On March 18th, opposition parliamentarians reacted sharply to the relegation of the Acadêmicos de Niterói, a samba school that made its debut in the elite group of Rio de Janeiro's Carnival. The school participated with the theme "From the Top of Mulungu Comes Hope: Lula, the Worker of Brazil," which highlighted the story of President Luiz Inácio Lula da Silva. This theme stirred controversy among conservative lawmakers who felt that the school was using Carnival to promote a political agenda that they oppose.

Senator Flávio Bolsonaro, a pre-candidate for the presidency, took to social media to express his disdain for the school’s performance. He posted an image from the parade with a critical caption, suggesting that those who attack family values do not deserve applause. His comments reflect a growing tension in Brazilian politics, particularly around issues of family values and the representation of political figures in cultural spaces like Carnival. Opponents of the Lula administration criticized a particular element of the parade called "Neoconservatives in Conserva," which featured costumes depicting families portrayed as canned goods, thus ridiculing conservative values.

The reactions to the Acadêmicos de Niterói’s theme underline the ongoing cultural and political divide in Brazil, as Carnival often serves as a platform for social commentary and political expression. The controversy touches on broader issues of how art and performance intersect with political discourse, especially in a nation where festive events like Carnival are deeply woven into the social fabric. This incident may further fuel discussions about the role of cultural representation in Brazilian politics, particularly as the country approaches significant elections, implying that the intersection of culture and political ideology remains a contentious battleground.