back to the future theme


rose quartz vs. serenity 

cr. x/x 


On this day in music history: August 24, 1985 - “Power Of Love” by Huey Lewis & The News hits #1 on the Billboard Hot 100 for 2 weeks. Written by Huey Lewis, Chris Hayes and John Colla, it is the first chart topping single for the Marin, CA based rock band fronted by lead singer Huey Lewis (born Hugh Anthony Cregg III). In late 1984, film producers Bob Gale and Neil Canton approach Huey Lewis about writing and performing a song for the film “Back To The Future” directed by Robert Zemeckis (“Forrest Gump”, “Cast Away”) and executive produced by Steven Spielberg. Initially, the band write a song called “In The Nick Of Time” which Gale and Canton love. But the song is given away to the Richard Pryor comedy “Brewster’s Millions”, when negotiations between Lewis’ manager, lawyers and Universal take too long. In place of “In The Nick Of Time”, Lewis and the band offer up the songs “Back In Time” and “Power Of Love” for the “Back To The Future” soundtrack. The producers of the film are not fond of “Love” initially, but quickly warm up to it. Lewis himself also makes a brief cameo appearance in the film as a school administrator that rejects Michael J. Fox’s band, who in a bit of tongue in cheek irony are playing a hard rock cover of “Power Of Love” in an audition to the play the school’s dance. Released in tandem with the films June 1985 opening, the song is an immediate smash. Entering the Hot 100 at #46 on June 29, 1985, it climbs to the top of the chart eight weeks later. The single also receives an Academy Award nomination for Best Original Song in 1986, though it loses to Lionel Richie’s “Say You, Say Me”. “Power Of Love” is certified Gold in the US by the RIAA.

anonymous asked:

I'm watching Doctor Who "dinosaurs in space" rn and all I can think of is that Lestrade is now an archaeologist. Also, earlier while watching another episode, it occured to me that Moffat likes the "it's all in their head plot twist". It's not impossible (or totally probable) that he used it once again in TFP.

Okay. So. I’m kind of freaking out right now, because your ask has just triggered my memory and I think I’ve stumbled across something incredibly important!

Now, if you haven’t seen Doctor Who, bear with me because I seriously think that this is a massive clue as to what’s been going on in season four.

We already know that Moffat’s written Sherlock into Doctor Who before.

I’ve considered a dream-sequence type thing as well. Not because of “Dinosaurs in Space”, though, but because of the episode “Amy’s Choice”.

Just to get this out of the way, I’m not sure whether TST/TLD are entirely constructed or not. It’s quite possible that they are partially real, partially fake. I highly suspect that TD-12 is the culprit in this case.

To anyone who hasn’t watched Doctor Who, but is following along with the conspiracy, I highly recommend watching “Amy’s Choice” stand alone because it’s got some crazy Sherlock parallels and will also give you a bit of an idea of Moffat’s particular brand of rug pull.

The basic premise of the episode is that it focuses around reality being contingent upon a single choice.

In this case, the Doctor’s companion, Amy, has to choose between either staying with her spouse Rory, or “the madman” aka., the Doctor. Remind you of someone?

The antagonist / bad guy of the day “The Dream Lord” traps the Doctor and Amy within a shared dream where they wake up in another reality in which Amy chose her husband Rory over the Doctor. They are both happily married, Amy is pregnant, and neither the Doctor nor Amy realise that they are dreaming at first.

Oh yeah. And The Dream Lord? He’s played by Toby Jones. How about those parallels?

Over the course of the episode the Dream Lord makes the Doctor and Amy wake up over and over again in both the reality in which Amy chose Rory, and the reality in which Amy chose the Doctor.

In the reality in which Amy chose Rory they are being chased down by aliens, and in the reality in which Amy chose the Doctor they are in the TARDIS about to be frozen to death by a nearby astrological phenomenon. A bit of a catch 22, then.

But the catch is that if you die in the dream, you wake up in reality.

Amy has to then choose which reality she thinks is real or a dream, in order to kill herself and finally wake up. 

I think this merging of dream and reality has been occurring on and off for Sherlock since his hospitalisation in His Last Vow.

Remember all the weird discrepancies and surrealist elements within season four? We get the same thing happening in “Amy’s Choice”, when the Doctor is trying to figure out whether they’re dreaming or not:

“The Doctor: Examine everything. Look for all the details that don’t ring true.
Rory Williams: OK we’re in a spaceship that’s bigger on the inside than the outside.
Amy Pond: With a bow tie-wearing alien.
Rory Williams: Maybe “what rings true” isn’t so simple.
The Doctor: Valid point.”

Meaning the glowing skull / lamp hell / OOC character behaviour / reused lines of dialogue all point towards constructed memories.

