian sources in the living room. Look for inconsistencies, deviations from the plot, anything we can exploit.

[Gwen gets up and hurries out of the room, Morgan goes with her]

PERRY: And me?

DAI: Get the truck ready. If it is a two day trip, we need to go as soon as we find the signal


PERRY: Are you sure about this?

DAI: No. Do you have a better plan?

PERRY: I’ll get started on the truck.

[Dai doesn’t respond, he’s already started switching channels. Click, hiss, static, click, hiss, static, and repeat.]



[Dai is still switching through the channels. Click, hiss, static. Click, hiss, static. And repeat.]

NEWS ANCHOR: Here are the main points again. Stay in your own homes. The message that the immediate danger has passed will be given by the sirens and repeated on this wavelength.

[Dai punches the table.]

DAI: Fuck!

[Perry opens the door. We can hear rain and the trees outside. The bonfire is roaring.]

PERRY: Truck’s ready. And I’m a little bit worried about the bonfire. I don’t know if it’s the wind today, but it’s getting pretty huge.

DAI: (concentrating) It’s fine. 

[Dai picks up the transceiver and presses the plastic button.]

DAI: Hello. Hello, is anyone out there? Gwaine. Please, you beautiful idiot, please, come on, pick up. 


PERRY: I’ll leave you to it...

[Quietly, they leave, very gently shutting the door behind them. Gelert is lying on the floor next to Dai and whines softly.]


DAI: Hello dream boy. Hello rockstar. Hello jock with a nerd streak. Hello the worst karaoke singer I’ve ever met.


GWAINE: Bringing up the karaoke thing is a bit harsh.

[Gwaine is in a very snowy environment. Faintly, we can hear him tramping through the snow.]

DAI: GWAINE! Oh my god, are you alright? Where are you? Are you hurt?

[Gwaine's voice shakes and his breaths are heavy with cold.]

GWAINE: I’m fine, seriously


DAI: Where are you? Is that snow? (to himself) Where is it snowing?

GWAINE: I don’t exactly know? I followed the Green Knight into the wilderness. We went through this moss-covered old stone arch in the woods. And then I was here. It’s a mountain, but way bigger than anything in the UK. Maybe I’m in the Alps? There’s French Arthurian stuff, right?

DAI: No no no, you can’t be in France

GWAINE: Why not?

DAI: Gwaine I need you to come here, right now

GWAINE: I can’t. Didn’t you get my message? I started the story. I have to finish it.

DAI: No, you don’t. You’re being hypnotised or compelled or something. What you need to do is come home, to me.

GWAINE: Are you going to tell me where you are now?

DAI: We’re in Cwmduad. It’s a little village not far from Carmarthen. There’s a statue at the top of the hill with a hawk on it. Please, Gwaine, just this once do as I ask.

GWAINE: I can’t. Dai, I honestly can’t. If I give up now something really bad is going to happen. I can feel it.

DAI: You know what else makes you feel bad when you try to give it up? Smoking. Doesn’t mean it’s good for you.

GWAINE: Dai, I mean it. I can’t walk away from this. 

DAI: Why not? You don’t need to prove anything!

GWAINE: Yes I do! Yes, I do. I’m so sick of letting everyone down Dai. This isn’t supposed to be my story. I’m not supposed to be a coward, or a liar, or a man who’s too frightened to admit when he- (cuts himself off). I have to do this.

DAI: No, you don’t.

GWAINE: I’m sorry. I’ll stay on this frequency. If anything changes I’ll let you know.

[Gwaine switches his radio off.]


[Quiet. The turning of pages. Distantly, the trees through the walls and windows.]


MORGAN: I suppose you think it’s all going to work out.

GWEN: I hope it will.

MORGAN: But when it’s an objectively benign phenomenon in a pre-existing story, suddenly you’re not so sure?

[Gwen pauses.]

GWEN: There were twenty-four other survivors with me, after the Cataclysm. I’m the only one left. I’ve learned not to trust in any one explanation for all this.

MORGAN: I’m sorry, I didn’t mean -

GWEN: It’s ok. You weren’t talking about that. But that’s why I’m not sure. The dogs backed off. Maybe that’s not because I reasoned with them, maybe it was because I’m Guinevere. Or maybe it was a life-saving coincidence, and they picked up on better prey elsewhere. The Green Knight approaches Gwaine and says he needs to meet his challenge sooner than he did before. That worries me. I’ve never met any Phenomena that can talk, let alone recognise the story they’re in. 

MORGAN: So you think it’s a trap.

GWEN: I don’t know. Perry said that Arthur could compel people, make them do things they didn’t want to?

MORGAN: Yeah. Not me, I’m contrary. But pretty much everyone else.

GWEN: What if there are Phenomena that can do that too? Like a high level monster in a video game. What if all we’ve been dealing with are the mooks?

MORGAN: The horrifying implications of that are softened a bit by the revelation that you’re a gamer.

GWEN: I’m a casual. The collapse of the national grid has really cramped my style.


[The both laugh, dropping into a comfortable silence for a moment.]

MORGAN: What about us?

