Request:anon: I have a request!Can you do a Johnny friends with benefits smut?Kinda angsty, but kinda fluffy in a way :) Also I love your writing!Keep up the great worka
Summary: In which you and Johnny become “Friends With Benefits,” but you can’t seem to shake the rapidly growing tenderness in your heart that yearns for him in more ways than just sex.
Characters: Johnny x Female!Reader
Genre: Pure Smut // Slight Angst // Slight Fluff
Warnings: Smutty Smut Smut // Explicit Language
Author’s Note: So this is my first time writing a smut scenario… Let’s hope I don’t completely flop lol. HERE GOES NOTHIN
You clutched onto your best friends hand as the two of you walked through the doorway, and into the chaos filled house party. The music was so loud you could feel your insides rattling and everyone in your line of sight was completely wasted. You took a deep breath before your friend was dragging you along to the kitchen for a couple drinks. Not 20 minutes into the party your best friend had already left you in the corner of the kitchen with a drink in your hand as she was off and about doing god knows what. You were never the “party” kind of person. You much rather enjoyed a quiet night in doing something far less stressful.
You took a small sip of whatever it is your friend had given you as you heard someone clear their throat from beside you. You turned your focus towards the poor attempt at an attention grabber as you were met with a very tall and alarmingly handsome gentlemen.
“I couldn’t help but notice such a pretty woman like yourself all alone. Did your date leave you here by yourself?”
You smirked at his sly choice of words, cleverly asking you whether or not you actually had a date.
“I came here with my friend, but I’m not quite sure where she’s at right now… This isn’t really my ideal setting,” you laughed to yourself as you made possibly one of the biggest understatements of your life.
“I completely understand… My friend dragged me here with the promise of a good time, but all I’ve gotten is separated from the only person I know here and booze spilled all over me,” he replied, annoyance very evident in his voice.
The small talk continued for another half hour or so before you finally got around to introducing yourselves.
“I’m Y/N, by the way,” you smiled as you extended your arm.
“Johnny,” he retorted, as he returned the gesture and shook your hand.
I started watching Kiss Him, Not Me and caught up with the manga in two days and after watching the opening a couple times, I noticed something interesting. All four of the guys do something to catch Kae’s attention. However, how they go about it is basically what I like and dislike about how their romance is handled.
Can you talk about the pros and the cons of Olivia Hussey's Juliet? She is my favourite Juliet, but I would like to see a more critical review of her portrayal for once!
Ah! I’m really happy that you asked this because I’m hopelessly in love with Franco Zeffirelli’s movie and I could talk about Olivia Hussey’s acting all day long.
The first thing I would like to remark is the context in which the movie was made. In many ways, it is a mirror of the youth movements of the 60s, and the trope of idealism versus violence, dreaming versus fighting, is one of the main characteristics of the movie.
The fights are really violent (the opening brawl, for instance, was filmed in a more aggressive way than usual, as it fatally has Capulets and Montagues murdering each other and women screaming with their children in their arms), and it presents Romeo and Juliet’s love as an innocent, harmless force as opposed to the cultural violence that surrounds them. Olivia Hussey underscored how excellently the movie had harmonized with the ideals of her generation. And, indeed, you could say it is an ode to sexual freedom, peace, and the power of youth. You can see that in the way Zeffirelli filmed the bedroom scene, with Juliet lying naked after consummating a marriage she arranged herself.
Zeffirelli seemed to be particularly interested in her character:
The central idea is that of a puppeteer, Destiny, who handles all the characters. They are all puppets on a stage and no one is fully responsible. The whole tragedy is permeated with the idea of fate. There is nothing to do. Juliet is the only valuable opposition to it.
