there is so much unintentional humor in sick fics in like, s1 tma era because its really obvious no one thinks the characters are good enough friends to actually... check up on one another (which is fair!) which means that the only option left is for them to show up at work sick which they have literally no motivation to do especially since the vast majority of their job can be done from home, which means they can just like, nap in between assignments, and theyre not paid by the hour. if you really want to make martin be like “i had to come in, jon wouldn’t approve if i took a day off” (which is def way more harsh than jon canonically was) you HAVE to have tim or sasha go “okay, but you know what else jon isn’t going to approve of? germs on his statements”

can you tell us more about your midnight cowboy essay?

Sure! I wrote it over 10 years ago and I can't lay my hands on it, but I’ll talk about it a little. For the paper we were supposed to compare a piece of media and its adaptation. It might have been for a History of Film class. There are a lot of differences between the book and the movie, but most of the changes made were to simplify and streamline the story. It's really a great book to movie adaptation. Obviously big spoiler alerts if you haven't seen Midnight Cowboy.

The first thing that came up was the main characters hair colors. In the book their hair colors are actually switched making Ratso Rizzo a blond and Joe Buck a brunet. That's pretty unimportant in the grand scheme, of course, but it's the first thing I noticed. After seeing the movie it was tough to picture Ratso as a blond.

Joe Buck's back story is really streamlined in the movie, but the emotional beats are all there. The book goes a lot into Joe's childhood being raised by a series of blondes, eventually ending up with his grandmother who gets taken out by a lot of younger cowboys who Joe grows up idolizing. His mother also went on a lot of dates with cowboys and it’s suggested that she was a sex worker.

The movie combines two traumatic incidents in Joe's life into one series of flashbacks. In the movie a teenaged Joe is caught with a girl in the backseat of his car and they are both gangraped by a group of men. The viewer learns this via a series of disturbing images and barely there scenes that spells out the situation as clearly and artfully as a 60s film can and, honestly, still hold up pretty well today.

In the book the girl is used by teenagers and young men, they literally line up each night to have a turn. Joe is the only one she has ever enjoyed having sex with and they start up a secret relationship, but her father finds out and has her committed. Later, Joe is living with a male hustler who he finds attractive in a conflicted way. It's been a long time since I've read the book, but at some point Joe is raped by him and, I think, another man. Again, the scene kind of fades out to the point that I can't remember if they drugged Joe before or not. It’s still clear what happens, though.

Ratso's backstory, however, is completely different. In the movie the pair visit Ratso's father's grave and he tells a story about how his father was a shoeshiner. It gave his father back pain and after he died they couldn't get the boot black out from under his nails so they had to bury him in gloves. It's a poignant scene and one I really like, and it's a good, short background that explains why Ratso tries so hard to get ahead and refuses to do work that he feels is beneath him.

In the book, though, Ratso gets lost among the many kids in the Rizzo household. Ratso was born with a club foot and was ignored by his parents to the point that he almost died of pneumonia because no one noticed he was ill. There’s a line about finding him curled up under the stove nearly dead. Every week Ratso’s father would take the family out to eat and they took up the biggest table in the place and his father was so proud of his gigantic family. Slowly all of Ratso’s siblings and his mother either die or leave until it’s just Ratso and his father sitting at a shitty two-top by the kitchen every week. At this point Ratso is his father’s favorite by default, but all his father does is feel sorry for himself instead of trying to have a relationship with his only remaining child.

It could have been done, but I can understand why they cut Ratso’s backstory considering the movie focuses mostly on Joe. Even though the book is from Joe’s pov, Ratso’s childhood takes an entire chapter and I think it would do it a disservice to reduce it to flashbacks. It might also be confusing since all the flashbacks in the story are from Joe, while the only flash-forward fantasy is from Ratso. This makes Joe a reflection of his past and Ratso the forward thinker and planner.

Both the book and movie show Joe’s arc from an idealistic young man who needs to be saved or taken care of to an adult who’s willing to take care of others. The book especially does a good job of this. The relationship between Joe and Ratso in the movie is more homoerotic than in the book. This is partially because near the end of the book as Ratso becomes more helpless and their roles switch, Joe starts to think that he’ll get married to a girl and Ratso will be like their child. In the movie there’s no inner monologue to clarify Joe’s feelings towards Ratso. On set, both Jon Voight and Dustin Hoffman picked up on the homoerotic subtext in the script and may have played it up. There was an article I read where Dustin Hoffman was talking about how the characters should have been sharing a bed, for example.

This is getting away from me, but I do want to mention a scene that I think was perfectly transferred from book to movie. Joe gets invited to a party by this hippy, Andy Warhol-esque couple and there’s a scene on the stoop in front of the building. Ratso is getting sicker and he’s sweating and most likely feverish, but Joe is super excited to go to this party. On the stoop Ratso gets really self-conscious about how sweaty he is and his general appearance and Joe comforts him. He untucks his shirt and uses it to wipe Ratso’s face and fix him up and Ratso just kind of holds him and leans up against him. It’s exactly like the book and is a great example of adapting a scene from book to film.

Like I said, it’s been about 10 years since I read the book and wrote the essay and a few years since I’ve seen the movie so bear with me on my memory here. The essay was, I think, 5 to 10 pages and I have no idea where it might be, but this is just a little bit of overview/what I remember.

Fun Facts! Dustin Hoffman put rocks in his shoes to get Ratso’s limp right and in one take coughed so forcefully that he vomited on Jon Voight’s shoes. They obviously didn’t use the take, but it’s the scene where they’re crossing a bridge in profile.

I think most people know that “I’m walkin’ here!” is an adlib because they didn’t have money to shut down the street for filming and that taxi really almost hit Hoffman. I think most people don’t know that the suit he’s wearing was found in a dumpster by the costume designer.