Volume I, Issue v

January 1999

GH in Review by Amy McWilliams

View a section by clicking on the links below, or read the entire review by scrolling down. The review takes up 8 separate pages, but the navigation at the top and bottom of each remains consistent.

General Hospital

The Quartermaines

Carly/Jason/Robin

Mac and Felicia

The Spencers

Bobbie

Lucky and Elizabeth

Luke

The Cassadines

Jax

Sonny

General Hospital

The Quartermaines

• V tells Ned that she's booked him to play a gig, and he refuses. She threatens to quit, so he agrees. He's not at all happy, however, to find out that she's booked him at Jake's, and is less happy when Jax arrives to give him a hard time. Jax lets Ned know that he's ready to return to the corporate world, and they explain to V that they'll keep going at each other because that's the way the game is played...and they both love it. (12/1)
• While Edward waits for his tardy family members to join him for the ELQ board meeting, Nikolas drops by to see Emily and Edward demands to know the boy's intentions towards Emily. Emily is mortified and takes Nikolas out of the room. They pass Katherine in the hall, and she looks longingly at Nikolas. Later, when Nikolas brings Emily home, he tells Katherine he's not happy that she's going to see Helena and Emily is irritated by Katherine's interference in her conversation with Nikolas. (12/2)
• AJ informed the board that one of their suppliers on the docks project was jacking up the price due to an expired contract. The owner is coming to the meeting. When Jax arrives, Edward wonders why he's there but Ned realizes that Jax has purchased the company. Edward offers to buy the company from Jax, who is noncommittal. Later, at the gatehouse, Jax shows up and comforts a grumpy Ned with Mexican food and the thought that the whole thing had caused AJ misery. Meanwhile, Edward blames Ned and tells AJ that he wants Michael as soon as possible so that he can fire Ned. (12/2)
• As the family and Nikolas prepare to accompany Emily to the trial, Mac calls Edward to say that Alan's been arrested for murder. Meanwhile, Alan calls out weakly for drugs down in the cell. Ned takes Emily, and Edward tells Monica and AJ the news. They go to the jail, where Mac tells them that Alan will have to stay because he'd confessed, even though it Mac doesn't believe he's guilty. Monica notes that Alan will have to go through withdrawal in prison. She tries to give him something because he's obviously in bad shape, but Mac can't allow it. (12/8)
• After the trial, Nikolas and Emily go to dinner at the PC Grill, as do Alexis and Ned. (12/9)
• Alan has a nightmare that his family was burying him alive. Meanwhile, Monica and Edward tell Lila and Emily about the murder charge. Emily admits to the car accident and Alan's theft of the bracelet. She wants to visit her father. After she's gone, Edward and Monica discuss Alan. (12/10)
• Tammy visits first, and tells Alan that she's touched but that she didn't murder the guy so he doesn't have to cover for her. Emily arrives next and they share a tearful reconciliation. When Emily goes home, she asks Monica not to give up on Alan. Alan sits in his cell, listing the things he's done. (12/10)
• Ned and Alexis make love upon his return, and she tells him that she convinced Jax to sell them the sprockets company. V arrives afterwards and tells Ned that she's booked him at The Outback. He refuses to play, and she says that she'll replace him with a bigger name. Afterwards, Ned explains to Alexis that The Outback reminded him too much of Lois. (12/16)
• Mac questions Alan, who says he knows nothing about Moreno. Monica posts his bail and asks him to come home, but Alan says that he has to beat his addiction on his own. They say goodbye, and Alan asks her to tell Emily that he's trying to get better. Alan buys more pills, then goes to the clinic, hands them to Tony, and asks Tony to help him. Tony suggests ultra-rapid-detox, and they begin the treatment. While Alan is under, Monica comes to wait by his side. (12/16)
• When he awakes, she is there to promise her love and support, but he tells her that he still can't come home. She agrees to keep pay for a room at the hotel, and they say goodbye. Monica admitted to Tony that she was worried, thanked him, and then returned later to give him a letter of recommendation for his reinstatement at GH. Meanwhile, Alan called Tammy to come and help him stay off drugs; she said that he had her support but that he'd have to do it himself. (12/17)
• A frantic V starts calling agents at The Outback. A man offers his band, but she turns him down, not recognizing until later (when he plays Saturday in the Park on the piano) that he's a member of Chicago. She then happily takes his offer. Ned comes by later to offer to play, but V tells him that she's handled it. She won't, however, tell him who's replacing him. (12/17)
• Ned, looking forward to playing the hero, is utterly abashed and amazed when V announces Chicago. (12/18)
• When Mac comes to the hospital after the shooting, Monica is surprised and pleased to hear that Alan saved his life. (12/21)
• Edward has a talk with Emily. (12/21)
• As Tony continues to bother her about various things, Monica asks Edward to play Santa at the GH Christmas party, and Alan reads the Christmas story. Monica invites Alan to spend Christmas at home. Bobbie and Audrey remember Steve. (12/24)
• Ned and Alexis spend Christmas together after the GH party. (12/24)