Moving along, where things get really incriminating is when you consider that the big reveal at the end of the episode: The Dream Lord is actually the physical manifestation of the Doctor’s darkest fears and insecurities.

“The Doctor: Drop it! Drop all that. I know who you are.
Dream Lord: Of course you don’t.
The Doctor: Of course I do. I’ve no idea how you can be here, but there’s only one person in the Universe that hates me as much as you do.”

“Sherlock Holmes: The point I’m trying to make is that I am… the most unpleasant, rude, ignorant, and all-round obnoxious arsehole that anyone could possibly have the misfortune to meet. I am dismissive of the virtuous, unaware of the beautiful, and uncomprehending in the face of the happy. So if I didn’t understand I was being asked to be best man, it is because I never expected to be anybody’s best friend…”

Just like the Doctor, Sherlock’s biggest weakness, central to the type of character he is, is loneliness.

The Doctor is so afraid of being alone that he conjures up a monster that traps he and Amy in a reality contingent upon her leaving him.

So to sum up the parallels, we’ve got …
- The Doctor // Sherlock
- Amy’s choice // John’s choice (post HLV)
- Amy’s Pregnancy // Mary’s Pregnancy — The Schrodinger’s Baby dilemma
- The Dream Lord // Culverton Smith // (John) // Sherlock
- Additionally Billy Kincaid (mentioned in TSoT) mirroring Culverton Smith as well 
- Possibly The Dream Lord // Eurus // Sherlock

Relevant quotes/references:

Amy // John

Amy is referred to in Doctor Who as “the Girl Who Waited”. She meets the Doctor when she’s young, and he promises to come back and save her, but due to the TARDIS malfunctioning accidentally disappears and only comes back years into the future when she’s already grown up. (Paralleling Reichenbach.)

This theme of the Doctor leaving Amy behind because it’s in his nature/that’s just the sort of man he is really links into John and Sherlock’s dynamic. John thinks that Sherlock is always abandoning him both literally (TRF) and emotionally (THoB, ASiB, etc.,) because he’s a “sociopathic genius”, it’s just who he is, when really, unlike the Doctor, Sherlock is only being forced away from John due to Moriarty.

“Dream Lord: Poor Amy. He always leaves you, doesn’t he? Alone in the dark. Never apologises.
Amy: He doesn’t have to.
Dream Lord: That’s good. Because he never will. And now he’s left you with me. Spooky old not-to-be-trusted me. Anything could happen.
Amy: Who are you and what do you want? The Doctor knows you, but he’s not telling me who you are. And he always does. Takes him a while sometimes but he tells me. So you’re something different.
Dream Lord: Oh, is that who you think you are? The one he trusts?
Amy: Actually, yes.

“Amy: I love Rory and I never told him. And now he’s gone.

“John: Just text her, phone her, do something while there’s still a chance, because that chance doesn’t last forever. Trust me, Sherlock, it’s gone before you know it. Before you know it!

In Doctor Who, in order to make the right choice Amy must choose Rory over the Doctor, the man she loves over the man she is infatuated with.

In this case, Sherlock, although he parallels the Doctor, also parallels Rory.

Originally posted by perttyodd

Sherlock // the Doctor

What does the Doctor say the first time he, Amy, and Rory are together again?

“The Doctor: Now. We all know there’s an elephant in the room.”

And what is he referring to? Amy think’s it’s her pregnancy, but the Doctor makes a joke and says that he’s talking about Rory’s terrible choice of hairstyle. Of course, that’s not what he’s actually talking about. The real elephant in the room is the fact that Amy is standing between the two men she loves and has to choose between.

Originally posted by johnlockshire

Weather Metaphors: “The Oncoming Storm” vs. “The East Wind”

Within Doctor Who we have the extended metaphor of the Doctor being referred to as “the Oncoming Storm” which can be seen as paralleling the “East Wind” in Sherlock, which is very likely referring to himself, namely his emotions.

“The Doctor: Someone—something—is overriding my controls!
Dream Lord (Toby Jones): Well that took a while. Honestly, I’d heard such good things. Last of the Time Lords. The Oncoming Storm. Him in the bowtie.”

The East Wind is coming, Sherlock. It’s coming to get you.“ 

And in mythology … “Eurus is God of the East Wind. He was thought to bring warmth and rain, and his symbol was an inverted vase, spilling water. His Roman counterpart was Vulturnus.” [x]

From The Blind Banker:

“Sherlock: Someone else has been here. Somebody else broke into the flat and knocked over the vase, just like I did.
John: You think maybe you could let me in this time? Can you not keep doing this, please?
Sherlock: I’m not the first.”

