One architecture to align on, one example to show how it comes to life, one backup layer if useful. Keep the ask narrow, keep one thing on screen at a time, and route execution questions to the storyboard phase.
Name the change in deliverable up front, framed as the stronger move — not as being behind.
"We'd talked about showing storyboards, but as we got deeper into the U.S., Canada, and international material, it became clear the stronger move was to align on the story architecture first. These stories are deeply connected, and we want every storyboard, edit, module, and channel asset to ladder back to the same purpose."
Then the ask: "So today we're not asking you to approve a storyboard. We're asking whether this feels like the right internal-first story for GE HealthCare right now."
Restate Sheila's own direction back to her — this keeps Janet/Kristen's social input in the room without letting it set the agenda.
"We heard your direction clearly: this is internal-first, people-first, employment-brand-first. Different from My Why — focused on colleagues and the connection between them, the teamwork that's hard to articulate but real. Product supports the story when it naturally helps; the people are the center."
Bridge: "The architecture strengthens pride and belonging from within, while still creating external pull because the stories feel real."
Pause on the line. Speak it once, cleanly, exactly as it appears pinned above and on screen.
"This line connects individual colleague stories to the larger GE HealthCare purpose without forcing product or overclaiming. The people make the purpose believable."
"No limits" is GE HealthCare's own locked purpose — you're positioning colleague stories as human proof of a line they already own, not coining anything.
Slow down here. This is the emotional core and the strategic unlock.
"This was the strongest finding. Across the interviews, people don't center themselves — they point to field engineers, service teams, van drivers, sourcing, manufacturing, mentors, applications, customers. They don't even agree on who the backbone is. That disagreement is the proof."
Then the heart of the call: "We don't need to assert that every role is vital. We can let colleagues demonstrate it." Tee the loop up as emerging — strong across interviews, deepening as more come in.
This is the thing Sheila is actually approving. Walk all three.
Act I — The patient is closer than you think. "We open with recognition and belonging. Not 'look how great we are,' but something human: many of the people behind care have stood on the other side of it — as patients, families, caregivers. That keeps the open humble and credible." (Important post-layoffs: avoids corporate self-congratulation.)
Act II — The work moves through many hands, and no one carries it alone. "This is the hinge. Not a supply-chain montage — the emotion comes from the credit loop: each person hands credit to someone else until the audience sees the pattern. That's where pride is earned."
Act III — Together, they remove limits. "Only after recognition, belonging, and pride do we rise into purpose. 'No limits' becomes earned because we've seen what the limits are — distance, time, access, cost, fear."
"Three things: pride inside — a cohesive body of human proof that strengthens belonging without overclaiming; pull outside — the same authenticity creates genuine interest beyond the walls; and built to extend — one architecture feeds every channel and cutdown, so nothing drifts."
Keep the seven-module system in reserve. Only open it if Sheila asks how the campaign extends — then: "Underneath this is a module system so the campaign extends across channels. We don't need to solve those today; they're downstream of the three acts."
Bridge in: "What you just heard is the loop across everyone — Diego is one voice inside it, fully realized."
"To make this tangible, we built one example using Diego. This is not a final storyboard or edit — it's a format demonstration showing how one captured story becomes a 60–90 second hero film and then extends into the asset system."
Walk it fast: patient memory → purpose → the space he builds for care → the credit beat (he names the doctors and technicians) → belonging → resolve into the static asset. Then close it and return to the architecture. Don't ask "do you like this storyboard?" Ask: "Does this help you see how the architecture translates into the hero-film format?"
Land on the three decision questions — all about the architecture, none about the Diego graphic:
1. Does this feel like the right internal-first story for GE HealthCare right now?
2. Do the three acts create the right emotional path — recognition, belonging, pride, purpose, no limits?
3. Does "no limits" feel earned when it lands at the end?
If yes: "Then storyboards, edit planning, modules, and channel assets all build from this shared foundation."
Today we want to keep the conversation focused. We're not asking you to approve storyboards yet. We're asking you to align on the story architecture: the master line, the emotional progression, and the three-act structure. Once that feels right, the storyboards, modules, and channel assets can all build from the same foundation.