V: "Alexis loves it when you sing. Don't you want to impress her?"
Ned: "You would use my personal life against me? Are you sure you're not a long-lost Quartermaine?"

Ned: "Jake's? As in the biker bar?"
Jax: "Well, I can hardly wait. Hey, perhaps your concert will fall on body-piercing night."

I love this continued combination of V, Ned, Jax, and Alexis. It's good to have V integrated in with some other characters, and she always sparkles, whatever her emotion. I love having Nedley in some semblance of a storyline, and the dynamic with Jax is very good and a very smart move. It puts Jax back up against the Qs, which helps link the major families all together (even if we don't see the interaction yet the links are forming again) and makes him a businessman again, a side to him that was sorely lacking in the past.

Edward: "Young man, you must have more business than I do because you've been dropping by to see Emily at least every other day. I was thinking of maybe asking my accountant to declare you a dependent."
Nikolas: "Well, I hope I'm not taking advantage of your hospitality here."
Edward: "That can all be answered in one simple question--what are you intentions with my granddaughter?"

Nikolas: "You're asking me what my intentions are towards Emily?"
Edward: "Mm-hmm. That's exactly what I'm asking you, and don't you pretend that you don't understand me because I know you're from Europe."
Nikolas: "All right, listen. I value Emily greatly. I mean, she's--she's like a little sister to me."
Edward: "Oh, for crying out loud, I used that "little sister" line when I was your age. Haven't you young men come up with anything better in the last 50 years?"

This was just good fun. I love Edward and Nikolas together, actually (remember them at Emily's modeling shoot?), and I think that the crossover between Cassadine and Quartermaine should be capitalized upon more and more. As it is, these two actors have good comic interaction, and I like what I see.

Edward: "Oh, finally. Well, aren't there any more of you?"
Katherine: "Most people consider one of me enough."

Amen, sister, preach on.

Reginald: "Miss V. Ardanowski."
Edward: "What the devil does she want?"
V: "Did I come at a bad time?"
Ned: "No, no, no. Please. Forgive my grandfather. He's going through the world's longest mid-life crisis."
V: "Oh."
Ned: "V is here as my personal assistant."
A.J.: "I thought V worked for L&B."
Ned: "Which means she works for me. You got a problem?"
Lila: "Welcome, my dear. Oh, it'll be so nice to have another female face around. And such a lovely one."

Monica: "What the hell is a sprocket, anyway?"
Katherine: "Well, I think anyone who wants to be involved in ELQ business should bother to do a little research."
Monica: "Well, since you've become the Martha Stewart of sprockets, why don't you share your expertise?"
Katherine: "Well, I can tell you that the sprocket is the essential component needed to operate the crane that loads and unloads the cargo ships."
Monica: "Well, now we all know you have a library card."

Reginald: "Master Jasper Jacks. And I do hope this is the last of it. You know, I have other duties around here."
Katherine: "Edward, how can you let that horrible, disrespectful man work at this house?"
Lila: "Reginald doesn't work in this house, Katherine. He is this house."
Edward: "Jax, if you--if you don't mind, ELQ has enough thieves to deal with today. So, Reginald, why don't you show this man from the outback back out?"
Lila: "Edward, let's not be rude to our guest. Remember, Jax was dear Brenda's fiancé. Besides, I do so adore having handsome men around."
Edward: "Hmm. One's not enough for you, huh?"
Lila: "Uh-uh."

Jax: "How are you, V?"
V: "Oh, I'm fascinated."
Jax: "Yes, the first dose of uncut Quartermania can be a little overwhelming."

Lila: "Don't be a stranger, dear."
Edward: "Lila, don't encourage this scoundrel."
Lila: "I like scoundrels, Edward. I married one, remember?"

