#dodienatural

I'll tell you soon

Until then, I love you

sam + lyrics from “sorry” by dodie

"What a strange being you are" - clips of 4x01 barn scene, Cas' entrance

"God knows where I would be if you haven't found me sitting all alone in the dark" - scenes of Dean in hell and getting out of his grave

"Watch how a cold broken teen will desperately lean on a superglued human of proof" - I can't pick scenes for this yet but it DOES sound very destiel core

"What the hell would I be, without you" - MANY big destiel scenes to choose from

"Brave face talk so lightly, hide the truth" - scenes of Dean gazing longingly at Cas, scenes of Cas' Emptt deal arc

"Cause I'm sick of losing soulmates, so where do we begin // I can finally see, you're as fucked up as me // So how do we win?" - clips of Dean and his previous relationships, clips of the divorce arc

"We will grow old as friends // I've promised that before so what's one more in our grey-haired circle waiting for the end?" - destiel date scenes (their diner dates, the glass clink, etc), scenes with them and their friends

"So which path will you take, cause we both know a break does exactly what it says on the tin" - divorce arc scenes, alternating between their split and their reconciliation

"I won't take no for an answer" - the climax of the amv, with their multiple hug scenes back-to-back

Closing scenes - the 15x03 clip where Cas leaves and the camera zooms out on Dean, alone.

SIDENOTES

One interesting thing about this hypothetical amv is that it highlights the intra- and inter-discursive nature of amvs (and fanworks in general; for a more elaborate explanation for this, please see my essay on the semantic logic of amvs).

I'll explain what I mean. In the typical format for amvs, the song typically holds more narrative force over the visual media (film, TV show, etc). This is evident in the fact that it's usually not the song which you cut up in order to fit the visual media, but the other way around: you cut up the visual media in order to match the song.

This typically entails an asymmetrical relation between the two texts. Functionally, the song recontextualizes the visual media into new and interesting ways: maybe it brings out a novel reading of the visual text, or maybe it reaffirms a preexisting but subtextual meaning in said text. This means that the song tends to function as the more "primary text" with the visual media as the "complementary text."

[Of course, this does have its exceptions. Two examples that come to mind are (1) the abbanatural edit of The Prisoner fight scene by @katebushstandean where the scene unfolds naturally while the song is laid over it. This presents a more equal footing between both musical and visual texts. The other example is (2) the My Heart Will Go On destiel crack vid by @princesscas where a specific portion of the song is repeatedly overlaid on different scenes; this dynamic presents the visual media as the primary text and the song the complementary one.]

This hypothetical amv I'm proposing presents something similar with (2) because in this case, it's the visual media that is recontextualizing the song. If I remember correctly, dodie wrote "sick of losing soulmates" about breaking up with a romantic partner who is also your best friend. The song, therefore, is a plea to remain good friends with this person despite their breakup.

Overlaying it on the destiel divorce arc radically changes the reading of the musical text. It's not just a "I still wanna be best friends" but a "I still want you back, please have me back." While in a formalistic sense, it's still the song that functions as the "primary text", in a more narrative sense it's the visual media that is doing most of the recontextualizing in this case.

this idea came to me in a dream and i had to make it come true

On a Sunday, we're together, God, I love you, says not one of us evеr