To remove the abortion was to demolish the entire structure.
Na televisão brasileira, onde as novelas das nove sempre foram espelho e palco da vida nacional, uma troca de autores no horário nobre da Globo revela algo maior do que uma simples decisão editorial: aponta para o quanto as instituições culturais negociam — e por vezes recuam — diante dos temas que a sociedade ainda não sabe como enfrentar. Walcyr Carrasco assume o posto que Gloria Perez não pôde ocupar, não por falta de talento, mas porque a história que ela queria contar era considerada incômoda demais para o horário. A saída de Perez, após 46 anos de casa, lembra que a longevidade de uma parceria criativa não garante liberdade — e que o silêncio imposto a uma narrativa também é, à sua maneira, uma forma de censura.
- A Globo rejeitou o roteiro de Gloria Perez chamando-o de fraco e repetitivo, mas foi a exigência de retirar o aborto como tema central que tornou o rompimento inevitável.
- Perez recusou a demanda com uma comparação direta: tirar o aborto da história seria como tirar o gorila de King Kong — sem ele, não há filme.
- Após quase meio século na emissora, a autora optou por não renovar o contrato, numa saída que, embora apresentada como escolha sua, carrega o peso de uma demissão velada.
- Walcyr Carrasco entra no vácuo com uma abordagem que mistura escuta popular e inteligência artificial como ferramenta de geração de ideias — não de substituição da voz humana.
- O episódio expõe uma tensão crescente na Globo entre o controle editorial sobre temas sensíveis e a autonomia criativa de seus autores mais experientes.
Walcyr Carrasco confirmou que está desenvolvendo uma nova novela das nove para a Globo, com estreia prevista para 2026. O anúncio veio durante uma conversa no programa de Pedro Bial, onde o autor explicou que já passou o comando de Êta Mundo Melhor! para Mauro Wilson — mesmo tendo escrito apenas os primeiros trinta capítulos — para se dedicar inteiramente ao novo projeto. A novela ocupará o espaço que hoje pertence a Três Graças, de Aguinaldo Silva, prevista para outubro deste ano.
Carrasco descreveu um processo criativo que combina observação cotidiana com ferramentas contemporâneas. Ele admitiu usar inteligência artificial para gerar ideias de personagens, mas deixou claro que o material resultante é apenas ponto de partida — tudo passa por reescrita e transformação. Sua inspiração real vem de pessoas comuns: o vendedor de jornal, o barbeiro, frases soltas que carregam o peso de como a vida é vivida. Como exemplo de sua sensibilidade narrativa, citou Amor à Vida: o vilão Félix foi reescrito como herói quando Carrasco percebeu que o público começava a querer sua redenção.
Mas a chegada de Carrasco ao horário nobre não acontece num vácuo. Gloria Perez, que trabalha na Globo desde 1979 e tem contrato fixo desde 1990, submeteu uma novela chamada Rosa dos Ventos. A emissora a rejeitou internamente, classificando-a como sem criatividade e repetitiva — uma mistura de Travessia e Mania de Você. Em seguida, exigiu que Perez retirasse o aborto como elemento central da trama.
A autora se recusou. Para ela, o aborto não era um subplot descartável: era a premissa que sustentava toda a estrutura narrativa. Sem ele, a história desmoronava. Diante do impasse, Perez optou por não renovar o contrato, encerrando uma relação de quase meio século com a emissora. A saída, formalmente apresentada como decisão dela, carrega na prática a marca de uma dispensa.
O episódio lança luz sobre um conflito que vai além de um roteiro recusado: até onde a Globo está disposta a ir em temas sociais sensíveis, e até onde seus autores mais veteranos aceitarão ceder. Carrasco herda um horário nobre marcado por essa tensão — e sua estreia em 2026 será lida também à luz do que não pôde ser contado.
Walcyr Carrasco has confirmed he is writing a new prime-time novela for Globo, stepping into a slot that will air in 2026 after the network rejected a script from Gloria Perez, one of Brazilian television's most established writers. The assignment marks a significant moment in the broadcaster's telenovela division—not just because Carrasco is taking on the nine o'clock hour, but because of what had to happen first.