Edward: "I'm surrounded by amateurs! Does no one know how to play this game?"
A.J.: "Apparently Ned forgot."
Ned: "Apparently junior never knew."
Monica: "Well, I do have a profession. It just doesn't happen to be business."
Katherine: "Well, if you ask me--"
V: "Are they always like this, Lila?"
Lila: "Oh, no, dear. Sometimes they don't get along."

This meeting didn't ring hollow like the last one did, and that's because we're not simply repeating things. Or, rather, we're repeating them with variation--Ned's friendship with Jax, the addition of V, and Katherine back but not married to Ned. It's always fun to have an outsider watching the board meeting (Sonny's vote for Ned as CEO back in the fall of 1996 will always be my favorite, I think) for the first time, and V's interactions with Lila were priceless, as were Lila's comments to and about Jax and Edward. The bickering with Katherine, however familiar and amusing, highlighted the precise problem with her character. She is, at the same time we are to believe, a kind and caring romantic interest to Nikolas, somebody who has grown and changed through her trials and tribulations, and the same old social climbing, catty bitch she was when she was married to Ned. Perhaps it's possible to have both in theory, but in execution it's just annoying. Her motives, meanwhile, are constantly in question (or are supposed to be) where Stefan and Helena are concerned. The suspense is not killing me; I respond to it as inconsistency because we're not given enough to go on. On top of that, while her snarking at Reginald is amusing (especially if you know that the two actors are cousins--by marriage, I think, but I'm not sure), her rudeness to all hired help and underlings continues to stick in my craw. It's "classic Katherine," though there's nothing very classic about it. Ick.

A.J.: "I think you look great. I, for one, would believe anything you have to say."
Emily: "Hmm. You're cute."
A.J.: "Especially that."

Emily: "Yes. 'So, Emily, why don't you tell us what it feels like to know that the entire world can see your -' etc., etc. You get the point. Why don't they understand that that picture is not me?"
Ned: "It all makes me feel very old."

Alexis: "She's a very impressive young woman."
Ned: "Oh. Well, that is a genuine stamp of approval coming from one of the most impressive women I know."

Emily: "Well, as soon as I saw Elizabeth explode in the courtroom, I looked over at tom and he had this hateful smirk. I just wanted to wipe it off his face."
Nikolas: "Well, here's to wiping that hateful smirk off Tom's face."
Emily: "Hear, hear."

While I've been increasingly pleased with the way the Tom Baker "ending" to the rape storyline turned out (I still don't like the convenient combination of things all into one bad guy who was not a bad guy to start out with) because of the way it's let us see Liz deal with what she thought she always wanted--the identity of her rapist--there's one thing that keeps bothering me. Emily is seemingly unaffected. She alternately flirts with and moons over Nikolas, she writes in her diary about his visits, she waltzes into the police station making flip comments about the press, she smiles as Edward's forced to let her continue to model, and we never see any of the trauma of what she's been through back up on her. She was more upset about things as they were happening than she is now, and that anxiety was mostly about her family finding out. I don't understand her reaction, and we've not been led to expect that she's shoring herself up against it and her true emotions will come out at some later time. Instead we have her sitting at a table in the PC Grill with Nikolas after the trial commenting on Elizabeth. This happened to her too, and while I don't want another breakdown in her life, I would like some sign that something major has happened.

Monica: "All right, Edward, this better be good. What has Alan done?"
Edward: "He murdered his drug dealer."

Monica: "I don't believe it."
Edward: "Why not? It's not as if he hasn't committed murder before."
A.J.: "Let's not forget about Ray Conway."
Edward: "That's one of Alan's rare success stories."
Monica: "He was protecting Rhonda Wexler."
Edward: "What about all the times he plotted to murder you, huh?"
Monica: "Come on. That was years ago, Edward. My god, do I have to defend my husband against--I mean, he's your son. Yes, he can go to extremes, but that was always because of passion or jealousy--and I would like to think because I was the most important thing in his life."
A.J.: "But you aren't anymore. Drugs are. And now the man that he used to buy them from is dead. Now, I wish that I was surprised, but I'm not."
Monica: "If there's anything left of the man that I've known--"
Edward: "Mm-hmm. That's the question, isn't it?"
A.J.: "A junkie is a junkie is a junkie. I'm sorry, mom, that sounds cold, but being shocked by how much he's changed is not going to help anything. We have to ask ourselves, whose responsibility is it? You remember all the times that I kept right on drinking? Because I knew that the cavalry was never far behind."
Edward: "A.J.'s right. Alan has made his bed. Maybe he should just rot in it. Don't look at me that way. Do I have the answer? No. All my life I have tried to do what was right for my children and my grandchildren, only to be told that what I was doing was exactly wrong. Am I supposed to let my feelings guide me? Am I supposed to keep a clear head? You tell me what to do, and I will do it!"
Monica: "I can't tell you what to do. I know a man that I have lived with a long time--a man I have loved, I have fought with, I have laughed with--may be facing life in prison. Ok, fine. Maybe you guys are right. Maybe he is out of our lives forever and turning our backs on him, that qualifies for tough love. Well, I can't. I can't do that. That's too tough for me. A long time ago, I promised in front of God to love Alan, and that's what I'm going to do. And I'm going to go to him right now. You do whatever you want."
Edward: "Oh. Reginald, get the Bentley!"