So he decided to exploit the transgression of Juliet’s acts, and I will always be grateful to him for giving us such a powerful, intrepid Juliet. He was also one of the first directors to cast teenagers to play the lovers. Precisely, physically speaking I consider Olivia to be really suitable for the role. The innocence and tenderness of childhood she conveys wonderfully, but once she gets to express herself you find that her eyes denote such intelligence, her voice such fortitude, that you couldn’t possibly dismiss her as a dumb kid. (To be honest,
I can’t fathom how it is possible to distort the play to the point that people think the word “dumb” befits Juliet and Romeo.) She transmits so much expressiveness with those piercing, inquisitive eyes and her loud, firm voice. See how monotonous she sounds when she lies to the Nurse, but how fierce her voice is during the “O bid me leap…” speech in the cell. She is a Juliet that does something else apart from blushing and smiling tenderly—she is also restless, frustrated, even rude in some parts. She doesn’t limit herself to simply reciting her lines in a monotonous tone, but rather she inserts so much depth and energy in every single word that she succeeds in constructing a complex Juliet—Olivia handled the duality of her character really well. Sometimes she cries fearfully on the floor as she implores her parents to listen to her and sometimes she contemptuously yells at her mother that she won’t marry Paris “by Saint Peter’s Church and Peter too.”
To me, Olivia portrayed Juliet as a young girl who is too alive to contain herself—as if the world weren’t big enough for her. One of the things that amazes me about her acting is the way she uses her body to transmit her indefatigable energy. She shows a great command of herself. For instance, I noticed that she spends a huge amount of time running. We find her running the first time we see her, she leaves the scene running after her conversation with her mother, she arrives at the ball running, she comes in and out of her balcony running repeatedly, she arrives in the church running again, and hurriedly crosses herself before running again toward Romeo with her arms wide open. I could go on. (But interestingly, during Paris and Friar Lawrence’s brief conversation in the cell, she comes in running as well, but once she spots Paris she stops suddenly and starts walking instead, as if she were attempting to behave more correctly, faking to be a more restrained and therefore acceptable woman. She does this as well when she runs to her mother’s bedroom and stops abruptly before Lady Capulet can see her.) With this restlessness and her resolute nature, she transgresses the tediousness of her society—she is simply too in love with life itself to confine herself to inaction. It makes perfect sense to hear her describe herself as “a boundless sea” when you hear her exhilarated laughter.
And then she denotes so much determination and self-condifence. Olivia takes advantage of every single line to portray Juliet as an independent, strong-minded young girl. “But trust me, gentleman, I’ll prove more true / Than those that have more cunning to be strange.” She sounds so angry when she says that. More than swearing her love to Romeo, she looks like she is threatening him not to fool her. (He actually even nods nervously there and it’s hilarious.) And her face is priceless when he tries to swear his love by the moon. She tells him off. She is so resolute and skeptical throughout the whole balcony scene, it’s wonderful. I invite you to watch that scene again, paying attention to her facial expressions.
Another scene I think is worth commenting is 2.5, when the Nurse delivers Romeo’s news to her. I like to compare her acting here with that of other actresses playing Juliet. In this scene, her impatience is usually portrayed more like an inoffensive, sweet frustration. She is still adorable even when she is irritated. However, Olivia’s Juliet does not even try to palliate her impatience. When she goes down the stairs and notices that the Nurse is not yet come, she boldly places her needlework on the table as she goes on ranting about how disgusted she is by old people. When the Nurse finally arrives with Peter, Juliet basically puts her hands on her waist impatiently and kicks him out after giving him a quite exasperated look. She then even takes away an apple that the Nurse was holding in her teeth and clenches her fists. But when she finally gets her Nurse to tell her what she wants, she euphorically bursts into laughter and thus leaves the scene running enthusiastically. I find this much more entertaining than, say, Rebecca Saire’s acting, who was only slightly impatient in comparison with Olivia’s liveliness.
The movie is replete with moments like that. I still can’t get over the way she looks at her own cousin when she turns around (screencaps here), or the fact that she doesn’t even look at Paris when he kisses her hand and says farewell before leaving the ball. Moreover, the camera tends to focus on her emotions. The first kiss is filmed in a way that only allows you to contemplate Juliet’s face and all the different emotions she goes through. There is that long kissing sequence in the balcony scene where you can only see her face as well. And in the last scene, the first hint that she is still alive comes from her hand. The camera focuses entirely on it as she begins to move her fingers slowly, but all of a sudden she clenches her fist with strength and resolution. The camera then follows her hand as it reaches her face, and those wide, alert eyes open again. Those are just a few examples, but the movie is full of close-ups of her intelligent eyes.
