One The Woman
The life of Jo Yeon-joo (Honey Lee), a prosecutor with tough personality, changes completely after waking up from a coma and discovering that she suffers from amnesia caused by a car accident. She is mistaken for Kang Mi-na, a cold woman who looks just like her. Mi-na is the youngest daughter of Yumin Group and the second daughter-in-law of the Han family, owners of Hanju Group. Due to Kang Mi-na's illegitimate status, both of her family and her husband family mistreat her. However, when Yeon-joo lives as Mi-na in Han's household, she fights back against the family's mistreatment of her.
One The Woman
The results from these studies were what we had predicted: When there were two minorities or women in the pool of finalists, the status quo changed, resulting in a woman or minority becoming the favored candidate.
Basically, our results suggest that we can use bias in favor of the status quo to actually change the status quo. When there was only one woman or minority candidate in a pool of four finalists, their odds of being hired were statistically zero. But when we created a new status quo among the finalist candidates by adding just one more woman or minority candidate, the decision makers actually considered hiring a woman or minority candidate.
Why does being the only woman in a pool of finalists matter? For one thing, it highlights how different she is from the norm. And deviating from the norm can be risky for decision makers, as people tend to ostracize people who are different from the group. For women and minorities, having your differences made salient can also lead to inferences of incompetence.
Managers need to know that working to get one woman or minority considered for a position might be futile, because the odds are likely slim if they are the lone woman or nonwhite candidate. But if managers can change the status quo of the finalist pool by including two women, then the women have a fighting chance.
Some might argue that adding a second minority or woman candidate to the finalist pool is a type of affirmative action or reverse discrimination against white men. This argument implies that there are fewer qualified women or nonwhite candidates than white male candidates. However, nonwhite employees and women outnumber white men in the U.S. workplace by a margin greater than two to one, and women are now more likely than men to graduate from college. Plus, it has been found that when employers use a blind audition to hire their programmers and engineers, women tend to be hired at a higher rate than men. The same is true in blind auditions for professional orchestras.
Walker went into private practice for a few years, but then the Civil War broke out in 1861. She wanted to join the Army as a surgeon but wasn't allowed because she was a woman. Because of her credentials, she didn't want to be a nurse, either, so she chose to volunteer for the Union Army.
Overall, the average risk of a woman in the United States developing breast cancer sometime in her life is about 13%. This means there is a 1 in 8 chance she will develop breast cancer. This also means there is a 7 in 8 chance she will never have the disease.
Folklore In Irish and Scottish folklore, the banshee (or bean-sidhe) is a fairy-woman and often guardian spirit of the old Gaelic families who can foretell death in "her" family; she wails and cries through the night to warn the family that one of them will soon die; if the family hears her crying three nights in a row, they know that they should begin planning a funeral. As she can foretell death in the family that she protects, the banshee is also grieving for the family as well as warning them of impending death. When many mná-sídhe (fairy-women) are heard wailing at once, it foretells the death of a major political or religious figure.
Much of Latin America believes in the legend of La Llorona, the spirit of a woman who died after she drowned her children and cannot enter Heaven until she has found them; she is heard crying "Ay, mis hijos!" ("Oh, my children!") as she searches for them. Those who hear her crying supposedly are doomed to die soon.
Live-Action TV Used to great effect when Jack Bauer raids the warehouse where the Drazens (who Jack believes to have killed his daughter Kim) are hiding out near the end of the first season of 24.
A big feature of the revamped theme tune of the second season of The 100.
Parodied in the latest season of Arrested Development, in which the wail turns out to just be a very overworked rendition of the word 'coincidence'. Also used when Jack kills Curtis Manning.
Battlestar Galactica examples include "A Call to Arms" and "The Storm and the Dead", the start of the main theme and in "Lords of Kobol."
Used in "Slayer's Elegy" from the Buffy episode "The Wish" when absolutely everything is going wrong.
Used in The Colbert Report during the segment Mysteries of the Ancient Unknown: King Tut's Penis," with some accompanying eyebrow twitches. Also used the first time he talks about the revolts in Egypt.
The opening credits for the CBS detective series Cold Case features a rather ghostly female wail.
Parodied in the Community episode "Messianic Myths and Ancient Peoples." A female vocalist ululates Abed's name for a sort of joking Biblical epic effect many times throughout the episode, then in the "dramatic" ending, the singer eerily wails Shirley's name. Also parodied in "Advanced Dungeons and Dragons" when Brutopolis is cruelly slain by Pierce the Insensative (read: Chang's character is killed by Pierce's character, and has to hand in his character sheet).
