This video begins with a wide shot zooming in on the scene of a crime with distant siren sounds in the background. This immediately gives the audience an insight into the narrative as well as hinting at the treacherous, emotional genre of the video and the meaning of the song. Here we see the main character dead on the floor with medics surrounding her. The close-up shots introduce her as the protagonist of the music video before we flashback to see her journey. Another effective use of camera angles is the use of long shots; in these we see how isolated she is, even in scenes with others. Seeing the main character in this condition at the beginning of the video also engages the audience as they are intrigued to see why the character has died.

As the music begins to play the video is cut back to the character before she develops her wings. Through a combined use of low key lighting, body language and facial expressions, we see that she is a depressed and troubled character. This is emphasized by the location, which is an empty dark room with a singular mattress in the middle, as well as hair and make-up with are both made to look simplistic and rough. As the video goes on we learn that the plays the role of cupid: creating, encouraging and fixing relationships around her. However in all this we see how lonely she is as nobody loves her, connoting the lyrics in the song such as ‘Give me love like never before, cause lately I've been craving more, and it's been a while but I still feel the same, Maybe I should let you go’. This is isolation also shown through deep focus shot where she is blended into the background and medium where she’s rarely positioned in the centre of the screen.

As there is no performance aspect to this video, the narrative is created in a way to make the song lyrics seem from the perspective of the main character. The artist, Ed Sheeran, is subtly incorporated in the video as a part of the narrative in the scene of a café. Despite the lack of lip-syncing the video is still well correlated to the song and its meaning, as Goodwin’s theory suggests. This makes the video relevant and applicable to the song, which is done through a visualisation of the lyrics. The syntactic elements such as sadness and isolation is presented through aspects of mise en scene, such as location, props, facial expressions and body language.

Many theories are applicable to this music video. For example The Effects Model. This follows the principle that the consumption of media has an effect influence on an audience. This is usually considered as negative however issues raised in this video, such as suicide, has the power to influence an active audience. Another model featured is Uses and Gratifications. This proposes that the audience uses the media and is not used by it. Watching this video, viewers can use the media for either escapism, identification or education. The ways in which the audience uses the media depends on them and their agreement with the video, via dominant, negotiated or oppositional reading. This also effects their engagement and interest of the video.

As the video reaches the chorus, the action of the video increases as well as the pace of the editing. There is also an increase in the various camera angles to make the video more tense and dramatic. This proves that ‘editing is a major part of music videos’, as Carl Vernallis proposed. As the music video follows a comprehensive narrative, the frequent use of editing distinguishes it as a music video, rather than a film. The swift use of cuts also makes the video more intriguing and engaging to the audience. As the video reaches the ending, we see how the characters journey of loving others but not being loved resulted in her committing suicide as we saw in the introduction.