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Reason Netflix released the whole season the same day.


We Are The Plate-Glass Windows Of Luke Cage's Harlem, And We're Not Amused

Does it feel just like you're walking on broken glass? There's a reason for that.

Being a window on the mean streets of New York City is not an easy gig, and we're well aware that Harlem in particular is not a place for the fragile. I guess we knew that way back when we got installed into the various businesses around the neighborhood. But we've got to say, we're noticing a significant uptick in the amount of property damage around these parts recently, and it's starting to feel really personal.

I mean hey, we're just doing our job here, and we think you'll agree that it's an important one: adding ambient light and allowing passersby to see inside of local businesses has been a key component of commerce for centuries. Plus, in this specific instance -- and not to break the fourth wall here, although breaking up walls is something else we're pretty good at -- we're not just helping local businesses, we're helping out the show itself. Without us, the already shadow-filled palette of Luke Cage would be even shadowier, and you'd all be constantly reaching for the "contrast" button on your remotes.

So what's the thanks we get? We get destroyed -- bullets going through us, people getting thrown through us, people getting thrown ONTO us...there's not a window on this show that's safe from the destructive swath being cut through this neighborhood. Literally, not a single one. Observe: we're two episodes in, and we're two for two on sweeping, dramatic scenes involving slow-motion glass implosions.

Let's pour out some Windex for our fallen brethren: last time, Luke Cage threw some dudes through the front window of Genghis Connie's...



...and now Tone's shot up the front windows of Pop's Barber Shop.



Literally every plate-glass facade that's been featured on this program to date has gotten blown to smithereens. We're not liking the odds for the next local business to be featured on the program.

And yeah, okay, we get that we serve as an easy metaphor. In the first instance, Luke comes to the shattering realization (ha, see what we did there?) that breaking a few eggs -- or windows, as the case may be -- is inescapable. In the second one, your heroes were beginning to see things clearly, but suddenly realize that the status quo can be shattered in a heartbeat. Frankly, though, that's a metaphor that works best if you use it sparingly. Once per season maybe. Twice in two episodes and we have to wonder if we're being singled out. Case in point: check out the real estate holdings of Mr. Stokes over there: does his swanky-ass nightclub even have any windows? We haven't seen any. Clearly he's got something against us, which could also explain why his people keep picking on us.

Now, we completely understand that without property damage, the narrative would lose a significant amount of dramatic tension. We're just saying: why does that property always have to be a window? Could you try maybe smashing up a street lamp, or some decorative urns, or even a car or something?



Okay, that's a start.

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