Tatá Werneck promete drama e humor entrelaçados em estreia de Quem Ama Cuida

Tatá Werneck is stepping into a character who carries the weight of a mother's rejection and the wreckage of failed love. Brigitte Brandão, the woman she plays in Quem Ama Cuida, arrives on Globo's nine o'clock slot this Monday night as someone whose emotional wounds have calcified into obsession—the kind that shows up in how she loves, how she clings, how she breaks. The novela, written by Walcyr Carrasco and Claudia Souto, positions Brigitte as the daughter of a villain (Isabel Teixeira's Pilar) and sister to Ingrid and Rafael, played by Agatha Moreira and João Vitor Silva. She is, in other words, embedded in a family structure that has already shaped her damage.

What distinguishes this story, according to Werneck, is the way Carrasco has woven humor directly into the fabric of pain. These are not scenes that shift tone—they are scenes that contain both at once, the comedy and the ache occupying the same space, sometimes the same breath. "The scenes are very intelligent," Werneck said in an interview with Extra. "They're sequences of comedy crossed by dramatic situations, everything interlaced. There's a lot of pain there too. Sometimes in the same scene, both genres emerge." This is not a novela that asks the audience to choose between laughing and feeling. It asks them to do both simultaneously.

Werneck has worked with Carrasco before—he gave her her first novela role in Amor à Vida back in 2013, a debt she describes with devotion. They reunited more recently on Terra e Paixão in 2023, where she played Anely, another character built from the same blueprint of humor wrapped around genuine hurt. "Walcyr gave me every opportunity. He changed my life. I'm devoted to him," she said. There is a rhythm to their collaboration now, a shared language about how to make a character feel both ridiculous and real.

But Werneck is not simply arriving in one place this week. On Tuesday, she launches E.T., a comedy show on Multishow that she is hosting alongside Eduardo Sterblitch, a friend of two decades. The program is built on sketch comedy, improvisation, and guest appearances—the kind of controlled chaos that requires a different muscle entirely. Over ten episodes, Werneck and Sterblitch will inhabit more than two hundred characters in situations designed to be strange and unexpected. The production schedule was brutal: they created the entire program in a month, with Werneck sometimes playing eight to twenty different people in a single day.

The intensity of it has become its own kind of story. "In E.T. I have no control over anything," Werneck explained, contrasting it with Lady Night, her talk show where she manages every detail. "The challenge here was creating a ten-episode program in a month and doing eight to twenty characters a day." She called the show "chaotic" and described the atmosphere on set as two friends playing without restraint. "Our dignity in this program is zero. It's two friends joking around," she said. Sterblitch, she added, is a genius—someone she loves working with, someone who makes the impossible feel like play.

So Werneck arrives at this moment split between two very different kinds of performance: one where she carries the accumulated weight of a broken woman's life, where every laugh contains a shadow; another where she sheds identity entirely, becoming dozens of people in rapid succession, where the point is to have no dignity at all. Both demand everything. Both are, in their own way, about what it means to be present inside a character's skin—whether that skin belongs to someone suffering or someone free.