A woman enters a family through a transaction and discovers everyone is transacting with someone else.
No Brasil, a ficção televisiva sempre foi um espelho da vida social — e em 18 de maio, a Globo volta a acender esse espelho com Quem Ama Cuida, novela das nove escrita por Walcyr Carrasco e Claudia Souto. A história de Adriana, uma fisioterapeuta que perde tudo e entra numa família rica por meio de um casamento de conveniência, retoma um arquétipo antigo: o da mulher que atravessa a adversidade e encontra, no coração do privilégio, não a salvação, mas a complexidade humana em sua forma mais concentrada. Dirigida por Amora Mautner e estrelada por Letícia Colin e Chay Suede, a trama promete o que o gênero sempre prometeu — que amor, dinheiro e segredo raramente habitam mundos separados.
- A estreia em 18 de maio chega carregada de expectativa: Quem Ama Cuida reúne um elenco de peso numa trama que mistura tragédia pessoal, casamento falso e disputa por herança.
- A família Brandão é um barril de pólvora — o patriarca milionário, a irmã invejosa, o irmão arruinado pelo jogo, a nora obcecada com aparências — e Adriana entra nesse universo sem saber a extensão do que a aguarda.
- Pedro, o advogado idealista vivido por Chay Suede, apaixona-se por Adriana, mas está noivo de outra e tem um pai inescrupuloso, tornando o romance tão perigoso quanto inevitável.
- Por trás de tudo, paira o mistério do filho desaparecido de Arthur, Heitor, cuja ausência promete ser o eixo oculto em torno do qual toda a trama vai girar.
- Com romances proibidos, segredos financeiros e uma galeria de personagens que transitam entre ambição e afeto, a novela se posiciona como o grande evento de entretenimento do meio do ano na televisão aberta brasileira.
Em 18 de maio, a Globo estreia Quem Ama Cuida, novela das nove escrita por Walcyr Carrasco e Claudia Souto e dirigida por Amora Mautner. No centro da história está Adriana, fisioterapeuta interpretada por Letícia Colin, que perde tudo após uma tragédia e é atraída para o mundo da família Brandão — uma dinastia de joalheiros onde um casamento de conveniência proposto pelo patriarca Arthur, vivido por Antonio Fagundes, serve de porta de entrada para um universo de segredos e disputas.
A família Brandão é um mosaico de ambições mal resolvidas. A irmã de Arthur, Pilar, vivida por Isabel Teixeira, move-se pela inveja; sua filha Brigitte, interpretada por Tata Werneck, é impulsiva e obsessiva. O irmão Ulisses, de Alexandre Borges, esconde uma ruína financeira e um vício em jogo, enquanto sua esposa Fábia, de Flávia Alessandra, sustenta a todo custo a ilusão de status. É o enteado Felipe, artista urbano, quem paradoxalmente mantém a casa de pé com seu próprio dinheiro.
Adriana não chega sozinha: traz consigo um avô inflexível, uma mãe adoecida e um irmão — raízes que persistem mesmo enquanto ela é absorvida pela engrenagem Brandão. Pedro, advogado idealista vivido por Chay Suede, a conhece num abrigo e se apaixona, mas está noivo e tem um pai conhecido por métodos antiéticos. O romance entre os dois será tão inevitável quanto complicado.
O elenco de apoio amplia a teia: uma designer de joias que evita compromissos, um médico que se envolve com uma mulher que esconde suas origens humildes, funcionários domésticos com segredos próprios e uma viúva ligada ao negócio da família. Pairando sobre tudo, há o mistério de Heitor, filho desaparecido de Arthur, cuja ausência promete ser o fio condutor mais profundo da trama. A máquina está montada, o elenco está pronto — e quando a história começar a girar, quase ninguém sairá ileso.
On May 18, Globo's latest prime-time novela arrives with the weight of expectation already settling on its shoulders. Quem Ama Cuida—written by Walcyr Carrasco and Claudia Souto—is built on a familiar foundation: a woman stripped of everything by circumstance, drawn into the orbit of a family whose wealth conceals darker currents. The story follows Adriana, a physiotherapist played by Letícia Colin, whose life unravels after tragedy strikes. She emerges from that wreckage into the sphere of the Brandão family, a dynasty built on jewelry and secrets, where a sham marriage becomes the hinge on which everything turns.
The Brandão household itself is a pressure cooker. Arthur, the family patriarch portrayed by Antonio Fagundes, is a millionaire jeweler who extends the marriage proposal to Adriana—a transaction dressed up as salvation. But the family around him is fractured by competing hungers. His sister Pilar, played by Isabel Teixeira, moves through the story driven by envy and ambition, while Pilar's daughter Brigitte, embodied by Tata Werneck, brings impulsive and obsessive energy to every scene. Arthur's brother Ulisses, played by Alexandre Borges, carries the weight of hidden financial ruin and a gambling addiction, while his wife Fábia, portrayed by Flávia Alessandra, clings to the appearance of status like a life raft. Their daughter Carolina wants out; their stepson Felipe, an urban artist played by Pietro Antonelli, paradoxically keeps the household afloat with his own earnings.
