Transcript
Brittany Broski (0:01)
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Stanley (0:29)
Foreign.
Brittany Broski (0:35)
Direct from the Broski Nation headquarters.
Stanley (0:37)
In Los Angeles, California, this is the.
Brittany Broski (0:40)
Broski Report with your host, Brittany Broski.
Stanley (0:44)
Guys, good morning. Don't talk to me until I've had my diarrhea. Don't talk to me until I've had the squirts. What a blessed morning it is. Team. Haven't washed my hair in a week. You couldn't tell though. I'm training my hair. I don't think that's a real thing. I'm just. My. My hair stinks. You know what I mean? I'm back from London town. I was in London, weren't I? I was in London. Ed, Sam. I was at the premiere of Mickey 17. Mickey. I do love him. Robert Pattinson. Hello, darling. We had a fucking laugh. Yeah. Guys, I was in London and I don't really have. Hey, did I meet Robert Pattinson? Steven Yun? Yeah. And am I okay now? No. But is it just, you know, this is the life. Hold on tight. That's how I feel lately. And this is the dream. It's all I need. I feel like Hannah Montana sometimes. So, yeah, I was just in London and I was supposed to only be there for like less than 72 hours for the Mickey 17 premiere, but I ended up extending because someone who we all might know in Broski Nation was in a play and that's going to be Paul Maskell. And he was going to be in a little production called Streetcar Named Desire and all my theater bitches. You know about that play, dude? Yeah, he was. The premiere was on the 13th and his play was all that week, but there was a showing on the 15th and I was like, motherfucker, should we stay? But it was sold out. And then we figured it out. I got tickets and me and Stanley went, oh, my God, hold on. Let me go back to Mickey 17. So much fun. So much fun. The movie's fun. It was freezing fucking cold in London because, duh. And yeah, it was a blast, I think. Oh, I wore this crazy fit. Okay. One of the best fits. Me and my stylist have ever cooked up that fit. It was very like menswear is back. Let me sort of put y'all. Let me guide Yalls finger to the pulse. Okay. Menswear is so back. And it's fun to experiment with not only just like the suit and tie sort of thing, but incorporating interesting shapes into the red carpet space, you know what I mean? And I know people kind of do that with the structured gowns or like when they have stuff come up over the bodice and it's, you know, really structured and whatever. That's one thing is like evening wear. But this sort of cocktail, business casual, fun take on menswear is really. I just, I'm having fun. Me and my stylist, Katz Baldos, we have a fucking blast when we do fittings. We just yell we're. And then what if we did the. Yes, yes. It's so much fun. So we stuck around and we saw Streetcar Named Desire. Now let me sort of reveal my soul for a second. I never actually saw A Streetcar Named Desire when I was in high school. It's one of those that's always in rotation for one act plays or for community theater or it's always. It feels like it's showing on Broadway or whatever. I've never actually seen it. And I actually went into it not knowing the plot or even the setting or anything. Just the. It's super famous. When we were in high school, for our one act play we did Bus Stop, which is by William Inge Inge and him. Tennessee Williams who wrote Streetcar Name Desire and Arthur Miller who wrote the Crucible and Death of a Salesman. They were all contemporaries. This is in like the 30s, 40s, 50s. Arthur Miller was famously married to Marilyn Monroe. So that's kind of this time period of post war America. And there are so many social constructs and social context that people are trying to return back to a normal life. But how can you, you know, in this post war state? So Streetcar Name Desire is set in the 50s, I want to say. Yeah, in the 50s, in New Orleans. And it is. Okay, so Paul Mescal, right. I thought he was going to be the lead because the way that they marketed it and all this, it's like. And Paul Mescal is brilliant and which he was, by the way. This play, I can't even tell you. I saw it with Stanley and for the next hour after we saw this play, we went to dinner and we just could not stop talking. That is a good piece of fucking media, dude. When we're talking about it, you know? Cause you can go see a musical or a play or whatever, and you can be like, oh, that's good. And then move on with your day. When it's a piece of art that you have to dissect and be like, oh, well, I thought this. Oh, that's actually going back and forth. This is what I interpreted it to mean. And then, you know, you Google it and look it up and it's like, oh, it actually was. That's what art. That's what's fun about art. So Streetcar Name Desire is about, to put it short and simple in my opinion. A woman's descent into madness, honestly, which. Oh, my God, could I write a thesis on it? Plays or media that center around that, you know, something like the Bell Jar or anything about Virginia Wolf or anything where it's like, it actually, as best as it can, captures this. And, like, just listen to me. It captures this existing kernel of madness that I think is in every woman. And you only understand if you're a woman that can be activated. And it doesn't always show up, but it's there. It's there, it's there. And it's not silly or funny. It's like true, unhinged anger and sadness. It manifests as that form of madness. Am I making sense? I feel like if you've experienced it, you've experienced it. You know, if you haven't, that's fine, because the play is, you know, it's compelling, even without that innate emotional connotation. So the play is a gradual descent into that state where the characters are described and portrayed as so gray. And what I mean by that is, in life, especially online, people want to see the world as black or white, good or evil, right or wrong. That is not how the world works. And it's best. You start believing it. You best start believing it and goes, what is it, fairy tales? Ms. Turner, you're in one. Like, the quicker you realize that the world is not so simple, I'm not gonna say the easier, but you have a wider palette of colors to paint the world with. Do you know what I mean? So this