MICHAEL KNOWS THE SHOOTER & EVERYONE’S BLAMING THE WRONG MAN? MARTIN SPIES AT THE

The Port Charles echo chamber is currently vibrating with the sound of its own self-righteousness, a cacophony of legacy actors and new-era “heroes” all pretending that their latest crimes are actually virtues. The December 17th episode is not a study in justice; it is an autopsy of a community that has replaced a moral compass with a series of convenient excuses.

The Spy in the Kitchen and the Corinthos Cowardice

The “secret” conversation between Michael and Tracy in the Quartermaine kitchen—a room that has hosted more conspiracies than the WSB headquarters—was about as private as a billboard. Martin Gray’s reconnaissance outside the window is the perfect encapsulation of the show’s current state: nobody talks, everyone listens, and every overheard word is immediately weaponized.

Michael’s “defense” to Tracy is a pathetic display of a man who knows the walls are closing in. He argues that he needs “protection,” but what he really needs is to admit that his presence at Drew’s house on the night of the shooting wasn’t a coincidence—it was a calculated move in a toxic custody war. Using Tracy as a human shield against the truth is peak Michael Corinthos behavior: entitled, evasive, and perpetually hiding behind a legacy he didn’t earn.

The Hypocrisy of the Parenting “Gurus”

Dante Falconeri’s transformation into a sanctimonious gatekeeper is reaching unbearable levels. His “supervised” arrangement for Gio and Rocco is not parenting; it’s an interrogation tactic masquerading as concern. Dante treats decency as a criminal cover story, physically and emotionally dwarfing Gio while projecting a level of control that screams insecurity.

Meanwhile, Lulu Spencer is busy warning Britt Westbourne to stay away from Rocco, once again confusing birthrights with actual relationship-building. After years in a coma, Lulu treats her son like a fragile heirloom rather than a growing young man with his own agency. The show continues to reward this parental incompetence by framing it as “maternal protection” rather than the stifling control it actually is.

The Nina and Brennan Transaction

Nina Reeves has officially hit a new low, trading Charlotte’s safety for Willow’s freedom. Making a deal with a snake like Jack Brennan to “disable digital footage” is classic Nina: solving one crime by committing three others. She believes she’s being a devoted mother, but she’s actually just a panic manager with a moral blindfold. When Carly finds out that Nina is helping “burn the receipts” to protect Willow from a shooting charge, the fallout won’t just be a frosty run-in at the courthouse—it will be a full-scale grizzly attack.

The Legacy Tragedy

The passing of Anthony Geary (Luke Spencer) marks the end of an era, and the show’s handling of it has been embarrassingly tone-deaf. Allowing the actor playing Drew Cain to interrupt a tribute to a legend like Geary is a metaphor for the entire series: the loud, performative “new” constantly trampling over the substance of the “old.” Drew is an empty suit with the emotional authenticity of a press release, and his urge to insert himself into sacred television history is as exhausting as his repetitive “Who Shot Me?” storyline.

The Current Board of Hypocrisy:

Drew: Steals family heirlooms and calls it “possession.”

Willow: Violates custody orders and acts like the victim.

Dante: Values his badge over his family’s reality.

Nina: Sells out one daughter’s father to buy another daughter’s love.

General Hospital is no longer a slow burn; it’s a stalled vehicle with its hazard lights on, stubbornly refusing to move toward an ending that involves actual accountability.