Adriana's entry into this world is not uncomplicated. She arrives with her own history intact—a grandfather named Otoniel, a flower vendor played by Tony Ramos, rigid and unforgiving; a mother named Elisa, portrayed by Isabela Garcia, whose health deteriorates after a flood; a brother called Maurício. These anchors to her former life remain even as she is pulled deeper into the Brandão machinery. Pedro, an idealistic lawyer played by Chay Suede, knows Adriana from a shelter and falls in love with her, but his own family is a minefield. His father Ademir, played by Dan Stulbach, is a ruthless attorney known for unethical methods. Pedro's fiancée Bruna, portrayed by Nanda Marques, will not take kindly to his interest in Adriana. His cousin André, played by Henrique Barreira, returns from abroad to stir the pot further.
The supporting cast expands the web of conflict and desire. Ingrid, a jewelry designer played by Agatha Moreira, prefers her relationships without strings. Rafael, a successful doctor and Arthur's nephew portrayed by João Vitor Silva, becomes entangled with Andréia, played by Duda Almeida, a woman hiding her humble origins. Brigitte's obsessions will eventually fix on César, a dermatologist played by Rainer Cadete, married to the artist Bia, portrayed by Maria Ribeiro, whose jealousy burns hot. The household staff—Rosa the cook, Diná the housekeeper who harbors secret feelings for Arthur, Matilde who dreams of becoming a digital influencer—observe and participate in the machinery of wealth and desire. A security guard named Iuri, played by José Loreto, becomes complicit in Pilar's schemes.
There is also the matter of Heitor, Arthur's son, who has disappeared. His absence haunts the family and will, almost certainly, become the story's central mystery. Silvana, a widow played by Belize Pombal, and her son Tiago, portrayed by Gui Ferraz, work in the family jewelry business and carry their own secrets. Even the periphery is populated: Patrick, a dance teacher played by Igor Rickli, tries to save a school; Eudora, Pedro's stepmother and an heiress to that same school, portrayed by Mariana Ximenes, brings her own complications.
The novela is directed artistically by Amora Mautner, and the promise is clear: forbidden romances, disputes over millions, the kind of reversals and revelations that define the genre. A woman enters a family through a transaction and discovers that every member is transacting with someone else. Secrets nest inside secrets. Love and money become indistinguishable. By the time the story ends, nearly everyone will have been transformed by proximity to everyone else. The premiere is set. The cast is assembled. The machinery is ready to turn.
Citações Notáveis
The novela promises to stake everything on strong emotions, forbidden romances, millionaire disputes, and the reversals typical of great melodramas in prime time.— Editorial description of the show's ambitions
A Conversa do Hearth Outra perspectiva sobre a história
Why does a story like this—a woman entering a wealthy family through a fake marriage—still grip audiences in 2026?
Because it's not really about the marriage. It's about what happens when someone from outside enters a closed system. The Brandão family is already fractured. Adriana doesn't cause the fractures; she exposes them. She becomes the mirror everyone looks into.
But there are so many characters here. How does a viewer keep track of all these people and their conflicts?
That's the art of it. You don't track everyone equally. You follow Adriana, and through her eyes, the family reveals itself in layers. Some characters matter more than others, and that becomes clear as the story moves. The cast size is actually a feature—it creates the density of a real family, with all its competing interests.
The grandfather, Otoniel, works in a flower shop. That's a specific detail. Why does that matter?
Because it grounds Adriana's world in something real and humble before she enters the Brandão sphere. The flower shop is where she comes from. It's also where she can return to, if everything falls apart. It's her anchor.
There's a missing son, Heitor. Is that the central mystery?
Almost certainly. A disappeared child in a wealthy family is the kind of wound that never heals. It will pull the whole story toward it. Everyone will have theories about what happened, and those theories will reveal who they really are.
What about the love triangle—Adriana, Pedro, and Bruna?
It's not really a triangle. It's a collision. Pedro loves Adriana, but he's already promised to Bruna. Bruna's mother is obsessed with status. When Bruna discovers Pedro's interest in Adriana, it's not just romantic betrayal—it's social betrayal. That's what makes it explosive.
So the story is really about class, then?
It's about what happens when class boundaries get crossed. Adriana moves up. Others move down or sideways. The Brandão family is rich, but they're not safe. Money doesn't protect you from loss or betrayal. If anything, it amplifies both.