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After undergrad. As in, after she got out of that terrible relationship. My heart pangs. “If it’s any consolation, I’ve made great friends in adulthood too. My director friend Mason and I connected because she wanted someone to go Twilight Zone mini golfing with her in Vegas, then we ended up talking about childhood experiences in Vegas, and then we went to this silly male strip act that was playing in the same building. You start with mutual interests, move into asking them about their feelings on life, repeat.” I glance at the door, which is still miraculously shut. “Ask Ty to go to a screening for a film he’s studying. Kinda professional, kinda friendly, shows you know and care about his life.” I smirk. “Maybe go to the New Bev since that’s the only proper way to watch movies?”

Maeve, thank god, laughs. “I wish that was just a pretentious thing. Try explaining to anyone you get sensory overload watching a movie in a theater with people talking and looking at their phones.”

And right as I’m about to reply, the doors open and Ty comes running in with a stack of packets. “Got ’em! God, sorry, the copy machine was being a bitch!”

The students start filing in right after him, swarming Maeve like the intellectual celebrity she is. Meanwhile, I take a peek at the questions on the midterm.

Define diegesis and how it informs the narrative in any of the films discussed in the first half of the semester.

When historical events are incorporated into the world of a musical, such as the Holocaust in Cabaret, does the inclusion of music act as an emotional buffer for the audience? Why or why not?

Do musical numbers feel more natural within the context of animated films such as Beauty and the Beast? Why or why not?

Did the change to the more optimistic ending support or hinder Little Shop of Horrors’ anti-capitalist message?

The Rocky Horror Picture Show derives meaning from both the content of the film and the culture surrounding midnight showings. Select one to two scenes from the film and discuss an interpretation of the scene in a vacuum and then how selected audience callbacks change or inform that meaning.

Maeve adjusted the wording, but she kept my question.

And she looks at me, really looks at me, as we go over the questions with the class.

Maybe something really did shift over the weekend. But what do I do with this?

I don’t know. All I gather as the students file out after our shortened class is that I want to keep talking to her. To hear about her struggle making friends and about the chapter she’s going to write in her book tonight. To go to a quiet movie theater with her. Me masturbating to her and her telling me she masturbates to women be damned. I’m almost feeling bold enough to ask if she’d see something like The Handmaiden with me, despite how inappropriate that would be.

I may not be able to ask Maeve to a movie, but we could at least grab coffee after this. Maybe redeem Literatea.

“So I’d err on writing more than less,” I finish explaining to Cory as the last of the students head out.

“Thanks, Professor Sullivan,” Cory says.

Before the semester ends, I’m going to need to offer her a one-on-one industry-coffee-type meeting. If she wants it, I’d love to help out such a bright soul in whatever way I can.

As soon as Cory leaves, I scan the room for Maeve so I can ask about that coffee. Without all the students, Ty, and the folks operating the projector, the huge classroom feels tiny. I know she’s busy, but I want to keep up the momentum. I feel grounded when I’m with her, and I don’t want it to stop. I want to see how much more I can learn about us, what she’ll pull out of me. She’s made it clear she feels the same way.

“Hey,” I say, approaching her as she packs up. “Do you want to grab coffee after this?”

She looks up. “I would, but I gotta get ahead on my chapter tonight. See you next week, though?”