Carrasco revealed the project during an appearance on Pedro Bial's talk show, explaining that he has already handed off his current work, Êta Mundo Melhor!, to fellow writer Mauro Wilson so he can focus entirely on developing the new prime-time story. He has completed only the first thirty chapters of that six o'clock novela. The new script will replace Três Graças, which Aguinaldo Silva is writing for broadcast beginning in October of this year, following the conclusion of Vale Tudo.
What makes Carrasco's approach distinctive is his willingness to blend traditional storytelling instincts with newer tools. He acknowledged using artificial intelligence to help generate character ideas, though he emphasized that any AI-derived material becomes raw material for his own rewriting and transformation. His actual creative process, he explained, draws heavily from the everyday people around him—the newspaper vendor, the barber, ordinary voices that carry the weight of how people experience the world. A single phrase overheard can become the skeleton of an entire story.
He offered Amor à Vida as an example of how his instincts about character can shift mid-production. The villain Félix was originally conceived as purely antagonistic, but Carrasco sensed audiences beginning to question whether the character deserved redemption. He rewrote the arc, transforming Félix from villain into hero. It was a decision rooted in listening to what viewers were feeling.
But Carrasco's new assignment exists in the shadow of a rejection that has reverberated through Globo's creative departments. Gloria Perez, who has worked for the network since 1979 and held a permanent contract since 1990, submitted a novela called Rosa dos Ventos. Internal assessments deemed it weak—described as uncreative, repetitive, and essentially a recycled blend of two recent Globo productions, Travessia and Mania de Você. The network rejected the script outright.
What followed was a demand that Perez remove abortion as a central plot element. The network asked her to work around the issue, to excise it from the story. Perez refused. She explained to reporters that abortion was not a subplot or a secondary concern—it was the foundational premise from which every other narrative thread emerged. To remove it would be to demolish the entire structure. She compared it to removing the gorilla from King Kong and expecting the film to still work.
The impasse led Perez to decline renewal of her contract with Globo, ending a relationship that had lasted nearly half a century. She was effectively dismissed, though the formal language of her departure framed it as her choice not to continue. The incident has exposed a creative tension at the network: the pressure to avoid certain social themes, even when those themes are central to a story's meaning, and the question of whether established writers will accept those constraints.
Carrasco's new novela will premiere in a landscape reshaped by that conflict. Whether his willingness to work within Globo's current editorial boundaries, combined with his reputation for character-driven storytelling, will produce something the network considers acceptable remains to be seen. What is certain is that the nine o'clock slot in 2026 will belong to him, not to Perez.
Citações Notáveis
I listen to the newspaper vendor, the barber, ordinary people around me. What they say—sometimes just a phrase—is an entire novela, because it's what they feel about the world.— Walcyr Carrasco
Removing the abortion was like removing the gorilla from King Kong. The entire story depended on it.— Gloria Perez
A Conversa do Hearth Outra perspectiva sobre a história
Why does it matter that Carrasco is using AI to help develop characters? Isn't that just a tool?
It matters because it signals how the industry is changing. He's not hiding it—he's openly saying he'll use AI to generate ideas and then rewrite them into something his own. That's different from a writer pretending everything comes from pure inspiration. It's honest about the process.
And Gloria Perez—was she fired, or did she quit?
Technically she refused to renew her contract. But that's what happens when a network rejects your work and then demands you remove the core of your story. She didn't have much choice. After 46 years, she walked.
The abortion storyline—why was that such a breaking point for her?
Because it wasn't decoration. It was the engine. Every other plot depended on it. Removing it would have meant starting over with a completely different story. She was being asked to destroy her own work.
Does Carrasco face the same pressure?
Possibly. But he's also more flexible in how he works. He draws from everyday conversations, from people around him. That kind of material is harder to censor because it's not explicitly about any one issue. It's just life.
So Globo gets what it wants—a new novela—and Perez is gone?
For now, yes. But the question lingers: what happens when a network's editorial boundaries conflict with a writer's artistic vision? Perez chose her vision. Carrasco is choosing to work within the system. Both are valid choices, but they point in different directions.