The First Man
📋 Drama Overview
The essentials — before you press play.
What would you do if the woman who stole your mother’s life was still living it, a chaebol heir’s wife in a family empire built on your own stolen baby? The First Man opens in the mid-1990s with two women, Suk-hee and Hwa-young, both pregnant by Dong-seok, heir to the Dream Group. When Hwa-young loses her child, she decides to take Suk-hee’s, and when Suk-hee gives birth to twins she orders the second one eliminated. Thirty years later, the twin who survived grows up as Oh Jang-mi, and the one raised inside the Dream Group’s world is Ma Seo-rin, both played by Ham Eun-jung.
From there, Jang-mi takes Seo-rin’s identity and walks into the enemy’s house to take Chae Hwa-young (Oh Hyun-kyung) apart from the inside, while two brothers, Baek-ho (Yoon Sun-woo) and Jun-ho (Park Geon-il), get tangled in both the romance and the revenge. It airs weekday evenings on MBC and runs 140 episodes, which is both its appeal and its price: the pace is that of a daily soap opera, with every episode ending on a new scheme, a new secret or a new near-miss.
⚡ Quick Verdict
Skip the scroll — here’s the verdict in one glance.
▶ Official Trailer
🎭 Cast & Characters
A revenge war fought between twin sisters, a villain who never rests and the family caught in between.

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📺 Episode Guide
A spoiler-light refresher, episode by episode.
🏁 Ending Explained
Full spoilers — breaking down the finale and what it means.
What the last episodes confirm The final stretch of The First Man is built around one question: can Chae Hwa-young get out? By episode 139, Hong-ju is taking years of anger out on her while Kang-hyuk plots a daring escape from custody, and episode 138 had already handed the Dream Hotel to Baek-ho and surfaced Seo-rin’s recorder in Hwa-young’s room. Every piece of her power, money and evidence is moving against her at once.
The finale’s collision Episode 140 ends the chase with a collision. TMDB’s synopsis has Baek-ho and Jun-ho struck while saving Jang-mi, with Hwa-young’s escape thrown into doubt. In a post-finale interview with Oh Hyun-kyung, the actress describes it more bluntly: Hwa-young, trying to flee the police, hits Jang-mi with her car, and Jun-ho throws himself in front of it and dies, leaving Hwa-young to face having killed her own son.
Where each thread stood By the end, most of the long arcs had already landed. Jang-mi had taken Seo-rin’s place, won Hwa-young’s company shares in episode 83, announced her marriage to Jun-ho as the first step of her revenge, and joined Baek-ho and Suk-hee in cutting off Hwa-young’s funds. Suk-hee had regained her senses after Seo-rin’s death, Baek-ho had revealed his true identity in episode 134, and Chairman Ma had signed the Dream Hotel over to him.
What we could not confirm We could not find a reliable account of the finale’s last scenes: what legal fate Hwa-young faces, whether Jang-mi and Baek-ho end the story together, or how the Dream Group is left. Rather than guess, this section sticks to what the episode synopses and the cast interview establish, and it will be expanded once a complete finale account is available.
The KDW read Hwa-young spent one long stretch of the series hunting for her lost son and much of the rest building him into the Dream Group’s heir. If the interview account is right, the ending is the cruelest version of that setup: the son she fought hardest to place at the top is the one her own escape attempt kills. It is makjang logic taken to its end, and it fits a show that has treated every parent-child bond as a weapon since the first stolen baby.
✍️ KDramaWorlds Editor’s Take
Our honest read on why this drama is worth your time — and who it’s for.
Daily revenge melodramas live or die on whether the villain stays interesting for months, and The First Man bets heavily on Chae Hwa-young. Her first move, faking a pregnancy with a prosthetic belly after losing her own child, sets the tone for a woman who solves every problem by taking something from someone else. The setup has the same appetite for escalation as The Penthouse, just stretched across a weekday-evening schedule instead of a weekend one.
The identity-swap engine is what keeps the story from becoming a straight chase. Once Jang-mi steps into Seo-rin’s life, the revenge turns into infiltration, and the show gets to run a double game for dozens of episodes, much like the way The Goddess of Revenge builds its payback from the inside of the family it wants to ruin. Ham Eun-jung, playing both twins in her first dual role, is the pivot the whole structure leans on.
The honest caveat is length. At 140 episodes, with a mid-run extension from 120, the episode synopses read as a plot that lives on repetition: another plan, another near-discovery, another cliffhanger. That is the daily-drama contract, and viewers who enjoy it will find a lot of fuel here. Anyone expecting a lean 16-episode revenge thriller should look elsewhere.
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