Question: What happens to Muse?
About the article "Captain Phillips (film)", section "Plot".

Candidate passages:
s as primary source of iPS cells.
In 2009, a study showed that only SSEA-3+ cells generate induced pluripotent stem (iPS) cells in human fibroblasts.
In 2011, it was suggested that iPS cells are generated only from Muse cells.
When the technique for generation of iPS cells was applied to both Muse and non-Muse cells, iPS cells were successfully generated only from Muse cells.
In contrast, non-Muse cells did not show elevation in Sox2 and Nanog, master genes of pluripotent stem cells, even after receiving the four Yamanaka factors.
These results support the elite model of iPS cell generation rather than the stochastic model.
Divergent from their Muse cell origin, iPS cells showed tumorigenecity.
Since Muse cells are originally pluripotent without tumorigenic activity, what the Yamanaka factors newly conferred to Muse cells was not 'pluripotency' but tumorigenic activity.
These results collectively suggest that only preexisting cells with promising pluripotency can be programmed into iPS cells. 
  1956 "Meet Mark Murphy" (Decca)  1957 "Let Yourself Go" (Decca)  1959 "This Could Be the Start of Something Big" (Capitol)  1960 "Mark Murphy's Hip Parade" (Capitol)  1960 "Playing the Field" (Capitol)  1961 "Rah!"
(Riverside Records)  1962 "That's How I Love the Blues!"
(Riverside)  1965 "Swingin' Singin' Affair" (Fontana)  1966 "Who Can I Turn To" (Immediate)  1970 "Midnight Mood" (Saba)  1973 "Bridging a Gap" (Muse)  1975 "Mark 2" (Muse)  1975 "Mark Murphy Sings" (Muse)  1977 "Mark Murphy Sings Mostly Dorothy Fields & Cy Coleman" (Audiophile)  1978 "Stolen Moments" (Muse)  1979 "Satisfaction Guaranteed" (Muse)  1981 "Bop for Kerouac" (Muse)  1982 "The Artistry of Mark Murphy" (Muse)  1983 "Brazil Song (Cancões Do Brazil)" (Muse)  1983 "Mark Murphy Sings the Nat King Cole Songbook" (Muse)  1984 "Living Room" (Muse)  1985 "Beauty and the Beast" (Muse)  1986 "Kerouac Then and Now" (Muse)  1987 "September Ballads" (Milestone)  1990 "What a Way to Go" (Muse)  1991 "I'll Close My Eyes" (Muse)  1991 "Night Mood" (Milestone)  1996 "North Sea Jazz Sessions, Vol.
5 (Jazz World)  1997 "Song for the Geese" (RCA)  2000 "Some Time Ago" (High Note)  2000 "The Latin Porter" (Go Jazz)  2001 "Links" (High Note)  2002 "Lucky to Be Me" (High Note)  2003 "Memories of You" (High Note)  2004 "Bop for Miles" (High Note)  2004 "Dim the Lights" (Millennium)  2005 "Once to Every Heart" (Verve)  2007 "Love Is What Stays" (Verve)  2010 "Never Let Me Go" (Self produced)  2013 "A Beautiful Friendship: Remembering Shirley Horn" (Gearbox Records)  
In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of almost 15 years until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc.
Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with a 5:3 aspect ratio.
The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs.
The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players.
The red laser was capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out.
Crosstalk was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs.
In order to view MUSE encoded discs, it was necessary to have a MUSE decoder in addition to a compatible player.
There are televisions with MUSE decoding built-in and set top tuners with decoders that can provide the proper MUSE input.
Equipment prices were high, especially for early HDTVs which generally eclipsed US$10,000, and even in Japan the market for MUSE was tiny.
Players and discs were never officially sold in North America, although several distributors imported MUSE discs along with other import titles.
"", "Lawrence of Arabia", "A League of Their Own", "Bugsy", "Close Encounters of the Third Kind", "Bram Stoker's Dracula" and "Chaplin" were among the theatrical releases available on MUSE LDs.
Several documentaries, including one about Formula One at Japan's Suzuka Circuit were also released. 
Graham attributes his success to the entrepreneurial philosophy: 'Let's try it and see what happens' 
In April 2011, Gregg Paulson and AE Stueve announced "The Wave", the first shared universe in Bluewater Productions history.
This multi-part, creator-owned mini-series revolves around the adventures of characters from Greek mythology in modern times.
Initially, the series will consist of a four-issue mini-series, planning to expand to a team book of four to six issues.
"The Wave #0" explores what happens to Greek gods Artemis, Zeus, Poseidon and Persephone when mankind ceases to worship them.
The line will also follow mythological figures Heracles and Orion, as well as Bluewater original characters from "10th Muse", "the Legend of Isis" and "Atlas".
Stueve and Paulson cite the films of Ray Harryhausen and mythic archetypes of Joseph Campbell as major influences.
The first four titles are confirmed as "Artemis", "Orion", "Heracles" and "Trident: The Power of Poseidon", with issue #0 "Twilight of the Gods" to be released in November 2011.