The massive box office success of Curry Barker’s “Obsession” and Kane Parsons’ “Backrooms” earlier this year triggered a predictable reaction across the entertainment industry. Social media observers quickly predicted that major studios would begin aggressively seeking out digital creators and internet lore for their next slate of high-budget genre projects. In response, several major players greenlit splashy adaptations based on stories that had captivated Generation Z audiences. Amidst this shift, the leadership team at Verve, a talent and literary agency, found the sudden mainstream interest in their niche somewhat amusing.
David Boxerbaum, a partner and motion picture lit agent at Verve, noted that while the industry seemed surprised by the need to activate fan bases and appreciate artistic horror, the agency had long considered it a core specialization. “We joke about it sometimes, how novel it became to activate fan bases and appreciate good, artistic horror this year,” Boxer said. “But for us, it’s always been cool. It’s always been an area of specialization and really intense focus for our business.”
The agency’s co-founders, Adam Levine and Bryan Besser, along with agent Michael Bitar, have spent years building a robust roster of horror talent. Bitar previously served as the head of development at Sony’s Screen Gems. Over the course of 2026, Verve negotiated dozens of deals and media rights sales for its clients in the horror genre. The founders disclosed that these transactions, which cover writing, producing, directing, and acting, have contributed to a nearly 20 percent increase in revenue for the second consecutive year.
One of the most significant recent achievements was the heated auction for the film and TV adaptive licenses to the “Texas Chainsaw Massacre” franchise. Acting on behalf of the rights holders, Verve received offers from major studios including Amazon MGM, Blumhouse, Netflix, Paramount, Sony, Universal, Neon, and 101 Studios. Indie studio A24 ultimately emerged as the winner, securing the rights to adapt the franchise. A24 attached Barker, the director of “Obsession,” to helm a film and selected actor Glen Powell to produce a television series inspired by the character Leatherface.
Verve also represents directors Zach Lipovsky and Adam B. Stein, who gained widespread recognition in 2025 for co-directing “Final Destination: Bloodlines.” That revival, produced by New Line for a budget of $50 million, generated nearly $320 million at the global box office. Building on that success, Verve has arranged 12 development projects for the duo, including “Gremlins 3” at Warner Bros. and “Metal Gear Solid” at Sony. The pair now holds a first-look deal with the studio thanks to their representation.
The agency’s client list also includes Canadian illustrator Trevor Henderson, who was among the first creatives to benefit from the “Backrooms” phenomenon. In July, Henderson’s digital story “Siren Head” was sold to Warner Bros. as a feature film. The project will be co-written by Zach Cregger, the mastermind behind “Weapons.” Additionally, Verve agent Josh Rahm has revitalized the career of Matthew Lillard, known for “Scream,” by guiding him toward new projects within the “Five Nights at Freddy’s” franchise and Amazon’s reboot of “Carrie.”
Beyond individual talent, Verve has helped producer Scott Glassgold establish 12:01 Films, a company focused on creator content. The firm has become a leader in the growing market for short stories that can be adapted for screen. Glassgold has also secured a specialty imprint with Simon & Schuster, expanding the pipeline for 12:01 into the publishing sector.
Senior leadership at Verve attributes their success to a genuine passion for the horror genre, alongside a similar foothold in animation. They emphasize that their clients are not limited to genre work but are versatile storytellers capable of working across different market quadrants. Michael Bitar highlighted a long-standing industry trend, stating, “An ongoing theme for years in the horror business is that these projects are concept driven, not star driven.” He added that filmmakers are increasingly becoming the stars themselves, rather than just the faces in front of the camera.
The agency’s agents invest significant energy in growing with their talent to ensure they do not lose them to larger corporate agencies that promise broader crossover opportunities. For Verve, retaining these key relationships is paramount, as disloyalty is considered the true horror story in the business of talent representation.