In the face of the bad news, these three fell into their usual roles. AJ spoke of junkies in general, fitting Alan into a category that he could understand and thereby eliding any mention of the particulars of his father's emotions. Edward started out with sarcasm and moved to determined action in the family name, also glossing over the particulars and labeling this another family crisis to be dealt with. Monica, however, refused to continue to tow the party line of tough love, and they all went to the jail to see Alan.

Edward: "Why was it there? Alan, you are my son, and I have exiled you, and I've damned you to hell, and I have cut you off without a cent, and I will do it again. But to--to send you to prison for something you didn't do? Oh, no. No, I will--I will lie, and I will bribe, and I will bully, and I will threaten before I let that happen. Now, you--you tell me what evidence you think the police may have or may find against you so that I can make it disappear."

Edward longs for something in this situation that he can handle--evidence that he can destroy, press that he can dismiss, etc. Perhaps that is habit, and perhaps it is his way of making the problem he doesn't know how to deal with--his estrangement from his son and his son's despair--into something he can deal with. Either way, to write his response to this off as "typical Edward" doesn't recognize the reasons behind his typical behavior. I thought this rock bottom situation for Alan was also quite illuminating of the rest of the family, and that would continue after these initial scenes.

Alan: "Does the DA not remember who I am? Does the DA not remember the $10,000 that I gave for his election campaign? I am still Alan Quartermaine. I am not a common criminal."
A.J.: "Yes, dad, you are. You're as common as they come."

And while AJ does classify his dad in order not to look at the particulars, as I said above, he's also dead on. Alan does just the opposite; he keeps looking at himself as the exception--as the individual--and refuses to classify himself in those very categories that would let him see exactly what position he's in.

Tammy: "And you told the cops that you did it? Otherwise, I'd be sitting where you are. Why, Roy? What am I that you should do a thing like this for me?"
Alan: "You're good and you're kind, and you were there for me when nobody else was. This is not your kind of life, Tammy. I know that. You're young and you're smart, and you're going to move on and you're going to do better things than this. Me, I'm done. I'm finished. I had a great life. I threw it all away. It's only by the grace of God that I'm still alive. So I just thought it would be less of a waste if I did that for you."
Tammy: "A waste? You're a doctor, right?"
Alan: "I was."
Tammy: "And you saved how many lives?"
Alan: "Probably none."
Tammy: "Well, now you saved mine."

I adore Tammy. What Alan needs most is for somebody to believe that he's worth something. His family hasn't told him that since they put him out of the house, and when Emily has tried he hasn't heard her. He's in a position now that he can hear, but it's interesting that he can hear it most clearly from an outsider. I like his relationship with Tammy, who is, perhaps, the ultimate Port Charles truth teller because she's an outsider.

Emily: "He--he gave me some pills in case I needed them, but he ended up taking them back. I'm sorry I lied. I only did it because I--"
Lila: "Because he's your father, and you love him."
Emily: "You know, I remember once when you told me that it's hard to know the right way to show someone that you love them. Now I know what you meant. When I had all those problems with my drug thing, you know, you guys were a great support. You always helped me. We did family therapy. You tried to understand. And with dad--well, we lied for him, we yelled at him, we locked him out of the house. I need Reginald to take me somewhere--alone."
Monica: "Emily, I--"
Emily: "Look, if you're worried about me, then Reginald can wait for me outside. But please don't tell me not to go, because I don't want to disobey you."

