These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
YMMV: A Streetcar Named Desire
Alternate Character Interpretation: A lot of fans of the 1951 film like to play up the notion of Blanche being a variation of Scarlett O'Hara from Gone with the Wind; this is mainly because Vivian Leigh played both roles, as well as the urban legend that Leigh got the part SPECIFICALLY because the film's director wanted to play around with the idea of " What if Scarlett O'Hara Lost Her Mind" as his take on Blanche.
Actually, directors of the original play are rather divided on who's right, and it shows in the performances.
You could argue that Stanley is almost as insecure as Blanche, deep down inside. He seems sure that Blanche could potentially tear Stella away from him, and when he realizes what he did in a fit of rage, he breaks down in tears and calls her back, quoting from the stage directions, "with heaven-splitting violence". His tough persona is merely a facade to hide his deep insecurities and fears.
Except that he raped her and cruelly destroyed her relationship with Mitch, breaking her, and then giving her a one way ticket back to Laurel where she had been socially ostracized. That level of Kick the Dog cruelty doesn't tend to come from a place of deep insecurity. It tends to come from the firm belief that what you are doing is right and that the person on the receiving end is to blame.
Although the bigger Alternate Character Interpretation has to be who the hero is: Stanley or Blanche.
Award Snub: Despite being lauded as one of the most powerful performances of all time, Marlon Brando's performance as Stanley was not awarded an Oscar (and the film did sweep the other three acting categories, with Vivian Leigh, Karl Malden, and Kim Hunter all winning in their categories.)
Moral Event Horizon: Stanley's MEH is generally considered to be raping Blanche, but you could also argue that he crosses it when he tells Mitch about Blanche's exploits (thereby ruining their relationship), or when he presents Blanche with his 'birthday present'... a bus ticket back to Laurel.
Cue the beginning of Blanche's auditory hallucinations.
Although one could argue that his sabotage of Mitch and Blanche's relationship was a good thing, given that Blanche had been deceiving and playing Mitch.
Some extra Fridge Horror here: during the Poker night, Stanley loses self-control and ends up hitting Stella. Considering how quickly she forgives him and how calm she is about it, it seems that it's a common occurrence, and studies show that parents who are domestic abusers will have kids that will grow up to be domestic abusers.
The scene leading up to Blanche's rape at the hands of Stanley and the actual implied rape.
Values Dissonance: Blanche herself, who is seen as an Asshole Victim nowadays for manipulating her sister, constantly living in denial even in the face of the truth, an absolute inability to do anything useful, mooching off both Stanley and Blanche, being an ephebophile and getting kicked out of her position as a teacher for it, telling lies to everyone she comes across (and especially her long line of lovers). There was a case where, during a modern revival of the play, people cheered as Blanche was raped.
Values Resonance: One of the many layers of the play is Blanche and Stanley are pretty symbolic of an "Old South vs. New South" dynamic. Blanche was a faded relic of the bygone Antebellum South (she is, after all, played by Scarlett O'Hara herself,) while Stanley was a modern, industrial, blue-collar immigrant, symbolic of where the South was going. An important discussion when the play was written in 1947, since the South was still rebuilding after the war. However, that same "Old Guard vs. New Blood" debate is showing up all over again, with the newest generation of Southerners being much more diverse and progressive, and frequently at odds with the more conservative previous generation, believing that clinging to the Good Old Ways just isn't working anymore.