The Terror Live 2013

Yoon Young-hwa Ha Jung-woo was once a top news anchor, but a scandal pushed him off prime-time TV and left him newly divorced. He now hosts a weary current affairs radio program, where a bitter edge colors every broadcast and the glow of past success fades into the background.

During a morning show, Yoon receives a chilling call threatening to blow up Mapo Bridge, a critical crossing over the Han River that links Mapo District to Yeouido—the city’s hub of business and finance. At first, the threat seems like a joke, but the caller follows through, and the bridge collapses, killing innocent people and trapping others. The shock radiates through Seoul as commuters, workers, and families confront an agitated and terrifying crisis unfolding in real time.

Realizing a potential, if dangerous, chance to resurrect his career, Yoon chooses not to involve the police. He sets up a makeshift television studio inside his radio station and negotiates with his former boss, Cha Dae-eun Lee Kyung-young, a profit- and ratings-obsessed producer who will do anything to outpace the competition. The two plot a bold strategy to control narrative and coverage, reshaping a tragedy into a live spectacle that could redefine both of their careers.

Yoon then strikes a dangerous deal: the terrorist’s phone conversations will be broadcast live, in real time, exclusively, as the nation watches. The newsroom erupts in chaos as Yoon, Cha, the police, other broadcasters, and even the Blue House scramble to wield the attack for their own agendas and headlines. The only exception is Yoon’s ex-wife, Kim So-jin, a reporter who volunteers to cover the scene from the site.

As the live show unfolds, Yoon realizes how little control he has over the situation. The terrorist—who claims to be a 50-something construction worker who lost three colleagues in an industrial accident while fixing the bridge—demands a public apology from the president Kim Ho-yeon for the deaths. The threat intensifies as the man hints at a second explosion unless the concession is made, and he reveals to Yoon that there is a bomb in the anchor’s earphone, ready to explode live on air if the president’s apology never comes.

The narrative winds through a maze of media manipulation, government pressure, and personal risk, painting a portrait of how modern crisis broadcasting can blur the lines between reporting and spectacle. It becomes a tense, morally charged meditation on responsibility, the hunger for ratings, and the limits of control when lives hang in the balance, forcing Yoon to confront what he has become and what he might still become in the relentless glare of live television.