DRW50

I guess it helped that it had only been about 3 years, and viewers had loved O'Reilly. I knew she'd briefly returned but I thought it was in another form, not in a made-up flashback.

That's interesting. This is the biggest issue, probably - not knowing details. I love the idea of the clown puppet story kicking off an EON revival. Here's one I made on Twitter when I asked for a Jessie Brewer exit plot: Jessie Brewer's Farewell Storyline (Hypothetical Episodes, February-March 1991) After nearly 28 years on the seventh floor, Nurse Jessie Brewer decides it's time to step away from General Hospital and start a new chapter. The storyline begins with Jessie reflecting on her life during a quiet shift. She's been feeling the weight of the years—the losses of Phil (multiple times over), her brief marriages, the patients she's cared for, and the friends who've come and gone. In a tender scene with her dearest friend, Audrey Hardy, Jessie confides that she's received an offer she can't refuse: a position heading up nursing training and patient care outreach for a new community health clinic in a small coastal town upstate, near where she grew up. It's a chance to mentor young nurses, focus on preventive care, and finally prioritize her own well-being away from the high-stakes drama of Port Charles. Steve Hardy, now Chief of Staff and like a brother to her, is initially stunned. In his office, they share a poignant conversation reminiscing about the early days—the show's very first line she spoke ("Seventh floor, nurses station"), the crises they've weathered together, and how she's been the heart of the hospital. Steve tearfully admits the place won't be the same without her, but he supports her decision, telling her, "Jessie, you've given more than anyone could ask. It's time you let someone take care of you for a change." Word spreads quickly through the hospital. Younger nurses like Bobbie Spencer (whom Jessie mentored) and Amy Vining organize a surprise farewell party in the nurses' lounge, complete with a cake inscribed "To the Original Angel of the Seventh Floor." There are speeches, laughs, and tears—Epiphany isn't there yet, but the spirit of the nursing staff rallying around her is strong. Even some old faces return briefly: a mention of Lucille March (Audrey's sister), and perhaps a phone call from a former colleague. In her final scenes, Jessie packs up her locker, pausing over old photos (including one from the 1963 premiere). She has one last heart-to-heart with Audrey over coffee, where they promise to visit often and reflect on how far the hospital—and women in nursing—have come. Jessie says, "I've loved every minute here, even the hard ones. But I think there's a little more life out there waiting for me." On her last day, Jessie walks the halls one final time, saying quiet goodbyes to patients and staff. At the elevators, Steve and Audrey see her off. She hugs them both, smiles through tears, and says, "This isn't goodbye—it's just... until we meet again." As the doors close, the camera lingers on Steve and Audrey, arm in arm, watching her go. The episode ends with a dedication card: "In loving memory of the nurses who've dedicated their lives to healing others." This exit would have allowed Jessie to leave on a high note—happy, fulfilled, and alive—perhaps opening the door for occasional returns. It celebrates her as the foundational heroine of General Hospital, giving fans the emotional closure the real-life circumstances sadly prevented. This was a more dramatic version: Jessie Brewer's Tragic Yet Triumphant Farewell (Hypothetical Episodes, February-March 1991) The storyline kicks off during a massive crisis at General Hospital: a severe winter storm hits Port Charles, causing a multi-car pileup on the highway and flooding the ER with critically injured patients. Power flickers, supplies run low, and the staff is stretched to the breaking point—echoing the high-stakes disasters GH has weathered over the years. Jessie Brewer, ever the dedicated nurse, has been pulling double shifts. Lately, she's been experiencing unexplained fatigue and chest pains, which she's brushed off as "just the years catching up." In a quiet moment amid the chaos, she confides in Audrey Hardy that she's been thinking about retiring soon—perhaps moving to that coastal clinic upstate to finally find some peace after a lifetime of heartache (losing Phil repeatedly, her failed marriages, the babies she never had). But fate intervenes dramatically. As the storm rages, a young patient—a teenage girl involved in the pileup—codes in the ER. Jessie, ignoring her own worsening pain, leaps into action, performing CPR and directing the crash team with the steady authority she's honed since 1963. She saves the girl's life, but in the exertion, Jessie collapses, clutching her chest. It's a massive heart attack. The hospital turns its focus to saving one of its own. Steve Hardy, fighting back tears, leads the code in the very ER where they've saved countless lives together. Audrey holds Jessie's hand, whispering memories of their early days. Flashbacks intercut the frantic resuscitation: Jessie's first day speaking the iconic line ("Seventh floor, nurses station"), her turbulent marriages, mentoring younger nurses like Bobbie, and quiet moments of unrequited affection for Steve. Against the odds, Jessie stabilizes—but the damage is severe. In her hospital bed (a poignant reversal, as she's now the patient), surrounded by Steve, Audrey, Bobbie, Amy, and even some returning faces via phone or brief appearances, Jessie reflects on her life. In an emotional monologue, she admits her regrets—the loves lost, the dreams deferred—but declares she's proud of the lives she's touched. To Steve, in a raw, long-overdue confession, she says, "You've been my rock, Steve... maybe in another life, we could've..." (leaving their unspoken bond hanging, true to soap tradition). Doctors deliver the news: her heart is too weakened for her to continue the demanding life of a nurse. With quiet resolve—and a touch of defiance—Jessie decides this is her sign to step away. She accepts the offer to lead the community clinic upstate, vowing to mentor from afar rather than risk another attack on the front lines. The farewell builds to a gut-wrenching climax: a hospital-wide gathering in the lobby (storm cleared, symbolic sunshine breaking through). Nurses line the halls as Jessie, in a wheelchair pushed by Steve, makes her final walk out. Tears flow freely—speeches from colleagues, a cake reading "Forever Our Guiding Light," and patients she's saved over the decades sending well-wishes. Audrey sobs in her arms, promising eternal friendship. Steve, voice breaking, tells her, "This hospital started with you, Jessie. It'll never be the same." At the doors, Jessie stands one last time, looks back at the seventh floor, and whispers, "I've given everything I have... and it's been enough." She hugs Steve fiercely, then steps into a waiting car for her new beginning—alive, but forever changed. The episode fades with a montage of Jessie's greatest moments, set to swelling music, ending on a dedication: "To the nurses who heal us all—with endless gratitude." This version heightens the drama with life-threatening peril, heroic sacrifice, emotional revelations, and a grand send-off rally, while keeping her exit hopeful (she survives and moves on). It's pure classic GH: tears, triumph, and closure.