I wish that Emily would be there for one of Edward and Monica's discussions. They think, perhaps, that they're protecting her, but I think that it'd do her some good to see that they're trying to figure this out just like she is. The difference, of course, is that Emily is Monica's daughter and Alan is her husband. When Emily was on drugs, Monica's impulse was to help her daughter through the trouble. Alan's drug-taking, on the other hand, is a betrayal of trust because he is her equal and her support, or is supposed to be.

Emily: "With everything's that happened, how can you be sitting there thinking of me?"
Alan: "Because I'm still your father, and you're still my girl--my one and only."
Emily: "I'm only your girl because you loved me first. You're the reason I'm a Quartermaine. You are. I mean, that old silly Sidney the bear thing and all the time that you gave me. I was really angry when my mom died, and I felt stupid and ugly and alone. And I thought that no one could ever love me again. Until you did and you convinced me that you did. And that's when I knew that--that I loved you, too."
Alan: "Well, what did I do with your love? I took that precious, precious heart of yours, and I broke it again and again. How can you ever forgive me? How can anyone?"

Alan: "I'm so ashamed."
Emily: "Don't."
Alan: "Of the things I've done. How I've hurt you."
Emily: "Dad, stop. Please. Hurt me? I have food to eat. I have clothes on my back. I have a house, I have a place to live, I have a name, a family. It's all because of you. You think that I care that you're in trouble or that you're a drug addict? You think that hurts me? I love you. There's nobody else in the world that is like you at all. Listen, listen. When I fall in love and when I get married, you will still be the perfect man to me. You're gentle and you're funny, and you've found the things in me that nobody else could ever find. Nothing could take that away--nothing that mom says, nothing that the newspapers say, not even anything that you would say. Don't you know you don't have to prove anything to me? The only thing is...is that I'm not done loving you yet. And I want you back."
Alan: "You make me want to make a hundred promises."
Emily: "Better not."
Alan: "No, I'd better not. Don't you want to ask me anything?"
Emily: "No."
Alan: "About why I'm here?"
Emily: "No. I'll be back tomorrow. What? What?"
Alan: "If I need someone to look up to, is it ok if I look up to you?"

These scenes were worth months and months of Alan on drugs. While it's the father/son issues that cause most of the trouble in the highly patriarchal Quartermaine mansion, it is the women and their relationships with those fathers and sons that are often the calming or healing power. It is precisely because Emily is adopted that her words mean so much to Alan. She chose him and keeps on choosing him, and, as with Tammy, that's what he needs to hear. At the same time, perhaps she is the one he regrets hurting most because she is the youngest, she is female, and she was not always a Quartermaine. And it is therefore her forgiveness that means the most.

Plus, family system and character analysis aside, these scenes were perfect. The writing and performances were completely moving, and I rewound and watched again immediately.

Emily: "Mom, dad really loves us. He's just having a hard time finding his way home. I remember what that felt like. I know you don't trust him anymore, but please--please, please don't think that it's impossible that he could maybe change, surprise us, and maybe become the old Alan again. Because if you think that is impossible, it's going to be. I'm not saying that you have to believe it. Just--just try to think that maybe it will happen. Maybe."
Monica: "Ok. Ok. I promise."
Alan: "I lost my job. I put my patients in danger. I robbed my wife. I gave my daughter drugs. I spent her allowance on pills. I stole a gun. I threatened a man. I--"

It was only after Emily's forgiveness and acceptance that Alan could face his failings and his problem straight on. And it was with Emily that we saw the beginning of his return to the family. She convinced Monica and Alan both to believe that they could change.

V: "You don't think I can do it, do you? You don't think that I can find an artist bigger than you to fill your slot. Well, fine. Fine. I'll--I'll just show you. Sorry about barging in."
Alexis: "It's not a problem."

Ned: "Well, to be honest, playing the outback is too much like Eddie Maine. And that was another time. It's not that, you know, I'll never go back there, but I'm just not ready yet."
Alexis: "Then you shouldn't have to. The outback's not going anywhere."
Ned: "V really is something when she gets all fired up. I could do a lot worse than having her guide my so-called career."
Alexis: "Knowing v, I think she's going to knock your socks off just to show you. What are you doing Friday night?"
Ned: "Nothing that can't be slid."
Alexis: "You want to go see a major act at the outback?"
Ned: "Can't wait."

