ep 01
Thriller · 30 episodes · YourChannel
A burnt-out clerk finds an old radio broadcasting disasters from a dying future. Every signal he tries to stop asks for a cost he may not be allowed to keep.
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The first episode is set in the attic: an old box pulled from storage, a cat that is still waiting for him to come home, and a radio that has started repeating the same warning. The signal names a time and a place: "Tomorrow at three seventeen PM Eastern Time, a shooting will occur at Mary's High School, resulting in three casualties." He thinks his tired brain has finally broken, until the message repeats again on its own.
Episode three brings the household gas explosion: unit 402 on Old Mill Road, a deteriorated hose, a family of three and a five-year-old child named in the broadcast. He warns the building anyway, and the gas company comes to inspect and confirms the hose was worn out. The child who was supposed to be among the casualties does not die that night. The opening arc shows a chain of small, successful interventions — and leaves the question of what the future on the other end of the radio will charge for them.
The next transmission shifts to a road crossing: a white van running a red light at Center Street and Oak Road, a middle-aged cyclist, and a countdown the radio spells out plainly: "You have 23 hours and 59 minutes to alter the next event." In episode two he acts through the only tool a clerk has — an anonymous letter to the traffic division, short, with the time and the place. The letter gets there, they read it, and the warning event passes without the reported outcome.
Series facts checked against the YourChannel listing. Notes cover the opening episodes only; nothing here reveals the ending.
The Clerk, The Glassed Stranger and The Tabby Cat carry the opening arc.
Quiet, overworked, and used to nobody waiting on him, he clears out the attic one rainy night and finds the radio that should not be repeating future events. He doubts his own mind first, then the message itself, before he starts acting on the signals one by one.
“"Won't die tonight." — episode 3”
A sharp-faced man in a dark coat and tinted glasses, seen near the street scenes where the next signal plays. He watches the clerk without explaining who he works for, and his presence keeps the question open of how much the clerk's interventions are being observed.
The cat stays awake on the attic floor while the clerk sorts the old box. In the opening exchange he is told, half-jokingly, that it is the only one in the whole world still waiting for him to get back.
“"The only one in the whole world who still waits for me to come home." — episode 1”
The opening arc moves through three broadcasts: a high-school shooting, a road collision, and a domestic gas explosion, each with a countdown and an intervention. Three editorial picks from episodes 1–3 — no ending spoilers.
Clearing the attic for the landlord, he finds the old box and the radio that starts naming a shooting at Mary's High School the next afternoon. He dismisses it as exhaustion, then listens while the transmission repeats the same time and casualties a second time.
The next signal names the white van at Center Street and Oak Road and the cyclist it will strike. The radio leaves the clock running: "You have 23 hours and 59 minutes to alter the next event."
He sends a short anonymous letter to the traffic division with the time and the place and nothing else. When the road event passes without a collision, he checks the result himself: the letter got there, and they actually read it.
The broadcast names unit 402, the worn-out gas hose, and the family inside. He warns the building before 9:47 PM; the gas company inspects and confirms the hose really was deteriorated, and the five-year-old in that apartment does not die that night.
Captured from the opening episodes — not promotional art.
Written from the opening arc. These are editorial impressions, not audience scores.
"The attic scene earns its quiet horror: the box, the cat, the radio, and a countdown that starts repeating before he has decided to believe it. The show sells the setup on atmosphere — low light, old wood, a voice that names real streets and real times."
"The interventions are deliberately small: a letter, a warning call, an inspection scheduled before the hour. The show keeps the suspense on whether the next signal will still listen, rather than on spectacle, and that restraint keeps each saved outcome feeling earned."
Best for viewers who like quiet sci-fi thrillers built around a mysterious signal, countdowns, and one ordinary person trying to avert disasters; if you want action set pieces up front, the first episodes stay in the attic and on the telephone. Compared with most disaster shorts, this one spends its capital on the dread of each broadcast rather than the catastrophe itself — that focus is both its strength and its limit.
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