Good for them! I didn't realize how much Colton looks like Van Hansis.

Thanks! Appreciate knowing about the new promos. I believe you about the episodes as you have seen much more of this period online than I have. Guiding Light - (1983?) (15A1) - YouTube Skimming through one of them and I'm so fixed on the moments with Helena, Philip, Eve and Justin - two of them stalwarts of the Dobsons era, one brought in by Marland, and Grant's Philip, brought in during one of the short-lived writers (Browne?). They'll all be gone within a few months while Philip is there to the final episode. I feel bad for Eve essentially being a maid. No wonder she leaves within a month (?) to live in Rome with hunky Ben, or wherever he was by then. You can tell that we've really entered into the "piece of ass" era of soaps as we not only have Philip shirtless and working out when Helena arrives, but at the end of the episode, he's shirtless again! Interesting how Helena was agog at him like a cartoon character - I doubt they were hinting at anything, more just her reacting the way they thought viewers would. The scene where Justin kisses Helena is one that Tom O'Rourke put on Youtube in a reel. The moment with Justin and Philip horsing around makes me a little sad as we got so little of that. This was presumably put in for the anguish of the upcoming paternity reveal...not that it mattered as Justin was written out not long after. Also nice to see some of these glimpses of Josh, Trish and Vanessa before we start getting into Lewismania. Trish in particular was swallowed whole by them. I didn't even know Floyd and Lesley Ann were still involved at this point.

I'm so used to that closed-mouthed awkwardness it's a genuine surprise for a soap these days. One of the tweets I saw about them had a reply from someone accusing the show of using them to try to make viewers forget about Dex and Joss and how great Dex and Joss were. I get liking a couple and being mad if they are split up but I don't really get what they have in common, unless they think Emma is taking Joss' place on the show. No worries, as I'm guessing Joss will be there to the final episode, whenever that may be (of course there's a chance the robot overlords will get into GH and 100 years from now we will be ruled by a Jessie Brewer chatbot).

Heartbreaking.

I think Monty even went to the press talking about how amazing Kevin was. She didn't play around. I think Bobbie fell down or was pushed down the stairs. I credit GH for never magically letting Bobbie carry a child, which is something soaps often love to do. So many stories, from Lucas to Carly, would have been less likely to happen, stories that changed the show in ways few at the time could have imagined. On Shortland Street, they had a story a few years ago about a woman who had a very unhappy childhood and never wanted to be a mother. She had a tubal ligation to make sure she couldn't get pregnant. Then this year, she found out that the ligation had somehow been breached and she was pregnant. After a brief moment of anger and considering an abortion, she magically decided that it was meant to be.

Thanks @Maxim I was not expecting Andrew to have his hands at Marty's waist. Malone clearly did have some attachment to that pairing which never quite gets used the way he may have wanted. Robin seems to relish going up against Susan Haskell, as they are both such forces. As she later described her scenes with Erika Slezak - being in "the arena." They really are playing up how childish Cassie is, still going on about the ski lodge. Is Nora still having her headaches?

@dc11786 Those are fantastic ideas, and they do match what little is available of the family in clips and episodes. Tying Barbara into the heart of the family dramas only makes sense. The other part I always wanted to see was how Liz would react about Michael.

"Hail and Farewell": A tribute to those we lost in 2025 CBS Sunday Morning Speaking of Bardot, Jacques Charrier, artist/former actor and the father of her estranged son, also died this year. Talk about a disaster marriage. I never knew they had dueling memoirs trashing each other. https://www.nytimes.com/2025/09/08/movies/jacques-charrier-dead.html

True. When would you say it started - the strike period? I tend to agree, although they will probably just keep her part to a bare minimum.

