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