V lights up the screen whenever she comes on, and I love that she's so polite she undercuts even her own storming out of the room. I also love that she keeps stumbling into Ned and Alexis's romantic interludes, shall we say. The set up was corny, perhaps, but a little lightness and fun is just what we need on this show, especially around the holidays--a balance of fun, excitement, good drama, and happy, if tearful, reunions. We didn't get it all in spades, but we got some of all of it; the balance was getting better than it had been in a while.

Monica: "It's amazing what love can endure, isn't it? I believe that you still love me. And I know I love you, in spite of everything. Maybe even more now since I realize just how close I came to losing you. Not that I don't miss the man that I married--twice. I do. I miss you holding my hand, and I miss you in the middle of the night and the passion that only--only you could trigger in me. And I--I miss our fights. I'd give anything for a great knockdown right now--but with you there and not someplace where I can't reach. Come back to me. Come back."

Monica: "Yeah, Tony. I'll be fine, thank you. Boy. You come back to me. I mean it, Alan. You've been gone too long. Really, way too long. I don't know what to do with all the extra space. Come on, I wake up in the middle of the night, and--and you're not there. You know how many times I've picked up a medical journal, I've started to share something with you, and I can get mid-sentence and all of a sudden I realize you're not there. You're not there. You have to come back to me, Alan. I mean it. I figured out--I really--I really don't have a knack for living alone. Please. Oh, please."
Alan: "Hmm. Monica."
Monica: "Alan, I'm right here."

Alan: "What about the next time? I can't risk unraveling the little bit of progress that I've made by trying to do too much too soon and then failing. Just--just getting here, Monica, has taken all the courage that I had left. If I--if I slip again, Monica, I'm going to be hooked for the rest of my life."

It's interesting to me just how much of Alan and Monica's marriage takes place with them apart from each other. Their troubles happen often when they're apart, or cause them to be apart, but often the healing comes with loads of space between them too. Somehow, that works for them. Even here, Monica spoke words that Alan needed to hear only when he wasn't able to hear them. And Alan said again that he needed to get better on his own, away from the family. All families have trouble, but it's always been a part of the Q family that you have to balance your participation in and your distance from the people you're related to, it seems.

Tony: "You know, I've--I've known you and Alan a long time, and I know that's not necessarily something we like to remember these days, but, nevertheless, the fact remains--I was there for a lot of those obstacles and saw the way that you two surmounted them. And the way I see it--and maybe I see it more clearly than you can at the moment--you two have stayed together as a couple. You haven't lost your core. You haven't lost whatever it is that binds you together. I think you're going to make it through this just fine. Who knows? Maybe even better."

Monica: "Yes, I've kind of wondered about that while I was here with Alan. I didn't know why you didn't even ask or actually demand. So I had to assume that it was either your genuine unselfish desire to care for a patient, or you had just become smart enough to know when to shut up. In either way, it's going to take Stefan to sign off on this before you can become a member of the General Hospital staff."

Tony: "You know, this is not going to make you real popular with my ex-wife."
Monica: "Well, what happened between you and Bobbie is your business. You have had your share of tragedy, Tony. A lot of that you haven't handled very well. But I think you're a good doctor. What you did with Alan demonstrated that. I think you could be back at general hospital, and I think because of you, I have a chance of getting my husband back."

This was the way for Tony to get Monica's recommendation, and I'm glad that she realized that he was doing this, as he said, for partly that reason. At the same time, he has proven that he can hold a job in the medical profession, and deserves a chance at his old job, I expect. This also serves to cause more friction between Bobbie and Monica, as well as Tony and Bobbie. But it brings Tony together, at least in some way, with Alan and Monica. It seems that his rage and anger and revenge, at this point, are in a vicious circle. Because of the reactions he gets from others, he continues refusing to admit he's done anything wrong. Perhaps a bit of acceptance from others will help him break that monotonous cycle of threats and evil grins I've grown so tired of.

Tammy: "I'm proud of you. And you should be proud of yourself, too."
Alan: "I'm scared to death I'm going to slip."
Tammy: "Well, suddenly it's a longer way to the bottom, huh? I know."
Alan: "I know you know. I know you've been through it. And that's why I need you, Tammy. Could you stay with me, just for a while?"
Tammy: "You have to cross the finish line yourself, Roy. I can't be your willpower for you."
Alan: "I know. Will you at least be my coach? Or maybe my cheering section? Please."
Tammy: "You got it, Roy."

Alan, now that he has a bit of support from people, can admit to his addiction and find his way towards starting to get better--but he couldn't have one before the other because he was in a similar cycle.

