Amy Brenneman has signed with Anonymous Content for management, a move that pairs one of TV’s most enduring dramatic forces with a firm best known for shaping the prestige-TV-to-film-to-global-streaming crossover pipeline. You know—the good stuff.

Brenneman is probably on your mental IMDb for roles that were either heartbreaking, critically acclaimed, or some hybrid of both. She broke out on NYPD Blue in the ‘90s, created and starred in Judging Amy (based on her own mother, no less), and spent six spiritually chaotic seasons on Private Practice. More recently, she delivered a grief-laced gut punch as Laurie Garvey in The Leftovers, HBO’s existential apocalypse series that started weird and ended sublime.

She currently stars in Amazon’s The Horror of Dolores Roach and is set to appear in the upcoming indie drama Tinkers, alongside an ensemble of festival favorites.

Brenneman continues to be repped by CAA and Apex Public Relations, but Anonymous gives her a new vector: the kind of management firm that gets your drama into a film festival and your memoir optioned by A24 in the same month.

The Upshaws are in their final season, but Mike Epps isn’t going anywhere.

The veteran comic and actor has signed with Artists First for management, joining a roster that leans into multi-hyphenates and comedy heavyweights. He continues to be repped by UTA across film and TV, IAG for comedy touring, and Kovert Creative for publicity.

And while a lot of comedians are going podcast-microphone-in-the-basement, Epps is still a stage guy. He recently headlined the Fireworks in Paradise Comedy Festival in the Bahamas, adding a little sun to his signature brand of grit-and-glam. Before that? He suited up as a guest sideline reporter for the Big 3, casually trading punchlines for play-by-play.

Epps currently stars in and executive produces Netflix’s The Upshaws, which just announced its fifth and final season. He also recently appeared in The Underdoggs alongside Snoop Dogg and can be seen in the docu-special Buying Back the Block on HGTV, a more personal lens into his off-stage mission.

If you forgot that Mike Epps also writes, in 2017

Damson Idris has signed with ID-PR for public relations, further rounding out a behind-the-scenes team that’s as calculated and polished as his rise to stardom. He continues to be repped by CAA for talent, managed by M88, and represented in the UK by Laraview—a boutique firm helmed by Aira Idris, who, yes, is likely family. Hollywood may be built on relationships, but this one’s literally in the bloodline.

The London-born actor has emerged as one of his generation’s most versatile and magnetic performers, thanks in large part to his breakout role as Franklin Saint on Snowfall—the critically acclaimed FX drama co-created by John Singleton. For fans of the show (and there are many, who knows I might even have it playing in the background while I’m writing this), Idris’ transformation from a bright, entrepreneurial teen into a haunted kingpin was a masterclass in narrative slow burn and emotional precision. It also turned him into a must-watch name for casting directors and streaming platforms alike.

Since Snowfall wrapped its final season in 2023, Idris hasn’t slowed down. He starred opposite Anthony Mackie in Netflix’s sci-fi action film Outside the Wire, executive

Jeremy Allen White, the smoldering, stress-smoking soul of FX’s “The Bear,” has traded his chef’s apron for couture suiting as the newest brand ambassador for Louis Vuitton. It’s a move that makes sense if you’ve been watching White’s fashion arc—slowly sautéed over a few seasons of critical acclaim and served up at increasingly exclusive red carpets, where he’s swapped kitchen whites for pearl-buttoned tailoring and brooches bigger than the steaks Carmy never has time to plate.

This partnership became inevitable the moment he walked into the 2024 Met Gala in a custom Vuitton number designed by Pharrell: a pinstriped three-piece ensemble with just enough

In a move that feels half Shakespearean and half SNL cold open, Alec Baldwin has signed with UTA for representation. It’s not a reinvention per se—more like a veteran trading one agency playbook for another. Baldwin continues to be managed by Matt DelPiano, but with UTA now handling the deal flow, it’s clear he’s ready for a new chapter, or at least a tighter script.

Baldwin’s career, after all, doesn’t fit neatly into a single genre or awards category. Over the last four decades, he’s racked up three Emmys, three Golden Globes, and seven straight SAG Awards for transforming NBC’s 30 Rock into the Wall Street Journal of sitcoms. (If you were ever unsure what “vertical integration” meant, Jack Donaghy probably explained it to you, between scotches.)

