‘Parks and Recreation' Alums Amy Poehler, Mike Schur Reunite for Peacock Comedy Series ‘Dig'
The series is currently titled 'Dig,' which is based on the Kate Myers novel 'Excavations.' Poehler and Schur are co-writing the first episode with Poehler also set to star.
More from Variety
How to Watch the 2025 Kentucky Derby Online Without Cable
Bowen Yang Proposes 'SNL' Cast Should Be Able to Say 'S--' and 'F--' On Air 'If We're Dismantling the FCC Because of Trump'
WrestleMania 41 Livestream: How to Watch the Major WWE Event Online Without Cable
The official logline states, 'Four women working at an archeological dig in Greece are at wildly different crossroads in their lives. When the team uncovers a long-buried secret with the potential to rewrite history, they find themselves at the center of a high-stakes international conspiracy.'
Along with Poehler and Schur, J.J. Philbin ('Only Murders in the Building,' 'Single Parents') also serves as a writer on the series. All three are also executive producers, with Schur executive producing under his Fremulon banner. Morgan Sackett executive produces as well, along with Dave Becky and David Miner for 3 Arts Entertainment, Sharon Jackson for Ocean Avenue, and Kate Arend and Jordan Grief for Poehler's Paper Kite. Myers is a co-executive producer. Universal Television — where Poehler, Schur, and Sackett are under overall deals — is the studio.
Poehler and Schur famously collaborated on the beloved comedy series 'Parks and Recreation,' which aired for seven seasons on NBC from 2009-2015. Schur co-created the series with Greg Daniels, while Poehler starred as indefatigable government employee Leslie Knope. Poehler also co-wrote multiple episodes with Schur, including the series finale. Sackett was also an executive producer on the series, which received 14 Emmy nominations throughout its run. It won a Peabody Award in 2011 and remains highly popular nearly a decade since it ended. Poehler and Schur also worked together during their time at 'Saturday Night Live,' where Poehler was a cast member and Schur was a writer.
Schur is repped by UTA, 3 Arts, and Hansen Jacobson. Poehler is repped by WME, 3 Arts, Ocean Avenue and Sloane Offer. Philbin is repped by UTA and Rise Management. Myers is repped by CAA and Inkwell Management.
Best of Variety
Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz
Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
New Movies Out Now in Theaters: What to See This Week
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


New York Post
an hour ago
- New York Post
Jimmy Kimmel reveals he once saved Matt Damon from choking to death on pork ribs
This is what happens when you don't chew your food. During a new interview with Variety published Monday, Aug. 18, late-night host Jimmy Kimmel revealed how he once saved Matt Damon's life after the 'Good Will Hunting' star, 54, began choking on a rack of pork ribs. 7 Jimmy Kimmel and Matt Damon at the World Premiere of 'AIR' held at the Regency Village Theatre in Los Angeles, California, on March 27, 2023. Variety via Getty Images 7 Matt Damon and Jimmy Kimmel attend the 2018 World Series between the Boston Red Sox and the Los Angeles Dodgers at Dodger Stadium on October 28, 2018. Getty Images 'Matt Damon was over at my house one night for dinner. I made pork ribs,' Kimmel, 57, recalled. 'He came late, was very hungry, and started eating fast. He started choking on a pork rib.' 'It was stuck in his throat for about an hour and a half,' the comedian continued. 'His brother was there. I said, 'We have got to get him to the hospital,' because if he dies in my house, I'm going to prison for the rest of my life. I will never be able to explain this as anything other than a murder.' After consulting the internet to figure out how to save the 'Martian' star's life, Kimmel and Damon's older brother, Kyle learned that all they needed to do was feed him small pieces of bread. 7 Matt Damon stops by to visit Jimmy Kimmel during Season 15 of 'Jimmy Kimmel Live!' Disney General Entertainment Content via Getty Images 'We did a lot of YouTube-ing and finally concluded that eating little bits of bread was the way to get that rib to work its way down into his stomach – and bread saved him,' Kimmel revealed. 'We tried the Heimlich many times,' he added. 'It was too far down.' Damon's near-death experience eating Kimmel's pork ribs marks the latest surprising incident to unfold amid the pair's infamous and long-lasting 'feud.' 7 Jimmy Kimmel during Disney Upfront in New York City on May 13, 2025. Disney via Getty Images 7 Matt Damon during a Netflix event in Los Angeles, California, on May 31, 2025. / Last month, the pretend rivals butted heads once again when Damon and 'Jeopardy!' champion-turned-host Ken Jennings competed on 'Who Wants to Be a Millionaire,' which Kimmel currently hosts. 