Ned: "Nervous?"
V: "About what?"
Ned: "Well, obviously, you worked very hard to fill this place with the kind of people who can help us build our record label, and if the show bombs, they can wind up hurting us, instead."
V: "Oh, well, it's out of my hands now."
Ned: "Listen, I'm going to make it easy for you. You can tell all your guys to just go on back to their day jobs because I am going on in their place."
V: "Oh, but, Ned, I couldn't. They're really looking forward to playing."
Ned: "V, they will humiliate you and the record label."
V: "I just don't think that's going to happen."
Ned: "Now, I understand you have pride, ok, but if you just--"
V: "You know what? Thanks for the offer, Ned. It's really big of you."
Alexis: "When do you go on?"
Ned: "She won't let me."

V: "Ladies and gentlemen, L&B records is proud to present--Chicago!"

Ned: "V, I'm sorry that I gave you such a hard time about putting this evening together. Frankly, I doubted that you could pull it off, and, obviously, you proved me wrong."
V: "Hey, no hard feelings. I almost didn't believe it myself."
Alexis: "Hey, hey, hey, don't let him off the hook. This could be a rare moment indeed."
V: "Ok. Apology accepted. Just don't let it happen again."

Alexis: "Disappointed?"
Ned: "Are you kidding? I dreaded the thought of having to perform tonight."
Alexis: "Could've fooled me."
Ned: "The only reason why I even considered it was because I wanted to save face for L&B. Turns out I wasn't needed. Couldn't be happier."
V: "You'll never guess what happened."
Ned: "You signed Neil Diamond to play the Port Charles high school gym."
V: "No. Close."
Ned: "Neil Young?"
V: "You, and not in Port Charles. In the hottest club in Rochester."

The payoff to the V/Ned squabble was quite a good one. It told us something of how Ned's handling being back in the music business without Lois, and it sets up a future L&B storyline for Ned. It also proves that, once again, V's the gal for the job. It was also fun, but the thing I liked best about this scene--and others late in December--was the fact that lots of different people were all in the same room. It was a scene where people started moving from group to group and we cut from table to table, like we used to do. The integration's not completely up and running, but the month of December gave me hope for 1999.

Edward: "I don't suppose you were buying time so that that young Cassadine fellow could scamper out the window, huh?"
Emily: "No, actually, grandfather, he dropped me off at the door about an hour ago. Don't you remember that? You were the one spying out the window, right?"
Edward: "Well, it's important to realize that people are checking up on you."
Emily: "Grandfather, I'm not doing anything wrong."
Edward: "Did I say you were? The fact remains, my dear, you are a teenager. And children--people your age are not known for their good judgment."
Emily: "Neither are you. Age has nothing to do with it. Look, grandfather, if you're worried that I'm going to start taking drugs again--"
Edward: "No, no, no, no. That's not it at all. I'm worried that we have been neglecting you. Now, this family has a very dubious history of overlooking you during our various crises. Sure, you say that you're doing fine. But the fact remains that your father is a drug addict."
Emily: "Was."
Edward: "'Was' a drug addict. But remember, he's barely in recovery, not to mention the fact that you were blackmailed by that deviant and you had to testify at his trial. These last few months have been very traumatic for you. Now, your parents have been so busy trying to solve their own problems, most of which they caused, to notice you. But your grandmother and I have noticed you. And we worry about you, and--well, we want to make sure that you're all right."

Emily: "I'm not saying that things are perfect, but they're a lot better. I mean, now that tom is in prison and dad is in--I think that dad is going to be--is going to be all right, grandfather. I went to visit him actually, in the PCPD, and he was just like dad. I mean, he listened to me, and he cared about me, and it wasn't like I was this interference between him and his pills."
Edward: "You know, I'm happy for Alan. And I may not have shown it, but I was just as hurt and bewildered as you at the mess that he has made of his life. But the fact remains that Alan is an adult and you are still growing up. And I just don't want you to have to grow up by yourself. This family is always just bickering and fighting and responding to the latest crisis. And I just don't want you to think that we have forgotten to care about you."
Emily: "I know you haven't forgotten about me. And I know that you still care about me. And I'm very grateful that you trust me enough to handle things on my own. I'm not talking about the blackmailing thing, but, like, you know, hanging out with friends. I'm happy that you trust me enough to pick people that you know and I know are going to be very good for me. And Lucky and Nikolas and Liz are."
Edward: "Oh. Well, then why don't you tell me where you went tonight."
Emily: "We went to Lucky's apartment--"
Edward: "Now, that's--"
Emily: "To take pictures with Nikolas, Lucky, and Lulu for their mother for her birthday."
Edward: "Well, that's--that's filial, I suppose."
Emily: "You know, I really enjoyed watching them. It kind of reminded me of that one afternoon six months after I moved in with you guys when the photographer came to take a picture of the family. I was sitting there, smiling with all of you, and it hit me--I really was a part of the family. You know, it didn't feel strange taking a picture with you guys. It felt right. And even now, when I look at that picture of me and Jason and AJ in the living room, I'm so grateful that I have something to remind me of the first time I realized I had brothers. I guess what I'm trying to say is that I'm a Quartermaine. And we know that everybody in this family has their problems, and then--and then sometimes they're ok. And I'm ok. I'm on that ok list right now. But I still know that you love me. I love you."

