A grave injustice tears through her life and separates her from the person she loves most.
Na noite de segunda-feira, a Globo estreia 'Quem ama cuida', uma novela que coloca no centro de sua narrativa uma mulher que perde tudo em uma enchente devastadora e passa seis anos tentando recuperar sua dignidade e liberdade após ser injustamente condenada por um crime que não cometeu. A produção reúne Tony Ramos e Antonio Fagundes pela primeira vez em mais de três décadas, convocando a memória afetiva do público brasileiro para uma história sobre resiliência, justiça e o peso do tempo roubado. Mais do que entretenimento, a trama propõe uma reflexão sobre o que resta de uma pessoa quando tudo lhe é tirado — e sobre a força necessária para reconstruir.
- Adriana perde em poucas horas o emprego, a casa e o marido arrastado pelas águas de uma enchente catastrófica em São Paulo — a urgência da tragédia define o tom desde os primeiros minutos.
- Condenada injustamente pelo assassinato do homem com quem se casou por proteção, ela passa seis anos presa enquanto sua vida e seu amor ficam suspensos do lado de fora.
- A reunião de Tony Ramos e Antonio Fagundes na mesma trama, após 36 anos de ausência conjunta nas telas, gera expectativa que vai além do enredo e mobiliza gerações de telespectadores.
- A equipe criativa — roteiristas Walcyr Carrasco e Claudia Souto, diretora Amora Mautner — aposta na combinação de melodrama clássico com técnicas narrativas contemporâneas para sustentar o horário nobre.
- Com cenas de enchente filmadas em locais icônicos como a Avenida Paulista e o MASP, a produção sinaliza ambição técnica e visual para capturar o público já nos primeiros capítulos.
Na segunda-feira à noite, o horário das nove da Globo recebe 'Quem ama cuida', novela que começa com uma catástrofe: uma enchente em São Paulo destrói em horas a vida de Adriana, fisioterapeuta interpretada por Letícia Colin. Ela perde o emprego, a casa e o marido Carlos, levado pelas águas em uma sequência que os produtores prometem ser impactante. Em um abrigo, ela conhece Pedro, advogado idealista vivido por Chay Suede, que se tornará seu porto e seu amor.
A vida de Adriana muda de direção novamente quando ela passa a trabalhar na mansão de Arthur Brandão, empresário rico e solitário interpretado por Antonio Fagundes. Cercado por filhos ambiciosos que disputam sua herança, Arthur propõe a Adriana um casamento de conveniência: proteção mútua, sem amor declarado. Na noite do casamento, ele é assassinado. Adriana, última a vê-lo com vida e agora herdeira, torna-se a principal suspeita. Condenada, passa seis anos presa. Ao sair em liberdade condicional, sua única certeza é a de que precisa provar sua inocência e recuperar o tempo perdido — inclusive o tempo longe de Pedro.
Os roteiristas Walcyr Carrasco e Claudia Souto construíram a trama em torno da força feminina e da busca por justiça. Carrasco descreve Adriana como alguém que luta por si e pelos que ama; Souto destaca sua humanidade — uma mulher de origem simples cuja maior habilidade é o cuidado. A diretora Amora Mautner aposta na fusão entre melodrama clássico e narrativa moderna, evocando os ingredientes que prendem o público: emoção, humor, suspense e os conflitos universais de famílias divididas por segredos e ambição.
Tony Ramos, que interpreta Otoniel, avô de Adriana, fala em personagens ricos dentro de um texto denso. Fagundes reflete sobre Arthur como um homem moldado pela solidão — o oposto do ator, que sempre teve o afeto da família. Colin, após dois papéis consecutivos de vilã, assume com orgulho a protagonista do horário mais prestigioso da televisão brasileira, vendo em Adriana não uma vítima, mas uma mulher capaz de coragem. A produção filmou a cena da enchente em locações icônicas de São Paulo e em sets submersos construídos em uma piscina olímpica, apostando em realismo visual para conquistar o público desde os primeiros minutos.
On Monday night, Globo's primetime slot will shift from the phenomenon that was Três Graças to something altogether different: a story about a woman who loses everything in a single day and spends the next six years trying to prove she didn't commit a murder she didn't commit. The new novela, Quem ama cuida, arrives at 9 p.m. with a cast assembled from the upper reaches of Brazilian television, but its real draw may be simpler than that—two legendary actors, Tony Ramos and Antonio Fagundes, sharing a screen for the first time in more than three decades.
The story begins in São Paulo during a catastrophic flood. Adriana, played by Letícia Colin, is a physiotherapist whose life collapses in hours. She loses her job. The inundation destroys her home. Her husband, Carlos, is swept away by the water in a sequence the producers promise will define the opening chapter. Forced into a shelter, she meets Pedro, an idealistic lawyer portrayed by Chay Suede, who becomes essential to her survival and, eventually, her heart.
