- Trixie Mattel has signed with CAA for comedy and TV representation, moving over from UTA.
- The deal splits across two departments: Comedy (Rusch, Monaco, Quint) and Film/TV Television (Dey, Bringardner).
- UTA stays on for audio and podcasting, including her hit show The Bald and the Beautiful.
- She continues with Producer Entertainment Group (PEG) for management and Shore Fire Media for publicity.
Trixie Mattel has signed with Creative Artists Agency (CAA) for representation, moving over from United Talent Agency (UTA), where she’d built most of her career.
The deal covers two departments: comedy, led by Rachel Rusch, Saraphina Monaco, and Ryan Quint, and film/TV – television, led by Ben Dey and Sam Bringardner. UTA retains her audio and podcasting work, including her hit show The Bald and the Beautiful.
The RuPaul’s Drag Race alum won All Stars season three after first competing on season seven. She recently starred in the documentary Trixie Mattel: Moving Parts and the Discovery+ renovation series Trixie Motel, and earned a Critics Choice Award nomination for One Night Only. She also judged Queen of the Universe alongside Michelle Visage, Leona Lewis, and Vanessa Williams.
As a recording artist and DJ, her Solid Pink Disco tour has hit Coachella and the OUTLOUD Music Festival, plus opening dates for Chappell Roan. She also performs stand-up comedy alongside fellow drag queen Katya.
The signing adds Mattel to a growing list of CAA’s 2026 additions. The agency recently landed Leo Woodall for theatrical representation, brought on Sam Thompson for its London digital creator division, and signed David McKenna off his breakout in Netflix’s Lord of the Flies.
Mattel continues to be managed by Producer Entertainment Group, with Shore Fire Media handling publicity.
Takeaways
This is CAA structuring a deal around a genuine multi-hyphenate rather than slotting her into one lane. Splitting comedy and TV into separate teams signals the agency sees Mattel as both a stand-up/touring act and a scripted/hosting prospect, not just a reality TV personality.
Keeping UTA on for audio is also notable, it suggests format-specific representation is becoming more normal for artists whose value spans TV, touring, and podcasting all at once.
Will CAA’s comedy department push Mattel toward specials or a late-night hosting slot? Could this open the door for more drag and LGBTQ+ crossover talent to land at major agencies? Does the dual-department structure suggest CAA is positioning Mattel for a bigger scripted role down the line?
