The fallopian tube function is central to several pathophysiological processes from facilitating fertilization to initiating ovarian cancer. However, existing models to study these functions are limited in relevance to the human condition due to the available conventional cell sources and culture systems. Many make use of mouse models that do not naturally develop pathologies such as ovarian cancer and lack the ability to replicate human genetic variation. Others use traditional 2D culture systems that have been shown to be poor in maintaining fallopian tube epithelium (FTE) secretory and ciliated function. Here, we propose to develop a novel in vitro model of FTE that is easy to manipulate and better mimics the in vivo environment through use of induced pluripotent stem cells (iPSC) as a cell source and a scaffold-based microfluidic culture system. We have modified an existing protocol and found that 3D culture allows for generation of organoids expressing FTE markers faster and at a higher rate. Additionally, I have developed a prototype device with a lumen and assessed cell viability and behavior of seeded immortalized FTE to establish the device. Further work can be done to elucidate drivers in FTE maturation through assessing primary FTE function in the device, and incorporation of iPSC-derived FTE cells into the device for studies on functional maturation.

Fifth Harmony’s BOSS music video, which showcases female empowering choreography, has been viewed 267 million times. The choreographer behind it, Sean Bankhead, said in an interview the higher you go the bigger the budget and the bigger the ego of the artist that you are working with. He went on to say about how when he was working with Missy Elliot, she would challenge him to pull things out of him that he didn’t know he had and he was told "start fresh tomorrow you can do better.” As hard as it is to break into this industry, choreographers continuously mention being extremely proud of sharing their work with millions of people. From the outside, it seems like music video choreographers have so much freedom in artistic choices like style of the piece and movement influences, but how much do choreographers truly get to create the exact choreography that they want? The exploration of music video choreography is really important because music videos are a way for the dance artform to be shared widely, but in scenarios like the one above, commercial popularity influences the creation of a choreography. Bankhead also mentioned that in music videos, he incorporates a snippet of choreography that even non-dancers can do, and these are usually the pieces that go viral. How do Los Angeles dance industry choreographers strike a balance between their own artistic vision and commercial pressures to create viral videos to become successful in the LA music video scene? My research seeks to answer this question through analysis of YouTube interviews, close reading of popular dance music videos, and interviews with choreographers.