Plus Sherlock drinking from the vase in TLD:


”Amy’s Choice” provides a conceptual basis for what is likely going on in Season Four. 

Where Toby Jones represents the darkness within The Doctor as The Dream Lord, it is possible that Culverton Smith at times represents the darkness within Sherlock. At the very least this also links into how other characters such as Faith/”E”/Eurus/Mary can sometimes be seen as representations of characters’ psyches.

Amy’s baby, aka., Mary’s baby, is likely existent in one reality and non-existent in another. Season four shows us a reality where Rosamund does exist so we know certain scenes are not real, just like how Amy’s pregnancy is not real.

Amy’s choice between the Doctor and Rory parallels John’s choice between Sherlock and Mary. In S4 Sherlock’s worst fears to do with loneliness are being projected into reality, just like the Doctor’s, likely because of TD-12, which parallels The Dream Lord’s “psychic pollen”.

Within “Amy’s Choice” Amy and the Doctor are presented with three separate realities. There’s the real world, the fake real world on the TARDIS where Amy chose the Doctor, and the fake world in the village where Amy chose Rory. Due to this I think it’s quite likely that there are multiple layers of unreality we are seeing in season four, just like when Sherlock wakes up into fake reality in TAB and goes to dig up Emelia Ricoletti’s body.

This makes even more sense considering the fact that TAB can be seen as a key for understanding season four. Dreams within dreams within dreams.

@worriesconstantly @jenna221b @teapotsubtext @drugsbust @my-relaxation @timey-wimey-consulting-dragon @misanthropic-acedia @theveryunnecessaryfeelings

worked great when I made one of these for Hercules so here goes:

reasons why Back to the Future would make a great musical

  • musical themes: all of Marty’s songs/parts are in an 80′s rock style, accompanied with electric guitar and everything. It clashes heavily with the contemporary themes of the characters in the 50′s, making duets and ensemble pieces mashups of multiple musical styles from 3 decades apart. Imagining how cool it would be to constantly be reminded of Marty’s displacement in time like this should be enough to convince you
  • physical comedy. a core element of the comedy in BTTF was Michael J. Fox’s stumbling, falling, confused spins and whatnot. Works fantastic on stage. 
  • overall the movie has a certain overacted character, most characters are highly and uniquely expressive which is perfect for a musical.
  • the actors in the movie all had very distinct and striking voices which can be used amazingly in a musical
  • there’s some wonderful stage work that can be done with Hill Valley and its transformation since it was already a pretty simple, artificial set for the movie with a few very iconic pieces to focus on
  • cool opportunity for special effects in general (like the DeLorean)
  • added depth to already beloved characters who get to express their thoughts through songs now
  • iconic costumes and overall character designs in the movie work great on stage
  • iconic lines are a great basis for songs
  • lots of running gags make for great reprise opportunities
  • movie is cheesy af and so are musicals
  • I need BTTF to be more diverse but I don’t want the movie to be remade so stage adaption (with diverse casting) is my “remake” of choice
  • and I just need a musical that isn’t sad. just… please just one. I want to listen to a single Act 2 that doesn’t make me cry on a train. 

It had been a long day in Hill Valley, and what you needed was a nap. A really, really, seriously LONG nap. Where better to take a nap than your amazing boyfriend’s house? Marty never minds having you over, although you can’t say the same for his parents. His mom adores you, and his dad approves, but they dislike that you two are always alone in his room… With the door closed all the way. That’s beside the point though - you two kept it PG… For the most part. They should be more worried about what you two do out of the house.

Currently though you were on your back, laying on Marty’s bed while he laid on top of you, his head resting above your heart while he snores silently. You would have fallen asleep along with him if it weren’t for you getting distracted. You didn’t often get to just lay down and admire your boyfriend. He was always up and around, having to do something. It was times like this that you liked to study his face. His beautiful face.

You continuously run your fingers through his hair, attempting not to wake him by pulling at any knots along the way. He looked so peaceful in his sleep, a look not often acquainted with him. Marty was anxious a lot of the time, trying to prove that he ‘isn’t chicken’, or doing something last-minute for a class. You like seeing him calm. He deserves to be calm.

It takes you a few moments to realise that there are two sleepy blue eyes staring back at you, and you grin back at him.


“Y/N,” he pushes himself up so he can see your face clearly. “You okay?” You press your lips together and nod, watching the way he uses one hand to tiredly rub the sleep out of his eyes, even though you both know that nap-time is far from over.

“Have I ever told you how much I love you, Martin McFly?” You murmur, draping your arms lazily over his shoulders. You ask the question even though you know you haven’t - you two had taken the lovey-dovey part of the relationship a bit slow. You remember Marty telling you (before you’d begun dating) that it took him a year and a half to tell his first significant other that he loved them. You understand when it takes him a few moments to get over his initial shock.

