General Hospital's Best of the Week, Feb. 9-13, 2026: Maxie wakes up, secrets close in, and Wyndemere turns dangerous

Spotlight scenes

Well, it was another crazy week in Port Charles. Jack and Dante are circling the Anna situation from one angle, Jason is charging in from another like he’s leading his own private cavalry, and you just know those three, possibly with Joss in tow, are heading for a collision with the villains. The chess pieces are sliding into place, and I’m already stocking up on popcorn.

Maxie waking up stunned everyone. Then she got a jolt of her own when she learned Nathan is alive. The reunion glow is still warm, but how long before she realizes that Nathan and Lulu have feelings simmering just beneath the surface? And poor Spinelli is standing there, heart in hand, while the emotional baggage stacks up like Heathrow at Christmas. There’s so much to unpack, it’s practically queuing up for customs clearance.

Curtis is the father, and he and Portia calmly worked out a custody agreement like two people dividing up garden tools. It landed with all the drama of a teabag hitting lukewarm water. Where’s the soapy tension?

And when Nathan told Britt that Anna believes Faison is alive, the revelation went off like a kettle left too long on the stove, shrieking and threatening to boil over at any second.

Verbal knockouts

Lucy was giving Ava the business about worming her way into Sidwell’s life and into Wyndemere. Ava shot back that Sidwell was a man of taste and that the castle needed art that matched its decor, adding, “He loves art. He has the heart of a collector, which is something you wouldn’t understand, since all you ever collected are husbands!”

Brennan explains to Cullum, “Your intel is wrong. It has to be,” but the evil directo tells him the source was a good one. Brennan then responds, “I know Anna very well. There’s one thing I can tell you. Anna Devane doesn’t crack. There’s something else going on.”

While Ava clashed further with Lucy at Wyndemere, Lucy gave her the zinger of the week, stating, “I should count myself lucky right now that I’m not standing in front of an open window ‘cause I bet you’re feeling like you would love to just shove me out that window exactly like you did to Kristina.”

Lucy goes to Sonny to see if he can “clean Sidwell’s clock.” Sonny, of course, doesn’t jump at the chance and says he thought she and the baddie were an item. She explained, “From a very quaint beginning, you know, there was a little romance, and then, you know, those extra sparks. You know what I mean. The extra sparky spark.” Sonny, in his deadpan way, responds, “I don’t need to hear the details, Lucy.”

Nina wondered what Ava wanted when she stopped by the Crimson office. Ava said, “Well, can’t I just visit my very best gal pal at her place of business?” Nina hilariously gives her a squinty eye and says, “You can, but you’re not. And please don’t use the phrase 'gal pal' ever again.”

Wardrobe MVPs

This week’s Wardrobe MVPs are Lucy and Sidwell, and their colors are doing something very specific here. Lucy’s dress is a full-on stained-glass swirl of reds, yellows, and blue tones that look loud in the best way, like she dressed for a showdown and accidentally nailed “eccentric heiress at a villain’s house.” It reads expensive, intentional, and a little theatrical, which is basically her natural habitat. Then Sidwell comes in with that electric-blue suit that’s too sharp to be casual and too bright to be background, especially against the warm, moody Wyndemere walls. The contrast is the point: Lucy is pattern and movement, Sidwell is clean lines and cold confidence, and together they look like a power pairing that absolutely shouldn’t be trusted.

Pop culture shoutouts

In the Quartermaine kitchen, Tracy catches Cody attempting to decode Molly’s feelings by reading Pride and Prejudice, the 1813 novel by English author Jane Austen, our Pop Culture shoutout for the week. Often considered a foundational work of romantic fiction, the book follows Elizabeth Bennet and the initially aloof Mr. Darcy, whose pride and misunderstandings give way to self-awareness and genuine love. It remains culturally significant for its sharp social commentary, its exploration of class and character, and its enduring enemies-to-lovers blueprint that still shapes modern romance tales. When Cody reveals that Molly compared him to Darcy, Tracy boils Austen down to essentials: a so-called “heel” who seems arrogant at first glance but proves deeper and more honorable once truly known. She tells him the story isn’t about being flawless. It’s about whether a man chooses to rise above his worst assumptions. In other words, Molly may see more in Cody than he sees in himself, and what happens next depends less on literature and more on who he decides to be.