He also landed an Oscar nomination for The Cooler, proved his stage chops with a Tony-nominated run in A Streetcar Named Desire, and took home an Emmy for impersonating a former president whose name we’ll just gently whisper into the cold void: “Trump.” Add to that a long-running podcast, Here’s the Thing, and a smattering of dramatic turns (The Hunt for Red October, Glengarry Glen

Experian wants to be more than just your credit score overlord. It wants to be your emotionally supportive, financially literate best friend. And to make that vision a little more relatable—and a lot more 6’5”—the company has cast Sam Richardson as its new spokesperson in a campaign that asks, “What if Experian were an actual person who followed you around, helped you make responsible decisions, and looked like a lovable giant from a sitcom multiverse?”

The answer, apparently, is: it’d be pretty charming.

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Beau Mirchoff has signed with Principal Entertainment for management, because when you’ve gone from teenage heartthrob in a high school hoodie to grown-man cowboy navigating family drama on horseback, it’s probably time for a team that can wrangle both ends of your IMDb page.

He still rides with IAG for agency rep, but Principal steps in now to help steer the broader narrative—which is important when your career begins with Matty McKibben on Awkward (yes, the moody, mysterious one) and winds up with you starring in Hallmark’s Ride, roping cattle and emotions in equal measure.

Mirchoff has always been something of a shape-shifter. He played the new kid on Desperate Housewives during its late-stage chaos era. He showed up in The Fosters and its spinoff Good Trouble, playing the kind of emotionally unavailable boyfriend that lives rent-free in Freeform viewers’ heads. And then there was Now Apocalypse, a fever dream of a show that dared to ask: what if sex, aliens, and existential dread were the same thing?

In film, he’s popped up in places you probably

Dan Soder has signed with Range Media Partners for management, which feels like the natural next step when your resume reads like the streaming era’s Swiss army knife—stand-up comic, prestige drama actor, former voice of satellite radio degeneracy, and, crucially, still a guy who loves telling jokes about his mom.

He stays repped by UTA, because sometimes you don’t fix what’s working—you just add horsepower. Range, after all, is where people go when the plan isn’t just to do gigs, but to architect a career. And Soder’s career is weird in a good way: he’s not the kind of comic whose audience forgets him after the next Netflix drop. He’s the kind that builds mythologies. The guy your friend insists you have to see live because “he’s actually really smart.” (He is.)

You might know him as Mafee on Billions—the junior trader with a soul, which in that show is basically science fiction. Or from his HBO special Son of a Gary, where he turns childhood trauma into a tight 58 minutes of catharsis and fart jokes. Or maybe you caught him during the Bonfire era on

Lupita Nyong’o has signed with WME, because eventually even the most decorated talent on the planet needs someone to manage the gravitational pull of their own career orbit.

The Oscar winner, best-selling author, podcast host, and face of Afrofuturist excellence is trading up on the rep front—and not because she had to, but because this stage of the game calls for boardroom heavyweights, not just publicists with taste. She’ll continue to be repped by ID PR, but now with WME on deck, we’re officially in strategic expansion territory.

And Lupita’s résumé? It’s less “career” and more “galaxy.” She debuted by sweeping award season with 12 Years a Slave like it was a team-building exercise. Then came Black Panther, where she became the emotional anchor of a global juggernaut. Then Us, where she played both victim and villain and made it look like a TED Talk on duality. And this summer, she’s adding “Shakespearean lead” to her already-unfair résumé—playing Viola in Twelfth Night for Shakespeare in the Park, opposite Peter Dinklage and Sandra Oh, like

Corey Stoll has signed with UTA for representation, adding some fresh horsepower to his already well-calibrated team. He’s still managed by Suskin/Karshan and repped for PR by Viewpoint, meaning this isn’t a total overhaul—more like swapping in a new engine under the hood.

Stoll’s one of those actors who’s been quietly excellent for over a decade: dependable, versatile, and always one good role away from full-on household name status. You’ve seen him as Peter Russo in House of Cards (RIP that shower scene), as the buzzing antagonist in Ant-Man, and more recently, as a heavy in Billions and The Many Saints of Newark. He’s the guy casting directors call when they want gravitas without the ego, intensity without the scenery chewing.

UTA’s signing suggests they see more than just a character actor—they see a leading man in waiting. And in a market hungry for grown-up dramas, prestige thrillers, and whatever category Andor falls into, Stoll’s stock is quietly on the rise. With the right project, the