Adrianaís circumstances shift again when she takes work in the home of Arthur Brandão, a wealthy businessman played by Fagundes. Arthur is isolated, perpetually at odds with his own family—his daughter Pilar, his son Ulisses, and his sophisticated daughter Silvana, each circling his fortune with ambition. He and Adriana develop a trust that leads to an unexpected proposal: marriage, not for love but for protection. Arthur wants to shield her from the world and, simultaneously, to keep his relatives from inheriting his wealth.
On the night of their wedding, Arthur is murdered. Adriana, the last person to see him alive and now his heir, becomes the prime suspect. She is convicted and imprisoned. Six years pass. When she emerges on conditional release, she is determined to clear her name and reclaim the time stolen from her—and from Pedro, the man she loves. Along the way, she will encounter new figures in her life, played by Renato Góes and Ricardo Teodoro, each adding layers to her emotional and romantic landscape.
The writers, Walcyr Carrasco and Claudia Souto, have built the story around female resilience and the pursuit of justice. Carrasco describes Adriana as someone capable of fighting for herself and those she loves, anchored by a central mystery—a murder to be solved—and a love story that will sustain the narrative. Souto emphasizes Adriana's humanity: she is a woman of modest origins who has fought for everything she has. Her profession is physiotherapy, but her true gift is care itself. She embraces, she shelters. A grave injustice tears through her life and separates her from the person she loves most.
Director Amora Mautner has chosen to blend classical melodrama with contemporary storytelling. The result, she suggests, will tap into the universal anxieties of families divided by inheritance disputes, family secrets, and moral dilemmas. She speaks of the form's essential ingredients—hooks, emotion, humor—and the neurochemistry they trigger: dopamine, oxytocin, endorphin. The DNA of Carrasco's writing, now enriched by Souto's experience, promises what Mautner calls "more of the big novela."
Ramos, who plays Otoniel, Adriana's grandfather, speaks of rich characters in a rich text, a magical triangle of love, passion, and suspense laced with humor and an eye toward Brazilian life. Fagundes reflects on Arthur's complexity—a man who became who he is through solitude and ambition, unlike Fagundes himself, who has always had his family's affection. The contrast between the actor and his character, between warmth received and warmth withheld, seems to have drawn him to the role.
Colin, stepping into the lead after playing two consecutive villains, expressed pride in taking on a central role in Brazilian television's most prestigious time slot. She sees Adriana not as a passive victim but as someone capable of courage in pursuit of justice, someone whose values—family loyalty, intergenerational solidarity, collective struggle—resonate with her own convictions.
The production itself is a superprodution. For the opening flood sequence, the crew recreated inundation with high realism, filming at iconic São Paulo locations including Avenida Paulista and MASP, and constructing submerged sets in an Olympic-sized pool at the Deodoro Olympic Park. The result is designed to strike the viewer in the first minutes. Quem ama cuida arrives with the weight of expectation and the task of sustaining the time slot's strong viewership. It is betting on strong characters, family conflict, and a central mystery to hold the audience night after night—a classical combination of emotion, romance, and suspense meant to capture the Brazilian heart and open a new chapter in contemporary television drama.
Citas Notables
She is capable of fighting for herself and those she loves. The novela has a great love story between Adriana and Pedro, and a great mystery—a murder to be solved.— Walcyr Carrasco, co-writer
She is a woman of the people who fought hard for everything she achieved. She has healing in her hands, not just through her profession, but because she truly cares, embraces, welcomes. A grave injustice crosses her life and separates her from her great love.— Claudia Souto, co-writer
La Conversación del Hearth Otra perspectiva de la historia
Why does a story about a woman wrongly imprisoned for six years need to be told as melodrama rather than straight drama?
Because melodrama doesn't flinch from the emotional truth of injustice. It lets you feel the full weight of what's been taken from her—not just her freedom, but her time, her love, her life. Straight drama might explain it. Melodrama makes you live it.
The flood that kills her husband happens in the first episode. That's a lot of catastrophe to absorb immediately.
It has to be. The point isn't to ease the audience in. The point is to show that her entire world can collapse in a single day, and then to ask: what does a person do after that? How does she rebuild? That's the real story.
Two actors who haven't worked together in 36 years—is that a gimmick, or does it actually matter to the story?
It matters because they're playing men on opposite sides of the same coin. Ramos's character has family, warmth, roots. Fagundes's character has money and isolation. They're both asking the same question: what does it mean to be cared for? One knows the answer. The other is learning it too late.
The writers keep emphasizing that Adriana is a woman of the people. Why is that important?
Because it means her story isn't about aristocratic intrigue or inherited wealth. It's about someone who worked for everything, lost it all, and had to fight to prove her own innocence. That's closer to how most people actually live.
Six years in prison for a crime she didn't commit—that's a long time to carry a story. How do you sustain that?
You don't dwell on the prison itself. You focus on what she's trying to do when she gets out: prove the truth, reclaim her life, find the person she loves. The past is the weight she carries. The present is where she acts.