The main flaw of Olivia’s Juliet, however, is the same flaw of the whole movie: too many lines were cut out (more than half of the play!). Certainly they skipped some of her wittiest moments, such as the part where she deceives her mother, or the “gallop apace” speech, in which she so explicitly poeticizes sex. Although its absence is partly compensated, in my opinion, by the more than evident sexual agency she shows throughout the movie. She actively looks for Romeo at the ball, and even when he touches her hand for the first time, the camera shoots her eyes closing in ecstasy. She grabs his shoulders in their second kiss, and even holds his face in her hands and kisses him as he stays still in the balcony scene.
Another thing I dislike is her reaction to Tybalt’s death. The way she criticizes Romeo is wonderfully acted again—really vigorous and enraged. But it stops there. The last thing she says is, “But wherefore, villain, didst thou kill my cousin?” In the play she goes on trying to find out what must have really happened between Romeo and Tybalt, and she comes to her own conclusions. However, in the movie, we just see her bash Romeo and then we don’t see her again until the next morning, when she is happily sleeping by his side. It sort of weakens the character, because Juliet doesn’t forgive him entirely until she decides it couldn’t had been his fault.
And, of course, there is the potion speech missing. It is actually the soliloquy she chose for her audition, but Zeffirelli decided to cut it out because he feared it would alter the balance between Romeo and Juliet in terms of their importance to the plot: “If she does this potion speech, she’ll get all the attention. The film won’t be Romeo and Juliet—it will be ‘Did you see Olivia Hussey in that scene?”
But I think Olivia’s Juliet is excellently paired up with Leonard’s Romeo—the angriest Juliet comes with the softest Romeo. It is as though Thought and Dream intertwined. While Juliet speaks with a very potent, determined voice, Leonard’s Romeo has more of a whispering, soft tone. (We literally see him sighing with his eyes closed against some pretty flowers.) This duality of their personalities is tangible in the very way they are introduced in the movie. Romeo’s entrance is accompanied by a dreamy, tender song as he appears smiling at a flower that he is holding in his hands; Juliet, on the contrary, shows up running while a much more energetic song is playing (from around 1:03 on). It goes on like that for the rest of the movie and it culminates with their last words. Romeo raises the venom with tears streaming down his face as he slowly whispers, “here’s to my love”. (It! Breaks! My! Heart!) Juliet, however, roars her last words, and even half smiles at the dagger for a moment as she commands it to “rust” in her.
So what I love about her is her strength and her ability to denote so much expressiveness with her body. If only I could watch her perform all the missing lines. She did so much with the little she was given, it’s wonderful. We need more Juliets like this—Juliets who express themselves so freely and fearlessly.
i have a vhs including clips from the 2004 mtv movie awards and everything you gotta know about 2003 is this best kiss nominations sequence, the films, the songs, the fact that snoop dogg and paris hilton presented the award
i promise i’m not dead, i haven’t written anything since january, and even that was like one small drabble, so here
(this is missing some things bc i had to post it using my phone 🙃, so im sorry)
prompt:he’s everything you could ask for, and you’ve been with him for almost a year now, but that doesn’t compare to the three years he’s also been spending with her + poc reader
cw: cheating, suggestiveness
“Shh, you have to be quiet!” He muttered in a rush, pressing his large left hand against your lower back to guide you into the closet, he shot you a glance before turning around and closing the door.
You sigh as you hear the click of heels approaching the room.
Through the slits of the closet, you can see him fall back on the bed, rubbing his face in exhaustion.
Her high pitched voice pierces the calming silence in only a few seconds.
He greets her with a smile, letting her cling to his torso before pulling away, making an excuse about being sweaty from his busy schedule.
He looks through the blinds as speaks, obviously nervous as to what you’re doing behind the door.
“I just came to visit you for lunch, I’ll be back tomorrow afternoon, after the business trip, so you don’t have to wait on me.” She tugs on his sweater, “Let’s go eat downstairs.”
They leave almost silently, the little noise there was was just her rambling about her day.
Seconds after they’ve disappeared your phone vibrates.
Hold still for 30 mins
You exit the message without an answer.
True to his word, he opens the door even earlier than expected, muttering that he told her she should get there early to beat traffic.
He hates whenever she disrupts your time together because then he spends the next 30 minutes trying to make you happy again.
“I’m sorry,” He already starts.
You shrug, pushing past him to head downstairs.
He follows behind you, basically bumping into your heels.
You walk into the kitchen, searching for ingredients to make something to eat, and he slows down, sitting at the breakfast bar, arms crossed on the table.