'I'm begrudgingly going to shake your hand,' Kimmel told Damon after the actor and Jennings won the $1 million prize. Elsewhere in his interview, Kimmel opened up about the future of late-night TV – especially after it was recently announced that CBS is canceling 'The Late Show With Stephen Colbert' after next year. 7 Jimmy Kimmel during 'Jimmy Kimmel Live!' on May 20, 2025. Disney via Getty Images 'Network television is declining. There's no question about that,' Kimmel began. 'But more people are watching late-night television than ever before – and I include Johnny Carson in that.' 'I think if you really look at how people are watching these shows, and the numbers, it's right up there with the top shows on Netflix and Hulu,' he continued. 'Yet in the media, you'd think this is a rotting corpse – which it most certainly is not.' 'It just doesn't add up,' the 'Jimmy Kimmel Live!' host added. 'It's a great storyline for the press, but it's simply not true.' As for reports that Colbert's show was losing upwards of $40 million a year before it was axed, Kimmel called 'bulls–t.' 7 Jimmy Kimmel called out CBS for announcing that they are ending Stephen Colbert's show. Disney General Entertainment Content via Getty Images 'I just want to say that the idea that Stephen Colbert's show was losing $40 million a year is beyond nonsensical,' he charged. 'These alleged insiders who supposedly analyze the budgets of the shows – I don't know who they are, but I do know they don't know what they're talking about.' 'There's just not a snowball's chance in hell that that's anywhere near accurate,' Kimmel added.


Newsweek
2 hours ago
- Newsweek
Becky Lynch Urges Veteran WWE Superstar To Make Big Change
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. WWE Women's Intercontinental Champion Becky Lynch has reignited her long and complicated rivalry with Natalya. "The Man" is set to defend her title against the veteran superstar on tonight's episode of Monday Night Raw. The feud has quickly become personal, with Lynch taking to social media to call out her opponent. She is demanding that the "Queen of Harts" bring a more aggressive and vicious side to their championship encounter. Reigniting an Old Feud The issues escalated on last week's episode of Raw after Lynch defeated Natalya's protege, Maxxine Dupri. In a post-match promo, Lynch urged her former mentor, Natalya, to show the same fire she has in the past. In response to a later promo from Natalya, Lynch posted a video on Instagram. The video featured clips of Natalya's 2016 heel turn, where she brutally attacked Lynch from behind on multiple occasions. "Bring this version of Nattie. I'm sick of Natalya. Ps. I never forget," Lynch wrote in the caption. A Long and Complicated History The on-again, off-again rivalry between Becky Lynch and Natalya has deep roots that go back nearly a decade to the early days of the "Women's Revolution." The two were initially allies before a miscommunication in a 2016 tag team match led to Natalya snapping and turning heel on Lynch. More news: WWE Superstar Announces Retirement Match Their most high-profile feud was in 2019, when Natalya challenged Lynch for the Raw Women's Championship in a Submission Match at SummerSlam in Natalya's home country of Canada. Throughout their history, they have been both close friends and bitter enemies. LAS VEGAS, NEVADA - APRIL 20: Becky Lynch is introduced before her match with Lyra Valkyria for the Women's Tag Team Championship against Liv Morgan and Raquel Rodriguez during WrestleMania 41 at Allegiant Stadium on... LAS VEGAS, NEVADA - APRIL 20: Becky Lynch is introduced before her match with Lyra Valkyria for the Women's Tag Team Championship against Liv Morgan and Raquel Rodriguez during WrestleMania 41 at Allegiant Stadium on April 20, 2025 in Las Vegas, Nevada More The "Dungeon-Trained" WWE Veteran Natalya is one of the most respected figures in the WWE women's locker room. As a third-generation member of the legendary Hart family and the only woman to graduate from the infamous Hart Dungeon, her pedigree is unmatched. She has long been seen as the veteran leader and "gatekeeper" of the division. For many fans, they've been wanting to see WWE do something with Natalya after not doing much with her in recent years. While the belief is that Lynch won't lose the title to Natalya on Raw, it could lead to something bigger for Natalya going forward should WWE want to do so. More WWE News: For more on WWE, head to Newsweek Sports.


