Globo gives birth to a Catholic saint who saves criminals and a thief certified by an evangelical pastor

In front of the altar next to the bed, Geluce (Sophie Charlotte) asks for a sign from Santa Rita allowing her to steal the priceless statues of the Three Graces, Arminda (Grazzi Massaferra) and Ferret (Murillo Benicio), in order to fund the purchase of real medicine for the patients who were fooled by the fake drugs distributed by the villains.

Suddenly, a gust of wind blows out the candle, which quickly relights. That’s it. The heroine feels willing to commit a crime in order to save her mother, Lygia (Dilla Paes), and the other sick people.

In the spirit of Robin Hood, elderly caregivers view the act not as theft, but rather as “expropriation,” or the removal of assets for social benefit.

After removing art from Arminda’s mansion and selling it, Gerruz faces investigation from her police boyfriend Paulinho (Romulo Estrella) and the viewer’s judgment.

After all, does a thief who stole a thief deserve 100 years of forgiveness? In this case, it’s the “good thief” who outsmarts the “bad thief.”

It is noteworthy that authors Aguinaldo Silva, Virgilio Silva, and Zé da Silva use this character’s faith and fear of divine punishment to mitigate the crimes she would commit. It is a way of manipulating the Manichaeans of the masses.

Garruth therefore has a better chance of winning a pardon and gaining the support of Catholics, who make up 56.7% of the population, according to the 2022 IBGE census.

Hail, hallelujah

In another plot in the Chaculinha community, the pastor Alberico (Enrique Díaz) tells his daughter Keren (Luisa Rosa) that Jorginho Ninja (Giuliano Casale) has been released from prison and is asking his daughter Joely (Alana Cabral) for forgiveness.

The criminal of the past is now a new man. He became a believer thanks to the prison cult’s sermons.

This represents rebirth after a person accepts Jesus and is baptized in water. This theological concept is part of all evangelical churches, including classical Protestants, Pentecostals, Neo-Pentecostals, and Independents.

In previous melodramas, Aguinaldo Silva has offered mocking critiques of radical believers, such as in 2007’s Duas Callas, in which Edivanía (Susana Ribeiro) monitors and even exposes the sex lives of the residents of the shanty town of Portelinha.

In “The Three Graces,” the playwright will probably avoid satirizing dogmatic fanaticism. Globo is making a clear effort to attract evangelicals (26.9% of Brazilians) to ensure it has the right audience at a time when viewers are losing to streaming and other competitors.

Dear viewers, please come to me.

In “The Three Graces,” Catholics and evangelicals coexist without ideological conflict. By balancing symbolism from two religious strands, this melodrama attempts to occupy the delicate territory of a spiritual narrative used as a moral compass to justify human decisions.

On this board, each character becomes a strategic point of contact with popular beliefs, as if religiosity were an emotional shortcut to justify choices and maintain dramatic development.

By centering the plot around a well-intentioned thief and a criminal regenerated by the Word of God, Globo signals his desire to tell a story that simultaneously touches on two powerful symbols in the living rooms of millions of Brazilians: the cross on the wall and the open Bible.