We're creating together. When I came on board, we went back to the first chapter.
Na televisão brasileira, as grandes histórias nascem quando talentos se encontram em pé de igualdade. A nova novela das nove da Globo, 'Quem Ama Cuida', marca a primeira vez que Walcyr Carrasco e Claudia Souto dividem a autoria como parceiros plenos — uma virada criativa que o elenco reunido na coletiva de imprensa recebeu com entusiasmo genuíno. O projeto chega carregado de expectativa: personagens moralmente complexos, uma narrativa de vingança e uma equipe que parece acreditar, coletivamente, no que está construindo.
- Pela primeira vez, Carrasco e Souto escrevem juntos como iguais — uma parceria que redefine a dinâmica criativa que já existia entre os dois em produções anteriores.
- O elenco, formado por nomes como Isabel Teixeira, Alexandre Borges e Chay Suede, revelou que a presença da dupla de autores foi fator decisivo para aceitar os papéis.
- Isabel Teixeira enfrenta o desafio de interpretar sua terceira vilã consecutiva em diferentes faixas horárias, buscando na abertura criativa de Carrasco espaço para surpreender o público.
- Antônio Fagundes, prestes a deixar o projeto, declarou com convicção que a novela tem noventa por cento de chance de ser um grande sucesso — um voto de confiança que ecoa o clima do set.
- O consenso entre atores e diretores aponta para uma produção rara: aquela em que escrita ambiciosa, elenco experiente e direção aberta convergem para o mesmo objetivo.
'Quem Ama Cuida', a próxima novela das nove da Globo, nasce de uma parceria inédita: Walcyr Carrasco concebeu a história e convidou Claudia Souto para desenvolvê-la como co-autora em pé de igualdade. Os dois já haviam trabalhado juntos em 'Morde e Assopra', mas naquela ocasião Souto ocupava um papel de colaboradora, com Carrasco tendo a palavra final. Desta vez, a dinâmica mudou. 'Estamos criando juntos', ela explicou na coletiva de imprensa, destacando que os dois revisitaram o primeiro capítulo para garantir que tudo estivesse alinhado desde o início.
A trama gira em torno da vingança — tema que, segundo Souto, o público abraça com consistência — e promete os personagens de moralidade complexa que são a marca registrada de Carrasco. Isabel Teixeira, que vive sua terceira vilã consecutiva em diferentes horários, falou sobre a riqueza do papel e sobre o desejo de aproveitar a abertura que o autor oferece para deixar os personagens evoluírem de formas inesperadas.
Alexandre Borges e Chay Suede apontaram a oportunidade de trabalhar pela primeira vez com a dupla de autores como motivação central para entrar no projeto. Antônio Fagundes, que deixaria o elenco em poucos dias, não escondeu o arrependimento pela passagem breve, mas declarou ter noventa por cento de certeza de que a novela será um grande sucesso.
Flávia Alessandra descreveu sua personagem, Fábia, como alguém cuja complexidade moral se revelará aos poucos, lembrando que 'ninguém é cem por cento bom ou ruim'. Dan Stulbach reforçou que o cenário contemporâneo das novelas exige vilões psicologicamente densos — e que o ambiente criativo do set parece construído exatamente para isso. Para todos os envolvidos, 'Quem Ama Cuida' representa o tipo de colaboração de alto nível que o público brasileiro passou a associar ao nome de Carrasco — agora, pela primeira vez, dividido em igualdade com Souto.
Globo's next prime-time novela, "Quem Ama Cuida," arrives as the product of an unusual creative partnership: Walcyr Carrasco and Claudia Souto, who have worked together before but never as equals. At a press conference for the show, Souto explained how the collaboration came together. Carrasco conceived the story first, then brought her in to develop it as a full co-author. "I had been a collaborator with him before, and now we're returning to that partnership as the main writers," she said. On their previous project, "Morde e Assopra," Souto had contributed significantly, but Carrasco held final say. This time is different. "We're creating together," she emphasized. "When I came on board, we went back to the first chapter to make sure everything aligned."