Best camera moment

This week’s Best Camera Moment goes to the rack focus that quietly turned Lucas’ panic into a full-blown threat. After overhearing Marco and Sidwell discuss withholding Britt’s medication as leverage, Lucas backs away from the door, already rattled. The frame holds on him just long enough for the tension to settle in, and then the focus shifts. Pascal materializes behind him, crisp and unmistakable. GH has played with rack focus before, but this one adds a subtle push over Lucas’ shoulder, almost as if the camera itself is leaning in to confirm his worst fear. It isn’t flashy. It’s controlled. And that small forward movement makes Pascal’s presence feel predatory rather than coincidental.

Observations, complaints & unhinged theories

So, somewhere along the way, I missed what exactly Valentin and Carly were planning. Or did I? I knew they wanted to take Jack down (although Carly seems to have occasional misgivings about it) and were working together. But this week, one of them mentioned that they were planning to frame Brennan for Sidwell’s operation.

Everyone was shocked that Anna was losing it because, well, she’s Anna. She’s a rock. As Emma said, she comes across as invincible. But the groundwork had previously been laid when Anna and Jason thought they were going to die. Anna came completely unglued and thought it was all over. We’ve never seen her react that way before, and I feel that her coming apart then was just a way of making her mind vulnerable to the latest villains’ manipulation of her.

But what do the villains want with Anna? Why would they make her believe she escaped when they purposely let her go? And let’s not forget that throwaway line about how when they need her, she’ll be 'activated.'

Carly needs to find a way into the catacombs in Wyndemere, and Lucas has expressed an interest in exploring them again. Sounds like a win-win to me. Oh, except for the fact that Lucas will likely be running from the castle next week.

Can someone explain why Danny was happy when he learned that he and Charlotte are connected on the family tree? Pretending he was working on a school project, Danny asked Alexis about where Charlotte fits into the Cassadine line. Alexis explained that Danny’s great-great-grandfather is Nikolai Cassadine, who also happens to be Charlotte’s great-grandfather. That makes them cousins, albeit not first cousins, but cousins nonetheless, connected through the same branch of the Cassadine dynasty. The show never has Danny say it outright, and he seems more intrigued than alarmed. But if they share a common ancestor in Nikolai, the family math suggests this isn’t just a random teen crush. It’s a Cassadine tangle waiting to happen.

I love the irony that Lucy’s company is called Deception, and now Deception’s own shipments are being used to smuggle whatever Sidwell is moving. The deception is literally Deception. You almost have to admire the symmetry. It’s the kind of dad joke the universe sets up on its own, complete with a neon arrow flashing “irony” in the background.

Things I yelled at the TV

I burst out laughing when Brennan stated that what Cullum described about Anna going off the rails was impossible to believe. The delivery was so dry it almost deserved a rim shot.

The second Laura’s decision-making started hovering near Nathan, I blurted, “I hope she doesn’t make Nathan the police commissioner!” We still don’t know what his deal is.

When Pascal casually admitted they let Anna believe she’d escaped, I pointed at the screen and shouted, “I knew it!” The smug satisfaction lasted all of three seconds before the dread kicked back in.

The minute Lucas overheard Marco worrying about Carly sneaking around, I muttered, “Uh oh.” That was the sound of a domino tipping.

When Britt brought out the paternity results to Portia, and then it cut to black, I yelled, “Nooooo!!!” Not like this. Not on a cliffhanger. But I saw that coming, so I wasn’t surprised.

And when Marco turned to find Lucas standing there listening to his call, I went right back to “Uh oh!” again. Different scene, same impending disaster.

EPILOGUE

If this week proved anything, it’s that Port Charles doesn’t do quiet recoveries. Maxie wakes up and immediately becomes the emotional center of the canvas again, but her miracle comes with complications already forming at the edges. Nathan is alive. Lulu is conflicted. Spinelli is hopeful. That triangle isn’t going to untangle itself gently.

At Wyndemere, secrets aren’t just being whispered behind doors anymore. They’re being weaponized. Lucas is now one overheard conversation away from becoming collateral damage, and Marco’s loyalties are balancing on a razor’s edge. When medication becomes leverage, we’re no longer in romantic intrigue territory. We’re in villain endgame mode.

And hovering over everything is Anna. The question isn’t whether she cracked. It’s whether someone is planning to use her as the final move on the board. Jack, Dante, and Jason are circling the truth from different angles, and when those paths finally intersect, it won’t be subtle.

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The week ended not with closure, but with tension coiling tighter. Maxie is awake. The catacombs are waiting. And more than one character is about to learn that survival in Port Charles doesn’t mean safety.

General Hospital is available on ABC and Hulu.

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