GWEN: What do you mean?

MORGAN: You and me. In our story, we’re supposed to hate each other. Or at least, we’re on opposite sides. Enemies.


MORGAN: Do you... hate me?

GWEN: I don’t think what I feel for you is hate, Morgan.

[Dai thrusts the door open.]

DAI: We need to go, now.




[Everyone is crammed into the truck. Gelert is in the back in the truck bed whining a bit. As they drive past the fire, we hear it roaring, aggressive and loud.]

GWEN: Is that fire safe?

DAI: (distracted) It’ll be fine

GWEN: Unattended?

DAI: Trust me

GWEN: Is no one else worried about this?

PERRY: I am. But it’s tomorrow’s problem. The cottage is built of stone. 

MORGAN: Dai, I keep having this dream about birds and a woman with red hair playing some kind of board game -


[We faintly hear Gwaine coming through the radio, fuzzy with static.]

GWAINE: Dai. Can you hear me? Are you still there?

DAI: Everyone shut up

[Dai clicks the button on the transceiver.]

DAI: Gwaine?

[Through the radio we can vaguely hear medieval, hopeful music. No more snow, Gwaine is inside now.]

GWAINE: Hey, Dai. I’ve made it to the castle. There’s this guy - him and his wife took me from the snow. Which is good, because I thought I was about to freeze to death.

DAI: Are they people or Phenomena?

GWAINE: I honestly don’t know. I mean they’re beautiful. Both of them. There’s something so golden about them. 

DAI: Gwaine, focus

GWAINE: Right, sorry. They’re definitely performing a story. Every day he goes for a hunt, every night she comes and tries to...erm... And then I say no, and give him what she’s given me.

DAI: What do you mean?

GWAINE: He had this rule about how if I was given anything whilst I was staying here, I had to share it with him. And vice versa. So I get food and warm clothes and a really, really nice bedroom. And whenever she gives me a kiss, I give one to him.

DAI: Right. That doesn’t sound so bad.

PERRY: He’s in Bertilak’s castle. That means we’ve got three days.

GWAINE: Perry? Wait, Dai told you about me?

PERRY: Yes, because he trusts me.

DAI: Perry!

PERRY: Whatever you do, don’t give him the sash, alright? On the third night she’s going to give you a green and gold sash and try and convince you to sleep with her. Take the sash. 

GWAINE: (uncertain) Ok. That feels like breaking the rules.

PERRY: She’ll tell you more about what it does. Just trust me.

GWAINE: Since when has that been a thing we do?

DAI: Since I said so. Gwaine, please. For me.

[Static and the car engine fill the quiet as the truck rumbles down an uneven road.]

DAI: Gwaine?

GWAINE: I’ll think about it. 

[There’s a gentle knock on the door of Gwaine's bedroom.]

GWAINE: Oh shit, that’s her. I’ve got to go.

[Static fills the silence. Dai puts the radio down.]

DAI: Worst road trip ever.


[They’ve stopped the truck for the night. They’re near the coast, we can hear the crashing of waves on the rocks. Chittering skittering faerie swarms aren’t far off. It’s windy. Gelert is running around barking a bit.]

[A small campfire is crackling nearby.]

MORGAN: Do you remember when you met him?

DAI: Vaguely.

MORGAN: I told you he was trouble.

DAI: And I told you I could handle a little trouble for a face that pretty.

MORGAN: I seem to remember eloquent lectures on the curvature of his arse.

DAI: Things said while drunk don’t count.

MORGAN: No? Since when?

DAI: Since I’m embarrassing when I’m tipsy.

MORGAN: No you’re not. You just overshare. To me, specifically.

DAI: Well that’s what happens when you sign up to be my best friend. It’s in the job description and everything.

MORGAN: You’re right, I really should have read that more carefully. (gently) I don’t think I’ve seen you that head over heels for someone since Vivian. 

DAI: I just need him to be ok.

MORGAN: I know.

[Morgan hugs Dai and he sighs very deeply.]

[[Perry and Gwen are talking by the truck – Perry is restocking and packing up.]

GWEN: There is no way we’re driving to France. There’s no ferries left, and besides that we’d have to get past Bristol, the Knights, and London to get to the right side of the country.


PERRY: I know.

GWEN: So what are we doing?

PERRY: Making Dai feel better.

GWEN: I’m sorry, I don’t understand. That fire was out of control, and we need this fuel if we need to do more supply runs. Isn’t offering him false hope worse than just being honest?

[Perry sighs and shuts the truck door.]

PERRY: It’s not necessarily false hope. We live in a world where dragons exist.

GWEN: We also live in a world where most of the population is dead.

PERRY: Dai can be unpredictable. His emotions just get huge. Mostly that’s a good thing. Great thing, actually. One of my favourite things about him. But when those emotions are painful it gets dangerous for him specifically. He starts taking risks. Forgets he’s not invulnerable. Gwaine has a habit of drawing that out of him.

GWEN: Has something like this happened before?

PERRY: Not exactly. Arthur wouldn’t let us pursue our own stories. Too worried about a Lancelot situation, presumably.