The writing team has crafted a story centered on revenge—a theme Souto noted that audiences consistently embrace—and the novela promises the kind of morally intricate characters that Carrasco is known for building. The ensemble cast gathered at the press event made clear they had signed on largely because of the writers' reputation. Isabel Teixeira, who plays a classic villain in the mold Carrasco favors, spoke about the richness of her role and the learning environment the set provides. She is taking on her third consecutive villain role, though across different time slots: a spoiled, overprotected antagonist at 6 p.m., a criminal operator at 7 p.m., and now a more traditionally structured villain at 9 p.m. "I want to live that openness that Walcyr brings," she said, referring to his willingness to let characters evolve in unexpected directions.
Alexandre Borges and Chay Suede both cited the chance to work with Carrasco and Souto for the first time as a primary draw. Borges also mentioned reconnecting with another cast member, Amora. Suede echoed the sentiment, adding that the opportunity to work opposite Letícia Colin—with whom he would have multiple scenes—sealed his interest. Antônio Fagundes, who noted he would be leaving the production within a week, expressed both regret at the brief tenure and confidence in the project's prospects. "I'm ninety percent certain this novela will be a major success," he said. "Everything here is operating at a high level."
Flávia Alessandra discussed her character, Fábia, as someone whose moral complexity would unfold over time. "Nobody is one hundred percent good or bad," she observed, suggesting that viewers would see dimensions of her character they hadn't encountered before. The entire cast, she noted, was energized by the work itself—a rare alignment of experienced writers, open-minded actors, and collaborative directors all committed to the same vision.
Dan Stulbach reflected on the contemporary landscape of novela-making, where audiences now expect villains with psychological depth and multiple layers. He credited both the writing and the creative openness of the cast and directors as essential to achieving that complexity. "My character is multifaceted," he said, and the environment on set seemed designed to allow such richness to flourish. The novela, by all accounts from those involved, represents the kind of high-level collaboration that Brazilian television audiences have come to expect from Carrasco's work—and now, for the first time, from Souto as his full creative partner.
Citas Notables
We're creating together. When I came on board, we went back to the first chapter to make sure everything aligned.— Claudia Souto, co-author
I have ninety percent certainty that this novela will be a major success. Everything here is operating at a high level.— Antônio Fagundes, cast member
La Conversación del Hearth Otra perspectiva de la historia
Why does it matter that Souto is now a co-author rather than a collaborator? What changes?
When you're a collaborator, you're contributing ideas but someone else has the final word. Now they're building the story together from the ground up—they even went back to chapter one to align everything. That's a different kind of creative authority.
The cast kept mentioning they wanted to work with these two writers. Is that unusual?
In Brazilian television, yes. Writers have followings, reputations. Carrasco is known for complex villains and stories that stay open to improvisation. When actors say they signed on because of the writers, it means the writing itself is the draw, not just the role or the network.
Isabel Teixeira mentioned this is her third villain in a row. Does that suggest typecasting?
Not quite. She's playing different kinds of villains across different time slots—each one demands a different register. The 9 p.m. slot is where Carrasco's more classical, layered antagonists live. She seems excited by that challenge, not trapped by it.
What's this about Carrasco being "the King of the open work"?
It means he writes scenes that can breathe, that actors can shape in the moment. He's not locking down every gesture and line. That appeals to serious actors because it gives them room to discover the character.
Dan Stulbach talked about audiences wanting complex villains now. Is that a shift?
Yes. He's saying the audience has evolved. They don't want cardboard antagonists anymore. They want people with contradictions, people who could almost be understood. That's harder to write and harder to act, but it's what people are watching for now.
So this novela is betting on that shift?
Completely. The whole cast seems aware they're making something that meets that expectation. That's why they're all so invested—they're not just performing a story, they're responding to what audiences actually want to see.