“I-I,” He stutters, then clears his throat in the adorable way he always does when he’s nervous. “I love you too, babe.” He smiles at you, and in your heart, you know he means it too.

(I do not own the gif, not the galaxy theme used for my new banner)

Back to The Future // Barry Allen


Originally posted by mutant-x-perience

(so this is going to contain extreme spoilers for the season 2 finale so if you havent watched that yet, i suggest you move along and read this another time)

so the title has nothing to do with the movie back to the future, it just really suited with the theme i’m going for

Keep reading

Pairing: Shizuo/Izaya
Theme: future!au: coming back

“…You’re sure?”

“Yeah. You shouldn’t give up an opportunity like that for me.”

Those were his exact words to Izaya when he’d asked him the question that broke Shizuo’s heart:

“They gave me the grant.”

Laying on his bed and staring at the ceiling, twenty-eight-year-old Heiwajima Shizuo could still recount the day his then boyfriend, Orihara Izaya, had quietly and indirectly told him that he’d be moving to a different continent.

Shizuo had tried and tried to understand Izaya’s research, something about some kind of cell and some kind of drug and some kind of something, but all he knew for certain was that it was important to him, Izaya had been given the opportunity to make a breakthrough, and he really wanted to go.

Izaya would’ve gone whether or not Shizuo agreed, he thought. If Shizuo had said no, Izaya would probably nod, be quiet, and then say that he was going to go anyway.

And Shizuo understood, so Shizuo didn’t stop him. He didn’t even try. He knew how important it was to Izaya and Izaya was important to him. So, by association, what was important to Izaya was important to Shizuo, even if he couldn’t understand it. He’d have to go to America, Izaya had explained to Shizuo the day he applied for the grant. And he’d be incredibly busy, but it would be worth it.

Four years had passed, three years since their break up. It had been mutual and Shizuo had been the one to bring it up. Their phone calls were lessening; Shizuo didn’t have the spare cash laying around to just fly on over and, if he did, Izaya would have a hard time setting aside more than a few hours every few days for him. So one night when they were on the phone, sitting in silence, Shizuo hearing some mumbling and quiet cursing from Izaya, he proposed the idea quietly.

The mumbling and cursing soft and that was the first time in months Shizuo had Izaya’s full attention.

They kept in contact, though sparingly. Shizuo didn’t know about Izaya, but even though the break up had been peaceful, just thinking about him, much less talking to him, was painful beyond belief. The day they broke up, Kasuka had come over (news traveled fast if one was even remotely familiar with Shinra) and seen the ring, was silent and gave a heavy sigh.

“…If those plane tickets aren’t refundable, let me pay your rent this month, niisan.”

Rolling over onto his side, Shizuo grabbed a pillow and buried his face in it. He’d almost forgotten what Izaya smelled like, how he sounded, what he looked like, how he felt, his lithe and slight body against Shizuo’s. He’d almost forgotten, and that last fragment was both a blessing and curse.

He felt stupid. For all he knew, Izaya had moved on. He’d found some fellow science person, fallen in love with them because they probably understood his cell thing and drug thing and something thing. And here he was, laying in bed on a Friday afternoon, burying his face in his pillow, like that would solve all his problems.

I miss him.

I miss him so much… his stupid, stupid voice…

“Shizu-chan is trying to be a snail?”

Great, now I’m hearing it too.

A moment later, Shizuo sat up upon realizing that the voice wasn’t imaginary. It took his eyes a moment to focus, but even before they did, that dark haired, pale skinned blob was unmistakeable and Shizuo couldn’t stop repeating ‘Shizu-chan’ in his head over and over again. Mouth instantly going dry, he couldn’t return the greeting with some retort of his own as Izaya dropped his bag and crossed the distance between him.

His cool hands framed Shizuo’s face and pressed their lips together in a kiss wordlessly. One hand remained on the bed to support himself, but the other came up to rest over Izaya’s, still too shocked, too confused to do anything beyond return the kiss.

“…So you’re not dating anyone.”

“Of course not,” Izaya mumbled. “And I’m guessing Shizu-chan isn’t either? Unless his pillow counts?”

He almost missed those snide little remarks.

“I’m not finished,” Izaya said and Shizuo gave a small frown, hesitating a moment before moving away from his touch. “But doing what I love isn’t worth it unless the most important person to me is in my life.”

“What, your stupid bacteria?”

Izaya smirked and Shizuo frowned, but sighed and tugged on his wrist to pull him into his bed, wrap an arm around him and hold him close, just barely hearing:

“Mm… just one protozoan.”