GWEN: Does he have a Lancelot?

PERRY: Not yet. Dai and Gwaine just have a complicated relationship. They mean a lot to each other but - have you ever had that one friend who keeps going back to someone who’s bad for them, no matter how many times they get hurt?

GWEN: Right.

PERRY: So we’re doing this. And hoping or praying, pick your poison, that that cottage is still standing when we get home. That Dai is still standing when we get home. 

GWEN: And if it isn’t? If he isn’t?

PERRY: We rebuild.




[The gang are driving along the coast. The road is uneven, and the truck rumbles and rattles along. Gel pants in the back.]

DAI: It’s been three days

MORGAN: We know

DAI: We can’t just drive in circles forever

PERRY: We know

DAI: There’s literally nothing we can do

GWEN: It’s going to be ok, Dai. This story has a happy ending, right?

DAI: This isn’t a story

GWEN: I know, I’m just -

[Shuffling fabric as Dai turns to look at her.]

DAI: Sorry, that wasn’t fair.

GWEN: It’s ok, I get it.

MORGAN: Ready?

DAI: Let’s do this

[Dai clicks the button on the transceiver and starts switching through the channels. Click, hiss, static. Click, hiss, static.]

DAI: Calling all stupid brainwashed self-sacrificing idiots who’ve chosen to involve themselves in my life.

PERRY: (mildly) Hey.

GWAINE: (distorted) Dai?

DAI: I’m here. Where are you?

GWAINE: I’m in some kind of ruin. A chapel, I think? It’s next to this huge green cave. The cave is framing everything, like a stained glass window made of moss and stone.

[Melancholy keys begin.]

MORGAN: (to herself) How are we getting this signal?

GWAINE: (off radio) oh God.

DAI: Gwaine?

GWAINE: I can see it.

PERRY: See what?

GWAINE: The chopping block.

DAI: No. Absolutely not. Turn around, right now.

GWAINE: The axe is right next to it. It looks even bigger than last time. It really is beautiful. The gold is so bright in the snow.

PERRY: Gwaine, listen to me. Did you get the sash?

GWAINE: The snow’s getting so deep.


GWAINE: It’s time

DAI: Please, please don’t do this

GWAINE: Dai, listen. You’re kind of the best thing that’s ever happened to me. And I’m not just saying that because the sex was amazing.

[The wind and falling snow start to bleed through the radio, even when Gwaine isn't transmitting.]

DAI: (half-laughing, devastated) Everyone can hear you

GWAINE: I figured. Dai, I’m sorry. I’m so sorry. You deserve better than someone like me stringing you along whilst he figures out how to be a grown up.

[More and more of Gwaine's surroundings start to bleed into the car, but his voice is still distrorted through the radio.]

DAI: I don’t care. I forgive you. 

GWAINE: You shouldn’t. I didn’t even think about whether I was hurting you. You just seemed so untouchable. Like nothing could bring you down. And by the time I realised what I was doing it was too late to take back all the hurt I’d caused.

DAI: What if I don’t want you to take it back?

GWAINE: I loved you, you know. I really really did.

DAI: I love - loved you too

GWAINE: It’s going to be ok. I promise

DAI: Don’t make promises you can’t keep.

GWAINE: I won’t. Promise.

[Gwaine kneels.]

GWAINE: I’ve got my head on the chopping block. It’s cold. Guess I should’ve expected that.

DAI: Oh, god

GWEN: What are we going to do?

MORGAN: (soft) Just listen

[Soft and distant over the radio, there’s the crunch of heavy footsteps in snow.]

GWAINE: I can catch snowflakes on my tongue. It’s not bad, as last acts go. Not what I imagined, but it could be worse.

[The GREEN KNIGHT picks up the axe.]

GWAINE: Nos Da, Dai. Caru ti.

DAI: Caru -

[The axe swings with a whistle of wind. There’s a crunch and then static.]

DAI: (sob) Ti.

[Static fades leaving only Dai's sobs, until they too fade.]


Camlann, Episode Five: Gwaine, was written and directed by Ella Watts. It was produced by Amber Devereux, with an original score by Amber Devereux and 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, Nicole Miners as Gwen (or Shújūn), and Paul Warren as Gwaine. 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.




Hello! It’s Ella again, thank you so much for listening to episode 5! I’ve been a huge fan of Paul’s performance as Gwaine throughout the series, and I really hope you’ve enjoyed it too.


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 Ties That Bind. This is an edited, sound designed and scored actual play series on The Secret Nerd podcast. It follows two queer people in a Zombie Apocalypse trying to survive. If you loved that one episode of The Last of Us, you’ll love this series.


Second is Folxlore. Folxlore - that’s folklore with an X instead of a K, is a drop-dead gorgeous, messy, queer, lyric Scottish horror anthology podcast from our very own Ross McFarlane, as well as his collaborators Bibi June and Syd Briscoe. It’s about community and identity and feeling like a monster, and I really think you’ll enjoy it.


Thank you so much again for your support, and remember - keep the fires burning. Diolch am wrando.

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