The decision today isn't whether Diego is the final edit or whether every module is named perfectly. The decision is whether this is the right story for GE HealthCare right now: people around the world turning personal purpose into collective impact, helping create a world where healthcare has no limits.
It's a system, not a set of profiles — that's what makes long-form possible.
Each colleague connects to more than one signal, so stories interlock instead of sitting side by side. The credit loop is the hinge: because people hand credit to each other, the film moves from one colleague to the next on the logic of the handoff itself. The connections are the edit.Because we didn't invent the central finding — we discovered it.
The same pattern showed up independently across regions and functions: people connect their work to care, then point to someone else as essential. A framework you impose can break; one that emerged from the material is describing something real. The risk is asymmetric — more material strengthens the spine.Abstract only at the top. The stories themselves are concrete and human.
The architecture is just the container. Each act is grounded in specific, usable moments from real colleagues — childhood care that shapes a career, quality born from personal stakes, logistics that moved when the world had stopped, sourcing that facilitates everything in between. (Confirm exact story framing against the master log before deploying specifics.)Because a storyboard before the spine is agreed is a decorated guess.
With interconnected stories, an early storyboard review pulls the room into isolated scenes — this shot, this quote, this hook. Those are downstream questions. Lock the spine and every board ladders back to the same purpose instead of being reworked. And it isn't abstract today — they'll have seen one example fully realized.It preserves the truth of the idea without depending on the line as a claim.
A senior stakeholder has already questioned whether "every role is vital" is the right thing to lead with, and the current internal climate makes a slogan risky. So the film doesn't state it — colleagues demonstrate it by pointing to one another. That's warmer and more credible than a tagline. (Keep the line in prep only; don't put it on the client screen.)It shows what it feels like to work here when the company is at its best — which is what moves your KPIs.
It speaks directly to the targets you've set: colleague engagement toward 76% (from ~74–75%), low-tenure turnover, and the three-month window where a new colleague decides whether they belong. Inside, that builds pride and re-recruits people; outside, the authenticity is what creates genuine interest.Internal-first, but it gives social stronger material, not weaker.
Each story cuts down around a clear emotional job — a patient-memory hook, a credit-loop moment, a pressure moment, a belonging beat, a "no limits" capstone. That makes better 15s and 30s than trimming a long interview, and product or hospital cues appear where they naturally support the human story rather than leading every cut.Product isn't absent — it's placed in the right role: evidence, not hero.
It's strongest when it shows the consequence of the work. In some stories it's more visible — imaging, AI, scanner rooms, applications, service; in others the stronger proof is trust, logistics, or quality. That balance is exactly the people-first priority: product where it naturally helps. And any product or clinical claim runs through Brand, Legal, and EHS before external use.Yes — and the international stories are what made the framework stronger.
The U.S./Canada stories showed the pattern; the international ones confirmed it was global, across manufacturing, sourcing, logistics, applications, and culture. The credit loop wasn't a U.S. artifact — it showed up the same way everywhere.The modules are chapters pulled from the same architecture, not separate campaigns.
The hero film carries the full journey — recognition → belonging → pride → purpose → no limits. The modules isolate parts of that journey for different channels and audiences, and every one ladders back to the same story, so the campaign stays cohesive as assets multiply.It's built to avoid overclaiming. Pride is earned, not demanded.
It doesn't open with "GE HealthCare is amazing," or scale, or product, or a corporate promise. It opens with shared humanity — people who understand care because they've needed it — then earns pride by showing colleagues relying on each other. That's the right emotional order for this moment.The architecture — not the final creative.
Does the master line feel right? Do the three acts create the right emotional journey? Does "no limits" feel earned at the end? The modules, storyboards, edits, and channel assets are downstream; they evolve from this shared foundation.A format demonstration, not a final storyboard.
Diego was chosen because his story contains the whole engine in one capture — patient memory, purpose, the space he builds for care, the credit loop, belonging, and the campaign extension. It shows how one 60–90 second hero film could work and resolve into a quote/static asset.The next phase becomes far more efficient, with a clear evaluation filter.
Storyboards build against the three acts; the module system plans cutdowns; we confirm which stories need final international capture before locking; we clear any sensitive story points; and we keep balancing internal-first storytelling with social optimization (channel mix and duration to sequence with Lauren).