Star Wars: The Last Jedi has been breaking one of George Lucas' rules for the past six years. However, the Ahsoka Disney+ TV show can finally rectify this. In 1977, when George Lucas introduced viewers to the Star Wars galaxy, he made sure that the story felt embedded in a well-established history. Distinct from other science-fiction franchises, the Star Wars vessels were intentionally designed to appear old and worn, hinting at the untold stories they held.
Consequently, audiences have always been captivated by the prospect of delving into the past of Star Wars. Lucas himself utilized this interest when he released the Star Wars prequel trilogy, shedding light on Anakin Skywalker's descent into the dark side. Strangely, in 2012, Disney acquired Lucasfilm and initiated a new era, altering the dynamics between the past and present.
George Lucas Refused To Use Flashbacks In His Star Wars Story
Lucas' avoidance of flashbacks in his original trilogy and prequels is intriguing. Instead, he relied on pivotal moments of exposition, such as Darth Vader's reveal as Luke's father, for storytelling purposes. Occasionally, he tantalized viewers by hinting at past events and allowing their imaginations to fill in the gaps; the mention of the Clone Wars serves as a prime example. Rather than employing flashbacks, Lucas consciously chose to forgo them, a decision that proved to be shrewd. In the short term, it sparked viewers' engagement and spurred their immersion into the Star Wars universe. In the long term, this choice granted Lucas the opportunity to delve into these narratives through prequels or even the television show, Star Wars: The Clone Wars.
Disney Star Wars Has Broken Lucas' Rule
Disney's Star Wars franchise has disregarded Lucas' rule against flashbacks multiple times. J.J. Abrams managed to work around it in Star Wars: The Force Awakens by presenting a unique "Forceback" scene, which showcased significant past moments and was experienced not only by Rey but also the viewers. This deviated from the traditional concept of a flashback. However, Star Wars: The Last Jedi introduced the use of flashbacks within the Star Wars universe, and they have since become a regular occurrence. Star Wars: The Rise of Skywalker even included a flashback depicting Luke training Leia as a Jedi.
All three Star Wars live-action Disney+ TV shows have incorporated flashbacks, with The Book of Boba Fett being particularly noteworthy. The Mandalorian utilized flashbacks to explore the backgrounds of both Din Djarin and Grogu, while Obi-Wan Kenobi also featured a flashback depicting Anakin Skywalker's training with Obi-Wan. Additionally, Andor included multiple flashback scenes that unveiled Cassian Andor's true backstory. Although Lucas initially steered clear of flashbacks, they have now become a familiar element in Lucasfilm's storytelling approach.
Ahsoka's World Between Worlds Can Avoid Flashbacks
Fortunately, Ahsoka has a unique opportunity to engage with the past in a different manner, bypassing traditional flashbacks. This alternative method is potentially linked to Rey's Forcebacks and revolves around a mysterious realm known as the World Between Worlds. Ahsoka has previously encountered this realm, and there are strong indications that it will be featured in the upcoming Disney+ TV show. Speculation persists regarding the exploration of Ahsoka's backstory through visions, potentially featuring Hayden Christensen in some capacity. However, these visions from the World Between Worlds technically differ from traditional flashbacks.
Similar to Rey's Forceback visions, the World Between Worlds provides a way to circumvent the limitations set by Lucas. This creative approach allows Ahsoka and viewers to simultaneously experience the past, resulting in a more immersive narrative compared to flashbacks. Furthermore, this method ensures the seamless flow of the present story, avoiding disruptions from the past (as seen in The Book of Boba Fett). Ultimately, this innovative storytelling technique holds the potential to empower Ahsoka with a more impactful narrative presence.