- Emmy-nominated TV and film director Morenike Joela Evans has signed with Buchwald for Film/TV Literary representation.
- Evans is one of the few African-American women actively working as a multi-cam director in scripted television, with credits spanning Grey's Anatomy, Quantum Leap, Family Reunion, and Raven's Home.
- She continues her publicity relationship with Wallman Public Relations.
- The signing adds to Buchwald's growing literary and film/TV roster, following recent deals for clients across its expanding bi-coastal operation.
Buchwald has signed Emmy-nominated director, writer, and creative producer Morenike Joela Evans for Film/TV Literary representation. She continues with Wallman Public Relations for publicity.
Evans is known for her calm leadership, clear vision, and passion for directing TV and film stories that are compelling, provoking, and have heart. She is one of a handful of African-American women actively working as a multi-cam director in scripted television, while also directing single-cam projects.
Her directing credits span some of television’s most-watched series, including Family Reunion, which earned NAACP Image Award and Emmy nominations, iCarly for Paramount+, How I Met Your Father for Hulu, and The Neighborhood for CBS. In 2022, she was nominated for a Children & Family Emmy for directing the hit Disney series Raven’s Home.
Most recently, she directed the Season 21 Grey’s Anatomy episode “Love in the Ice Age,” which aired April 10, 2025.
The deal follows Buchwald’s active expansion of its literary and film/TV division. The agency has recently grown its roster with signings like Princeton Perez and Agustina Palma. Under its new leadership structure, Buchwald is actively investing in talent and literary representation as it looks to expand its global footprint.
Beyond directing, Evans is the founder of MOJO Academy and CEO of MOJO Media.
Takeaways
Morenike Joela Evans isn’t just a working director, she’s a movement. With over 20 years in the industry, a Children & Family Emmy nomination, credits on some of TV’s biggest shows, and a school training the next generation of directors, signing with Buchwald’s Film/TV Literary department signals that she’s positioning herself for the next level, think original IP, pilots, and producing deals that go beyond episodic work.
Buchwald has been on a clear mission to bolster its literary and film/TV bench, and Evans fits the profile of exactly the kind of multi-hyphenate, culturally influential creator the agency is doubling down on.
With Buchwald’s literary division gaining momentum, could Evans be developing original projects (a pilot, series, or film) that this signing is designed to set up? As one of very few African-American women working as an active multi-cam director in scripted TV, what does her move to Buchwald signal about where opportunities for directors of color are heading?
