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