“Maybe we should just stay as friends…” You start, fiddling with the cooking oil cap after you’ve started the gas fire on the stove top.
“Don’t start this.” He mumbles under his breath.
You turn to him, “It’s too difficult, I’m exhausted having to sneak around all the time, and I know you are, too.”
“Give me two more months? I promise, everything will be perfect in that time, just you and me,” He gets down from the stool and starts to slyly approach you.
He wrapped both arms around your waist, settling his chin on top of your curls.
You kept the same scowl on your face, trying to ignore the butterflies in your stomach.
“You’ve been saying that for six months now.” You claw at his hands, he lets go, exhaling dramatically as he realizes now that you’re serious.
“What do you want me to do?”
“Break up with me or her.” You whisper.
“I can’t do either right now.”
You remain quiet as you cut the raw chicken, throwing garlic and cayenne pepper into the pot before putting the chicken in with it.
“After I make your lunch I gotta go home, I have an essay due for my chemistry professor.” You avoid eye contact, starting on the rice.
He pushes against you again, this time reaching for your hands and slipping his fingers through yours.
He presses his lips to your left ear before pushing your head to the side with his chin and resting it on your neck.
“She’s coming back tomorrow evening, can’t you be mad at me another day?” He nudges your cheek. “Aish, you’re a brat, you know that?”
He turns you towards him, pushing you against the counter before taking you by your waist and lifting you onto it.
Both of his hands clutch onto the backs of your thighs as he looks at you.
“What?” You ask innocently.
He chuckles in a cute manner, pressing his lips to yours in a messy sequence of kisses.
He eases into kissing you deeper and now starts to pull you closer by your thighs.
You rest your head back as he starts down your neck, hands already moving to loosen your shirt.
He pulls it off with ease, moving his lips back up to your lips.
The phone vibrates loudly on the counter, causing you to jump and pull away from him.
You look to the side, rolling your eyes at the glance of her face on the screen.
“Hey,” He pulls on your chin, “Ignore it.”
You try to, letting him continue his butterfly kisses over your skin but you can’t help to feel your irritation heighten at each ring.
You wake up before he does, stretching your sore muscles out and trying to release yourself from his tight grip.
“Stop moving.” He grumbles from behind you, if you turned around you’d probably see the scowl on his angelic face.
“I’m sorry for being hard on you yesterday.” You mutter.
He seems to be asleep, but after a few minutes he tells you that it’s okay.
“I’m sorry I’m such an ass.” He says, “I should’ve broken up with her by now.”
“Maybe you love her.”
“Don’t go there.” He chuckles dryly.
“You’ve been dating for three years now…”
After a few more seconds of silence, you realize that’s as far as the conversation will go, so you turn towards him.
He’s already staring at you, blinking slowly because he has just woken up.
“You’re so pretty.”
You chuckle, poking at his cheek.
He fakes tiredness, which is proven when he flips himself up to straddle you, tilting your chin up with one of his fingers.
“Are you still sore?”
He hasn’t called you in almost a week now, you’ve messaged him a few times and they all go unanswered.
On the second week, you decide to pay a visit to his house, ringing the doorbell in confidence while rocking back and forth on your heels.
She answers the door.
“Ah, Jiyoung… how are you?” You awkwardly mutter.
She answers cheerfully, asking about yourself and then going on about how he has stepped out to go get groceries.
“Has he told you the news?”
The ugly grin on her face tells you something’s up and it’s proven when she thrusts her hand into your face, “We’re engaged!”
You almost faint in that instant.
Now the tables have turned.
He had been trying to get in touch with you for a month now, and you refused to answer.
You’ve spent nights trying to officially get over him, falling into beds of guys from high end clubs almost every week, but nothing seemed to get the feeling out of your head.
He was lying to you the entire time.
He was planning to marry her this entire time.
And he told you differently just so he could get what he wanted.
He’d shown up to your apartment many times, knocking for even hours without end, but you never answered and you knew he respected you enough to not persist.
That changed today when you were setting out to go meet your friend at a new club downtown, he was already halfway up the steps when you opened the door and you couldn’t be fast enough to go back inside and lock the door.
“I’ve been looking for you for a month now.”
“I don’t think your fiancée would appreciate it if you continued to speak to me.” You said as you pushed past him to get to your car.