Doctor Who: "The Ice Warriors" has a weird score, especially by Classic series standards, consisting of a wailing operatic soprano over dissonant orchestra stabbing. It's very Sixties. And terrifying.
The series has its resident wailist, Melanie Pappenheim, notable for contributing wordless vocals for tracks such as the old Doctor's theme, "Doomsday", "Martha's Theme", and "The Doctor Forever".
"Planet of the Ood" has a lot of this to represent the songs of the Ood.
The Steven Moffat era seems to have switched over to Yamit Mamo, who sang "The Stowaway" and "My Angel Put the Devil in Me", for the wailing, as heard in "The Mad Man with a Box."
And in Season Six we have one for the, as a fan described it, "having my brain explode" moments.
The Thirteenth Doctor's theme starts off as this trope before the soloist escalates it into a full-throated yell.
Dollhouse's main theme carts out this trope.
The beginning of the Firefly episode "Heart of Gold". That one is an old Punjabi wedding song called "Madhaniyan", if anyone cares to listen.
Gameof Thrones features this in a few pieces, perhaps most poignantly in the end of "The Iron Throne," which plays over Daenerys's death scene, as Drogon flies away over the sea with her body.
General and I's first episode starts an eerie, mournful wail.
Lampshaded in an episode of Hercules: The Legendary Journeys, where the singing is heard while Herc is mourning the death of his second wife, and the singer turns out to be Xena. The funeral song that Xena sang in multiple episodes of the franchise was actually a pre-existing song called "Burial" written and performed by Lucy Lawless.
The opening theme for The Last Kingdom, performed by Eivør Pálsdóttir.
Promos for various cop shows, especially Law & Order, use a wordless Arabic-style women's vocal when this week's episode is going to feature Muslims in some way.
The Lord of the Rings: The Rings of Power: The One-Woman Wail is heard while the orcs are chasing Arondir, Theo and Bronwyn through the woods, belongs to Disa, which is a plea to rocks to let the miners get out alive.
Parodied in MADtv (1995) where they invite a woman supposedly responsible for providing the wailing and demonstrate how it makes everything more dramatic. The host asked her what language that's suppose to be but she replies that she doesn't know.
played with in the Modern Family, in the episode Family Portrait, where Cameron is singing Ave Maria in a wedding, while Mitchell is trying to kill a pigeon who got into their house.
Once Upon a Time uses one in the episode "Shattered Sight" as Ingrid the Snow Queen makes a last minute Heroic Sacrifice to redeem herself. She is then reunited with her sisters in the afterlife.
In Over There, the wail would usually play in the Iraqi side-story.
Used in the fifth episode of The Philanthropist when a bomb goes off in Kosovo and kills four people.
Princess Silver: An eerie wail plays during Rong Le and Rong Qi's farewell.
Heard in the background every so often on Rome.
The Silent Witness theme tune, Silencium by Jane Sheldon.
Subverted in Spartacus: Blood and Sand. This plays after Spartacus and Crixus think they've defeated The Dreaded Theokoles in the arena. But it turns out it's just a Hope Spot, and Theokoles jumps up to let the real battle begin.
Included in the theme music for Stargate Atlantis (otherwise an Instrumental Theme Tune).
The theme song for Star Trek: The Original Series.
Star Trek: Picard: In "Absolute Candor", when Elnor and Picard meet again for the first time in fourteen years, there's the sound of a woman wailing. It's towards the end of the piece entitled "Picard Goes Back."
Survivor used this during its Pearl Islands and All-Stars seasons; the former when Sandra and Lil were leaving the camp for the last time, and the latter when Jenna chose to take herself out of the game to be with her terminally ill mother.
Gray's Theme from Torchwood is a rather heart-wrenching one. It first appears in "Adam" when Jack recalls losing his brother as a child.
"Take This Sabbath Day", The West Wing's Very Special Episode about the death penalty, has the female cantor at Toby's synagogue practicing "Hashkiveinu" as he discusses the issue with his rabbi. The song is also played over the montage at the end of the episode. "7A WF 83429", the episode in which the President's daughter was kidnapped, used Dead Can Dance's "Sanvean (I'm Your Shadow)" over a montage showing thousands of floral tributes left at the White House Fence, evoking memories of Princess Diana although Zoey has not died and will eventually be found. Toby lampshades it by asking if the Rabbi placed the cantor there on purpose.
The X-Files had bunches of these, though the most notable was probably Scully's theme from Season 8.