- Emma Roberts has signed with United Talent Agency (UTA) for Film/TV theatrical and literary representation, moving over from CAA.
- Her production company, Belletrist, has multiple projects in the pipeline, including Calabasas (Netflix), One Fifth Avenue (Hulu), Bride Wars (Peacock), and Expiration Dates (Amazon/MGM).
- As an actress, Roberts is set to appear in Hal opposite Alexander Ludwig, The Technique, and will return for American Horror Story Season 13 on FX.
- Roberts continues with Sweeney Entertainment for management and Shelter PR for public relations.
United Talent Agency (UTA) has signed actress, producer, and entrepreneur Emma Roberts for Film/TV theatrical and literary representation. Roberts makes the move from Creative Artists Agency (CAA), where she was previously repped.
On the agency side, Roberts will be handled by Logan Eisenberg, Theresa Peters, and Cara Alpert for theatrical, and Abby Glusker on the literary side. She continues with Sweeney Entertainment for management and Shelter PR for PR.
Roberts first broke out on Nickelodeon’s Unfabulous before building a defining long-term collaboration with Ryan Murphy across multiple American Horror Story installments (Coven, Freak Show, Apocalypse, 1984, and Delicate) as well as Scream Queens on Fox. She’s now set to return for AHS Season 13 on FX.
Her production banner, Belletrist, has become a real force in literary IP adaptations. It produced Hulu’s Tell Me Lies, which ran for three seasons, and Netflix’s First Kill.
Upcoming projects include Calabasas (Netflix, with Kim Kardashian as EP), One Fifth Avenue (Hulu), a Bride Wars reboot for Peacock, in which Roberts stars, and Expiration Dates at Amazon/MGM. On the acting front, she’s also set to appear in Hal opposite Alexander Ludwig and The Technique.
The signing adds to UTA’s recent momentum in the film/TV space. The agency recently signed filmmaker Barry Levinson and Emmy-winning creator Pamela Adlon.
Takeaways
This isn’t just a routine agency switch, it’s a signal that Emma Roberts is repositioning herself as a full-package player.
Pairing theatrical and literary representation under one roof at UTA makes sense when your production company, Belletrist, is actively converting books into prestige content across five platforms simultaneously.
UTA’s recent pattern of signing talent who straddle the creator-performer line: Pamela Adlon, Barry Levinson, and now Roberts, suggests a deliberate strategy to dominate the producer-actor hybrid space.
With Belletrist juggling five major projects across Netflix, Hulu, Peacock, and Amazon, is Emma Roberts quietly becoming one of the most powerful producer-actresses in the streaming era? Does having both theatrical and literary representation under UTA give Belletrist a real competitive edge in securing IP before it even hits the open market?
