Who’s Gonna Take the Weight? is largely shaped and defined by its central hall way fight sequence.
The hallway fight sequence was hyped in the first teaser trailer for Luke Cage, which set an abridged version of the scene to Shimmy Shimmy Ya by Dirty Ol’ Bastard. However, a scene like this seemed inevitable even before that trailer landed. After all, the extended one-take hallway fight sequence from Cut Man, the second episode of Daredevil, had been a watershed moment for the Marvel Netflix properties; that impressively choreographed centrepiece really demonstrated what the shows could accomplish from a technical and action-driven perspective.
Indeed, the second season of Daredevil treated the hallway fight sequence as something approaching a holy artifact, offering two extended homages to the brawl. The multi-level fight sequence in New York’s Finest was a rather blatant (and awkward) attempt to maintain the one-take conceit while escalating the action to an absurd degree. The prison corridor brawl in Seven Minutes in Heaven shrewdly dropped the insistence on maintaining a single take while increasing the carnage exponentially. The hallway fight sequence is a sacred moment for the Netflix properties.
Jessica Jones notably avoid a tribute to the sequence, but that could be explained any number of ways; from the fact that Jessica Jones would have been in production before the response to the fight sequence hit through to Jessica Jones‘ reluctance to embrace the conventional and expected story beats from a superhero story. In contract, Luke Cage is very keen to deliver upon all these expectations. The extended corridor sequences in Who’s Gonna Take the Weight? are a way for Luke Cage to embrace its superhero stylings, but on its own terms.
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