This episode included Audrey's confrontation with Elizabeth about her curfew and this lovely scene with Edward and Emily--two grandparents trying to connect with their adolescent granddaughter. It was a nice comparison and contrast. The girls are in similar situations; both have faced trauma, both are dealing with love in some way, both are estranged from their family to a certain degree.

I have to say that these scenes were my favorite, however. Edward is truly an old grumpus who's soft underneath, though it's easier for him to show that with the women in his family, I think. That he would take the time to check in with Emily and see how she's doing moved me, and I was glad to hear Emily talk about becoming part of the Quartermaine family. I think, though, that she's still learning more and more about what it means to be a part of a family--and, moreover, part of this family. I'm glad that Edward is invested in helping her along, even if he fails at times. It was a nice, moving scene and a nice companion piece to Emily's scenes with Alan. I'm not always fond of the writing for Emily, but when it's good, it's very good.

Tony: "Why are you being so resistant to the idea? It's my role."
Monica: "You should have thought of that before you kidnapped my grandson."
Tony: "That's right, you're going to slap me in the face with that for the rest of my life. Haven't you ever heard of the word 'rehabilitate'? Which is what I'm desperately trying to do right now, as you well know."
Monica: "Tony, there is a restraining order barring you from seeing your own son. If I were to let you play Santa, the hospital board would have my head examined. You're not playing Santa Claus. That's final."
Tony: "Fine. Can you tell me who's going to replace me?"
Edward: "All right, Monica. Now, why have you dragged me out of a very important conference with AJ to come down here now instead of two hours from now, huh?"
Tony: "You must be joking. That's not Santa, that's scrooge."
Monica: "Come on, Edward. We need to talk."
Edward: "What does he mean, 'That's not Santa, that's scrooge'?"

Tony's problem these days is that it's all or nothing. When Monica recommended that he come back to GH, he assumed that meant she was on his side 100%. She's not. He tends to start scenes with that nice-guy attitude and then turn bitter at the first sign of conflict or rejection, which makes me suspect the nice approach. I'm not sure if I'm supposed to or not; I can't tell what the writers intend me to feel about Tony. Whatever that is, I'm still just bored with him.

Katherine: "Has Dave Koz arrived yet?"
Amy: "Dave Koz? Is he playing the Christmas party again this year?"
Katherine: "Yes. But try to restrain yourself from fawning all over the poor man this year. It was embarrassing. This is a hospital, not a singles bar."

I don't know what the point of scenes like this are. In them, Katherine becomes completely dislikable and her old social-climbing, appearance-driven self. It undermines any of the sympathy I believe we're supposed to have for her predicament, and it's simply not amusing to me.

Monica: "Alan's agreed to read the Christmas story again this year."
Lila: "Oh, good."
A.J.: "Really?"
Reginald: "Excellent choice."
Lila: "You know, it's a story about hope coming into our lives. Don't just read it, dear. Abide by it."
Alan: "I will."
Monica: "Now I'm going to go for broke and ask Alan if he will spend Christmas Eve with the family."
Lila: "Oh, please do, dear. Please."
Alan: "I will."

The party itself was good as it always was, and it was nice to see all the Qs involved. It was another big scene-a scene with lots of different people, but few of them, if any, interacted with those from other storylines. Even so, the looks that were given across the room--Lucas to Tony (and Tony's to Lucas), Monica to Alan as he read the story, Luke's smile as he saw Lucky and Elizabeth together--all of those were nice touches.