Crô em Família

The telenovela tells the story of Francisca Moura Imperial, a wealthy businesswoman, and her two sons: Jordão and Tiago, who show little interest in the family business. Jordão is the product of a whirlwind romance in Francisca's youth, while Tiago was born from her marriage to Roberto, a seductive man who moves in high society but is penniless. Francisca is preoccupied with her sons but cannot interfere in their lives as much as she would like. Eccentric and full of outlandish ideas, she decides to undergo plastic surgery, which makes her look 20 years younger, believing that this will bring her closer to Jordão and Tiago. Francisca's greatest concern is that at least one of her sons will marry and give her a grandchild, thus ensuring the continuation of the family name.

After her divorce, Malu faces challenges in supporting her daughter and reinventing herself, grappling with loneliness, work, and the search for a new place in the world.

The whole story develops from the doctor Martha, who has worked for 40 years, always at the same clinic in Rio de Janeiro. She knows Cris and realizes that she has found a successor. Then begins the friendship of the two, who try to practice their profession with the utmost ethics, despite the owner of the clinic, who is always trying to say, save.

The adventures of a man with amnesia who struggles to rediscover his past while learning to live in the present.

Brava Gente was a television series aired by TV Globo in Brazil between 2000 and 2003, initially as a special year-end. The program was adapted from stories and national stories, and plays by famous playwrights, screenwriters and signed by a number represented by several actors and actresses. The genres of the stories varied each week with the style of each director or author. Brava Gente in the stories ranged from comedies and dramas. In all 53 episodes were shown, broadcast on Tuesday nights.

Seven high school friends reunite after 20 years. Memories of the past and coincidences of the present reveal the secrets and affections that bind the women and their families.

After breaking off her engagement on her wedding day and going directly to a prostitution house, a young model becomes the city's most famous harlot, known as "Hilda Hurricane", in the 50's Brazil. She could do fine if it wasn't for Malthus, a young novice said to be a saint, for whom she falls in love. However, the boy is kept under the strict, severe doctrine of Father Nelson, a conservative priest intolerant even to every minor sin. Things start getting harder when Roberto, Malthus' old friend and a communist reporter (the actual author of the story), tries to interview Hilda and disclosure the real reasons behind her radical change of mind. In the meantime, the middle-classes are terrified by the "leftist threat" in Brazilian politics.

Mini series about the 1960s in Rio de Janeiro, when a politically engaged student falls in love with a left wing journalist's daughter who doesn't care for politics. The romance follows 15 years of Brazilian history, since President João Goulart deposition by military reactionary forces, until the first signs of restoration of democracy, in the 1980s.

Os Trapalhões was a Brazilian comedy group and also a Brazilian television series created by Wilton Franco. Its members were Dedé Santana, Zacarias, Mussum and their leader Didi Mocó, that was played by Renato Aragão. The name Trapalhões is derived from the Portuguese verb atrapalhar, which means the opposite of helping, to do something the wrong way or to Those that confuse. The name is translated "Tramps" in English DVD subtitles. It was aired by Rede Globo from 1977 to 1999. On March 18, 1990, Zacarias died due to respiratory failure, but the group and the series didn't come to an end until July 29, 1994, when Mussum died due to an unsuccessful heart transplant.

For 30 years, José João Batista—better known as Zezão—worked for the same company. After being forced into retirement by the board, he is left bitter and resentful, only to win a major lottery prize. However, he never collects the winnings, as he is struck and killed by a vehicle beforehand; the winning ticket ends up being buried with him. Angelina, Zezão’s wife, and their four children—Pedro, Jesus, André, and Maria de Fátima—search everywhere for the ticket, until Angelina has a vision of her late husband. In the vision, he reveals that he was buried with the ticket, which was tucked into the pocket of his suit jacket. Angelina then decides to exhume Zezão’s body. When the coffin is opened, the family discovers the corpse wearing only his underwear and concludes that the ticket has been stolen. This sets the stage for the soap opera's main plot: the search for the missing ticket.

César, a sugar mill owner in Pernambuco, lives in Rio de Janeiro with his wife Maria Luiza and daughters, Débora and Suzy. One day, tired of his life, he decides to fake his own death and assume another identity. César does this with the help of França, the financial director of the sugar mill – which also belongs to Alaor. César and França stage a car accident, plunging off Avenida Niemeyer in Rio and disappearing into the sea. César leaves Alaor on the verge of bankruptcy and Maria Luiza and the two girls in poverty, completely transforming their lives.

Brazilian comedy about two couples living next to each other in the same building. This show explores the antics between the two couples.

The seer Joãozinho de Dagmar predicts the end of the world, throwing the population of the fictional town of Tabacópolis into a panic. Everyone engages in crazy behavior in anticipation of the supposed apocalypse.

Is it possible that in a world ruled by appearance, there is room for loyalty, ethics, true love, honesty and solidarity? Is it possible, today, when unrelenting consumption is a way of life, to find someone who equates more value to being rather than having? Cobras & Lagartos is an urban tragic comedy, modern and humanist, that deals with two increasingly different worlds: one which values loyalty and solidarity and the other, where the seduction of superfluity and the power of money reign.