He grabs onto your wrist, “I can explain if you let m-”
“I’m tired of giving you chances to explain things, I think maybe we should just not speak anymore, our relationship died when you decided you wanted to marry her.”
“I can’t do anything to stop it!” He shouts. “My mother made me.”
“You are in your mid 20s, I am sure as hell you can make your own decisions at this age!” You shout back.
“I’ve been going crazy without you around, look at me.” So you do.
He, obviously, looks terrible.
Skin drained of color, hair greasy, and eye bags super prominent.
“Everytime I’m with her I think about how much I’d rather be with you, it’s killing me to be so unhappy.”
“What am I supposed to do when you actually get married?” Tears begin to spring at your eyes.
“Be a good bride.”
“I don’t have time for your sly pick up lines, right now, I’m serious.” You play with the hair on your shoulders. “Why do you refuse to break up with her and tell your family about me?”
He stays silent, looking down at the floor in uncertainty as his face begins to glow red.
“What is it? I can take it.”
“If I introduced you to my mother, she’d lose her head.”
“…And why’s that?” But you already knew the answer.
You obviously did, your dark skin, wide eyes, plump lips and kinky hair made you stand out in Korea and you often felt it with the abnormal amount of staring you’d receive every time you went out in public.
You look down at the ground.
“So… you’re embarrassed of me.” You couldn’t stop the crybaby tears from falling down your puffed cheeks.
You didn’t feel like going to the club anymore.
You felt like going inside and buying a one-way ticket back home.
You march back up your stairs, fiddling with your keys to unlock the door.
“No, no, no- that’s not it-”
“You don’t need to sugar coat things for me, everyone would make fun of you for having a girl that looks like me so you decide to take the easy way out and marry the conventionally pretty girl while you string me along, makes sense.”
You’re surprised you are able to get so much out with how bad you want to cry right now.
You finally get the door open, but before you shut and lock it, you turn to him.
He’s obviously devastated, and terribly confused as you open your mouth.
“I don’t want you to contact me ever again,” You sigh. “Stop trying to speak, this is what you want anyways, now you won’t have to deal with the embarrassment anymore.”
With that you shut the door in his face and run up your stairs, ignoring the loud bangs on it that follow.
wow that was dramatic, but anyways, yeah idk how long this will be just look out for the next chapters, so yeah
The perks of giffing: have you realized how freaking cute is Amy in the whole goodnight kiss/lullaby sequence? Like
has these cutie, sweety, loving faces and I can’t… I bet Sheldon just
ended up cuddling with her. Amy Farrah Fowler is a precious creature
that must be protected at all costs, I’ll never could stress this enough.
think about how seriously you take your own writing. there’s nothing wrong with a serious piece of writing or a piece that takes itself very seriously, but not everything *needs* to be!
i think its easy to take a sequence so seriously it becomes sort of detached from real life and the reader. sure, really meaningful, emotional kiss sequences with detailed descriptions of every quiver and brush are nice in their own respective right, but sometimes its good to take a step back and think about if it would be that serious, that deep if it happened irl. is earlobe-sucking *actually* sexy or would your character have a laughing fit because they don’t know how to respond to that? how serious are your characters rn, and is that ic?
think of it like the “cerulean orbs” thing - it sounds pretty and i can guarantee you its not a bad thing to write that way, but realistically speaking if you look someone in the eye irl, you’re gonna think “their eyes sure are blue”. the difference is that “cerulean orbs” takes the eye color sequence very seriously, as a poetic and meaningful thing - which can work great in writing (sometimes), but also removes it further from the reader’s experiences and it may not feel as real as something more down-to-earth and casual. it also can water down sequences that ARE really serious and meaningful and deep if the entire story is written like that, because it becomes harder to place emphasis.
its okay to include sequences that dont take themselves seriously or have no deeper meaning, just because they are fun to read or contribute to the story in whatever way. have your characters crack jokes and do awkward, silly shit. have yourself, as the narrator or even the writer breaking the fourth wall, crack jokes for effect (see: lemony snicket’s asofe). instead of relying heavily on flowery language, use language for effect and emphasis, even if (especially if) it looks silly because it has no serious tone (see: joseph heller’s catch-22)
like, think about it. think about how serious your work is, how seriously you take writing, and if it’d be fun to experiment with tone like that.