Tennessee Williams' Southern Gothic play A Streetcar Named Desire is a remarkably honest portrayal of typical foid behavior. It follows the troubled marriage of Stanley and Stella Kowalski, who are visited by Stella's neurotic older sister Blanche DuBois under suspicious circumstances. Stanley immediately regards Blanche as an interloper, and questions the validity of her claim that she lost her family's ancestral plantation due to caring for elderly relatives and mental illness. Central to the play is the concept of reality vs. fantasy/illusion, which I think is foundational to feminine psychology and sexuality.
In this analysis, I'll focus on the 1951 film adaptation (starring Marlon Brando, Vivian Leigh and Kim Hunter) because its faithful to the original play and probably has more cultural cachet because young gigachad Marlon Brando makes bitches moist with desire.
One could argue that Stella is hypergamous; looks-wise, she's a high-tier normies to low-tier Stacey. Her family was having financial difficulties prior to her leaving Belle Reeve to marry Stanley in New Orleans, so marrying a hyper masculine blue-collar wage slave is decidedly marrying up.
Stanley is an uncouth, hedonistic and uneducated rapist, yet Stella is unconditionally infatuated with him. So much so that she returns after receiving a savage beating and has sex with him that same night. It is implied that Stanley is a serial abuser. In fact, this toxic cycle of abuse and forgiveness is central to the endurance of their relationship. She depends on this mistreatment to satisfy her sexual desires. She abandoned her family during a crucial period to chase the high of being with chad.
Ironically, Blanche, the washed up, post-wall, pedophilic roastie, is the most blackpilled character. She is aware that looks dictate one's success in life and that "50% of a woman's charm is illusion," a tenant which she uses to manipulate Mitch into becoming her betabuxx. Nominally, she is committed to Mitch because she knows her SMV has declined and sees him as a safe, stable option. She tries without success to convince Stella to leave Stanley, calling him "sub-human." It is reasonable to assume that she is jealous of her sister's relationship, and is obviously attracted to Stanley.
Denuded modern stage adaptations often frame the story in feminist terms, which I suppose is more palatable to theater-going audiences. For example, a theater in my city put on Streetcar with the subtext of "exploring toxic masculinity and the pressures experienced by women." I think the later is a fair critique, but in typical feminist fashion, fails to recognize that men experience the same pressures.
In this analysis, I'll focus on the 1951 film adaptation (starring Marlon Brando, Vivian Leigh and Kim Hunter) because its faithful to the original play and probably has more cultural cachet because young gigachad Marlon Brando makes bitches moist with desire.
One could argue that Stella is hypergamous; looks-wise, she's a high-tier normies to low-tier Stacey. Her family was having financial difficulties prior to her leaving Belle Reeve to marry Stanley in New Orleans, so marrying a hyper masculine blue-collar wage slave is decidedly marrying up.
Stanley is an uncouth, hedonistic and uneducated rapist, yet Stella is unconditionally infatuated with him. So much so that she returns after receiving a savage beating and has sex with him that same night. It is implied that Stanley is a serial abuser. In fact, this toxic cycle of abuse and forgiveness is central to the endurance of their relationship. She depends on this mistreatment to satisfy her sexual desires. She abandoned her family during a crucial period to chase the high of being with chad.
Ironically, Blanche, the washed up, post-wall, pedophilic roastie, is the most blackpilled character. She is aware that looks dictate one's success in life and that "50% of a woman's charm is illusion," a tenant which she uses to manipulate Mitch into becoming her betabuxx. Nominally, she is committed to Mitch because she knows her SMV has declined and sees him as a safe, stable option. She tries without success to convince Stella to leave Stanley, calling him "sub-human." It is reasonable to assume that she is jealous of her sister's relationship, and is obviously attracted to Stanley.
Denuded modern stage adaptations often frame the story in feminist terms, which I suppose is more palatable to theater-going audiences. For example, a theater in my city put on Streetcar with the subtext of "exploring toxic masculinity and the pressures experienced by women." I think the later is a fair critique, but in typical feminist fashion, fails to recognize that men experience the same pressures.
