For a contemporary reader, the novel’s great obstacle is its treatment of women, who exist mainly as sex objects, whether they’re nurses, WACs or prostitutes. That’s not to say all are devoid of dimension or agency — indeed, they can make the men look like dopes — but some of what the book treats lightly would be rightly recognized as sexual assault today. Still, apart from Tessa Ferrer’s Nurse Duckett, who becomes a bemused foil to the sometimes goldbricking Yossarian, the solution here, such as it is, has been not to round out Heller’s models but just to push the female characters into the background, or eliminate them altogether. (This also has the perhaps intended effect of making the male characters come off better.) The woman known in the book only as “Nately’s whore” gets a name here, and a certain tangential respectability — Nately (Austin Stowell) has practical plans to settle down with her — but she is also essentially an extra.