- Lital Spitzer is leaving 3 Arts Entertainment after more than a decade to join Underscore Talent as a talent manager in the company's newly formalized theatrical division.
- Spitzer brings a ready-made client roster to Underscore, including Esther McGregor (Babygirl), Alex Consani (Peaked), Charlotte Nicdao (Mythic Quest), and Esther Ming Li (Snowpiercer).
- The move signals Underscore's deliberate push into scripted film and TV, a significant expansion beyond its creator economy roots.
- Spitzer's hire follows Underscore's early-2026 hiring wave, which included former Paramount Adult Animation VP Sachi Ezura.
Underscore Talent has hired veteran talent manager Lital Spitzer, poaching her from 3 Arts Entertainment where she spent over a decade representing actors, producers, and filmmakers while developing film and TV projects.
Spitzer’s industry roots run deep. Before moving into management, she held roles at Miramax, The Weinstein Company, and A+E Networks.
At Underscore, she steps into a newly formalized theatrical division, tasked with managing established actors and identifying emerging scripted talent.
This is a pattern Underscore has been building on: earlier in 2026, the company made a raft of hires across multiple departments, including bringing in Sachi Ezura from Paramount’s adult animation unit.
She arrives with a strong client book, including Esther McGregor (Babygirl), Alex Consani (Peaked), Charlotte Nicdao (Mythic Quest), and Esther Ming Li (Snowpiercer).
The theatrical unit will work alongside Underscore’s creator-led ecosystem to open scripted opportunities through non-traditional channels. This strategy is gaining momentum across the industry, as seen in moves like Elizabeth Wiederseim joining Paradigm Talent Agency to bridge traditional and emerging talent lanes.
Takeways
This move is bigger than one hire. Underscore Talent built its name in the creator economy, think YouTube stars, TikTok personalities, digital-first talent.
Bringing in someone with Lital Spitzer’s pedigree (Miramax, 3 Arts, over a decade in prestige TV and film circles) is a clear signal: Underscore wants to sit at the grown-ups’ table in scripted Hollywood. And they’re not hiding it, they’re formalizing a whole division around it.
What makes this interesting is how they plan to operate. The theatrical division isn’t being built to run separately from Underscore’s creator business.
The idea is that creator-audience relationships become a pipeline and leverage tool for scripted opportunities, a model very few traditional management companies have figured out.
For Spitzer, this is a calculated bet on where the industry is heading. She’s taking deep institutional knowledge into an environment built for speed, cross-platform thinking, and audience-first strategy. The question is whether that blend becomes a genuine competitive advantage.
Can Underscore’s creator-economy model actually open scripted film and TV doors that traditional management firms can’t, or is this more of a branding play? How long before other creator-focused management shops follow Underscore’s lead and launch their own theatrical divisions?