Steve Burton. I see that a lot and sometimes am not sure myself and other times have to tell people the images/videos aren't real. The ones that make me irrationally angry are probably the cheapest, where they have actors holding identical birthday cakes with names and numbers. One that made me maddest was Sidney Poitier, as he died several years ago.

Mulcahey seemed to want to make real effort with her, I guess due to their SB days. I still wish they'd found a way to keep Lane Davies around (then again look how much good that does with other former daytime stars just on the Valentini teat).

I notice with a lot of articles I read or shows I watch - I wonder if something was written with AI or drawn with AI. It leads to paranoia. I still enjoy these fan moments, as I think they're from a place of creativity, but the corporate elements worry me.

@BadBoy93 You did a good job in a story that would be similar to current GH but probably better told. Joss having to plant listening devices in Carly's home would actually interest me. The AI writing has already improved quite a bit from earlier this year, so a part of me is fascinated but also frightened of where it may be a year from now (although some say it may just get more and more weird as it is feeding off a dead pool of information).

That's good if some were new. I thought they may have been the same that were on the Spauldingfield channel.

Thanks for sharing all the results with us @Skylover . I've still been watching, at a slow pace, but never seem to share my thoughts here. I am glad Felix made the list as he was one of the best parts of the revival for me. I'm saddened, but not surprised, that Andrew isn't on here. I think he would have been if not for the affair story. Interesting that Elle isn't on here as I thought Pippa Black was well-received. Maybe people just didn't like the recast. I'm glad Aaron, the MVP of the revival for me, did so well. Poor Mel. They did her dirty. The writing for her, Toadie and Sonya is some of the best on the list. I'm glad Amy and Lance popped up on here. Amy got a raw deal with the revival. I love that two Maxes tied. Stephen Lovatt is currently doing wonderful work on Shortland Street. I'm a little surprised Max Ramsay got on the list, but he did have a decent turn this year as a supporting character. Paul is one of those characters I think I would have enjoyed more if I'd started watching 10-20 years sooner than I did. Majella did her best as Krista but to be honest I hated most of the writing for her in her final year on the show. Annalise is another I need to check out more of - her return was almost like an anti-return, seemingly just there to tell us you can't go back. Glad lovely Hendrix still did well. This list reminds me that I wish they'd brought Clive back in the revival, even briefly. He deserved a better exit. The results show just what a good addition the Varga-Murphys were to the street. You wonder what may have been.

I so often see fans asking for her to go Natasha on him. There are many reasons it won't happen, especially that characters being more assertive would mean less time filling up 5 days a week, but I do wish they would. You aren't wrong about Scout, or many of these kids. At least the current traumas give them story for the future and give them some reason to be there (unlike, say, Maxie's kids, who are presumably doing fine with her being in a months-long coma or one of their fathers returning from the dead), but you still aren't going to get story payoff for a long time, if ever. Kids shooting adults is very overused on soaps and none have ever worked as well for me as Lizzie doing this on GL because Hayden Panetteire was a great little actress. I agree with you that Willow would be a more interesting choice. I just hope if it's Scout they play the beats that should be played and could write themselves about the generational patterns and pain in that family.

As Alexis is made so powerless in the ongoing Victorian-era traumas of her grandchildren, I appreciate how much NLG still does to play the pain and other buried emotions of the character. That bit where Scout told her she couldn't understand what it was like to lose a mother so suddenly the way she and Danny did, you were reminded without a word just how much Alexis understands this. GH keeping so many characters for longer than necessary and giving them too many children actually pays off in moments like these. There are stories which could be told about Alexis having to see Scout play out her life all over again. If Scout did shoot Drew, I wish we could get some of that reflection, although I know that's not very likely. It's also very surreal to see Danny and Cody having pep talks in the Q mansion and Danny talking about how he has been happy there after losing his mother. A year or so back I watched that Q Thanksgiving where Sam and Jason arrived in their matching leather jackets and Jason was so repulsed at them (due to Sam's rape) he almost immediately walked out. Now here we are.

I don't even know if he would go there, although it's such an insane visual I'd be morbidly curious.

Yes. Thanks again. It's not the same as writers putting together actual stories, of course, I was just interested in seeing how far they can go with lesser known characters and material.

Victor and Ashley were married. Adam was gaslighting a pregnant Ashley (while also faking blindness and jabbing needles in his eyes, IIRC). She passed out at the ranch, had a miscarriage, and Adam, who wanted her to think she was still pregnant, disposed of the fetus. MAB, Hogan Sheffer (the writer at the time) or Michael Muhney was asked how Adam got rid of the fetus and the response was that Adam threw the fetus into the fireplace.

I think they just don't care. It takes time and effort to write romances and those at the show now don't seem comfortable with the concept.

I think most of them have already been around or are up in other forms, although I hope that any new episodes do go up.

That (or LML) was the time where I fully accepted that Y&R would probably never seem like itself again. Bill Bell liked a dark story at times, but he never would have thrown a fetus into a fireplace.