I do not know exactly is in the B&S gelatin. The temp. support material is also interesting, as it does seem to have some kind of coating on it that might help it release from the gelatin -- I just don't know much about it. I have considered re-using some of the B&S temp support, but in the processing, the slick stuff on its surface seems to come off so I haven't tried to coat it.
Clearing -- way back when several of us were communicating via a list sort of thing (pre-internet forum style), we batted around the need for clearing and at one point decided that it was not needed. At the time I was clearing in Potassium alum...a 5% solution for 10 to 15 minutes right after developing. The solution would be slightly yellow at the end of the session.
Further research into old prints by Dick Sullivan and others seemed to show that with single transfers, there is some dichromate trapped between the gelatin and the final support. And if the dichromate was not cleared, the dichromate continues to react with the gelatin. Over time (a long time) the gelatin can become brittle and more prone to cracking if the print is bent.
Double transfers allow the dichromate to wash off easier during the process.
Even with very long wash times and clean looking whites, I have found that clearing with Sodium bisulfite reduced the warmth of the print. It is the whites where there is very little gelatin -- and thus less gelatin to hold the residual dichromate (and easier to wash out). It will be the darker tones where the gelatin is thicker that will have the most dichromate and have the greater yellowing of the image.
Streaking -- I believe Sandy is referring more to an oil-slick looking type of streaking, rather than the more regular pattern on your print.