play, from the beginning to the end, there is not one character where you're like, oh, well, she was my favorite. She's right, or, he did nothing wrong or whatever. That is such an interesting. Especially in this age of bullshit Marvel movies and all that. I love Marvel. Okay. Iron Man 2, one of my favorite movies of all time. But those stories are based on this concrete evidence and understanding that here is a hero. This is a Hero. And there's no hero in Streetcar Named Desire. To give you a short summary of the play, there is a sister dynamic, okay? There's a sister named Blanche and a sister named Stella. Stella is married to Stanley. Stanley is Paul Mescal. Stella and Stanley live in New Orleans. They have their happy little life. They're married. It's very lustful, okay? They're always fucking and they're always with his friends. And it's a very domestic life. Well, Blanche. Blanche dubois, she's the sort of unhinged sister. Just could never really figure out what she was going to do. Is kind of a spinster, you know, Never was married. Is a little bit too old now, like in her late 30s maybe, to get married. She's not a fresh spring chicken anymore. And in this time period, beauty is currency, you know. And being a young, untouched woman, that's a form of currency, the highest form of currency. You know, you talk about the ceiling, the glass ceiling. There's not much room to grow as a woman in this time period. So you either become a secretary, become a nurse or get married. There is no form of protection or independence for a woman like Blanche dubois, and she knows it. And she is very vain because, of course, she is. It's how you move through the world in that time period. So she's kind of down on her luck. You come to find out all these things about her. The ways that she has made money. Maybe not so glamorous ways. The reputation she had in the town that she left. She used to be a teacher who made some less than impressive decisions when it came to her students. And she got kicked out of town. And you come to find that out. But the way that she presents herself is this very. You know, she shows up with a suitcase full of diamonds and furs and, oh, I could never do that. Haven't you got a cigarette? Haven't you got this? Oh, my. You know, very almost entitled where she is, living outside of her means, but not really. It's this double think of. She's fully aware of the realistic state of her situation. She's been kicked out of her town. She has no place to live. She has no money. She's defaulted on loans. She's in debt. And so she's running to her sister's house for help. Well, her sister, you know, welcomes her with open arms and, oh, Stanley, you know my husband. This is my sister Blanche. You know, it's so exciting. We can have a sleepover. Well, as you can expect, she overstays her welcome. Eventually, Stanley starts getting pissed the fuck off. And all these characters have shades to them. Stella is a victim of domestic abuse. Stanley is a perpetrator of domestic abuse. But they both ignore the reality of we're letting this happen. Blanche, as an outsider, comes in and sees that, and she's like, what the fuck, Stella? Leave him. And she's like, I can't fucking leave him. And guess what? She's pregnant. So all this stuff is happening. Blanche is being a squatter, essentially. Stanley is just a toxic, hyper masculine male. And Stella, I think, is the real victim in the whole story because she just loves her husband and he's not a good man. And does that make her an ignorant woman or does that make her a victim of her situation? You know, because in Blanche's mind, it's like, well, leave. Just leave. And Stella's like, I fucking can't, so just shut the fuck up. I don't want to talk about this anymore. Like, that's the situation. Oh, the dialogue is so good. So this is the reality we find ourselves in. Well, things happen, you know, the web begins to become spun and. And towards the end, Stanley plays puppet master and he gets Blanche taken away by doctors. And it was the most harrowing scene and it was done so well. And Paul Mescal is so scary in this play. And that is such an impressive feat to distance yourself from how you're known publicly to fully embody this character. He was doing an American accent. All of them did American accents in the play. I don't think any of them were American. And it was. I could not take my eyes off of him. But let me tell you something else. Patsy Farron played Blanche dubois in this version that we saw. When I tell you, she. She tore. She carried that fucking play. Paul Mescal, you're great. She's the best, right? I was blown away. Me and Stanley could not sing her praises more. We were like. I was fully just enraptured by her performance. And she had this sort of manic way of speaking where she was, you know, and she would get way ahead of herself and talk really fast. And then she would try to distract you from what she just said because it was kind of incriminating. And she would go over here and, oh, if you could get me a Coke with lemon and ice, I'd really appreciate it. It was amazing. And what we also found out is she's in Mickey 17. She's in the fucking movie that we just went to the premiere, and she plays a sort of supporting character. Who's British and is kind of the crux of the whole movie. Not to spoil anything, but she, her character is very important. Yeah. Stanley was like, she looks familiar. She looks like the girl from Mickey 17. I was like, no. And then we looked at the name and I was like, oh, my God, it is. She was brilliant in this play. I cannot even tell you. And throughout the play, towards the end, I'm not spoiling anything. This play has been published for almost 100 years. She gets taken away by, you know, psychiatrists, by doctors, at the request of Stanley. Stanley, Paul Mescal's character orchestrates this whole thing where he's had enough. He recognizes fully the reality of the situation, that Blanche is taking advantage of them. He finds out all this tea on her. You know, you got kicked out of your school for sleeping with a student. You turned into a prostitute to make your way until you. That didn't work out. You got kicked out of town. This, that and the other. I know about you, Blanche. I know about you.