Los Angeles Times
3 hours ago
- Los Angeles Times
‘& Juliet' euphorically turns Shakespeare's tragedy into a Max Martin dance party
Everyone can use an editor, and Shakespeare is no exception. Fortunately, he married one. Tired of being cooped up with the kids in Stratford-upon-Avon, Anne (Teal Wicks), wife of the great playwright, pops down to London to see the first performance of 'Romeo and Juliet.' The new tragic ending that Shakespeare (Corey Mach) proudly previews to the company strikes her as completely wrongheaded. 'What if … Juliet doesn't kill herself?' she proposes. As strong-willed as her husband, she doesn't wish to argue the point. She merely wants to put her idea to the test. Behold the premise of '& Juliet,' the euphoric dance party of a musical that updates Shakespeare with a dose of 21st century female empowerment. The production, which opened Friday at the Ahmanson Theatre under the fizzy direction of Luke Sheppard, reimagines a new post-Romeo life for Juliet while riding a magic carpet of chart-toppers from juggernaut Swedish producer Max Martin, who has spun gold with Katy Perry, Britney Spears and the Backstreet Boys, among other pop titans. This good-time jukebox musical relies as much on its wit as on its catalog of pop hits. The show's music and lyrics are credited to Max Martin and friends — which sounds like a low-key cool table at the Grammy Awards. The clever book by Emmy winner David West Read ('Schitt's Creek') creates a world that can contain the show's musical riches without having to shoehorn in songs in the shameless fashion of 'Mamma Mia!' Take, for instance, one of the early numbers, 'I Want It That Way,' a pop ballad made famous by the Backstreet Boys. Anne starts singing the song when Shakespeare initially resists her idea of giving Juliet back her life. She wants him to go along with her suggested changes not because she's sure she's right but because she wants him to trust her as an equal partner. The song is redeployed in a way that has little bearing on the lyrics but somehow feels coherent with the original emotion. Obviously, this is a commercial musical and not a literary masterpiece on par with Shakespeare's tragedy of ill-starred lovers. '& Juliet' would have trouble withstanding detailed scrutiny of its plot or probing interrogation of Juliet's character arc. But Read smartly establishes just the right party atmosphere. Juliet (a vibrant Rachel Webb), having survived the tragedy once scripted for her, travels from Verona to Paris with an entourage to escape her parents, who want to send her to a nunnery for having married Romeo behind their backs. Her clique includes Angélique (Kathryn Allison), her nurse and confidant; May (Nick Drake), her nonbinary bestie; and April, her newbie sidekick out for fun who Anne plays in disguise. Shakespeare casts himself as the carriage driver, allowing him to tag along and keep tabs on the cockeyed direction his play is going. In Paris, the crew heads directly to the Renaissance Ball, which has the look and feel of a modern-day mega-club. Entry is barred to Juliet, but not because she's ridiculously underage. Her name isn't on the exclusive guest list. So through the back door, Juliet and her traveling companions sashay as the production erupts in 'Blow,' the Kesha song that encourages everyone to get their drink on and let loose. The dance setting — kinetically envisioned by scenic designer Soutra Gilmour, lighting designer Howard Hudson, sound designer Gareth Owen and video and projection designer Andrzej Goulding into a Dionysian video paradise — provides the all-purpose license for Martin's music. It's the atmosphere and the energy that matter most. Paloma Young's extravagant costumes raise the level of decadent hedonism. In this welcoming new context — imagine 'Moulin Rouge! The Musical' suffused with girl power — there's never anything odd about the characters grinding and wailing like karaoke superstars. The ecstatic motion of Jennifer Weber's choreography renders dramatic logic irrelevant. But love is the name of the game, and both Juliet and May fall for François (Mateus Leite Cardoso), a young musician with a geeky sense of humor who's still figuring out his identity. May doesn't expect romance to be part of their fate. In the Spears song 'I'm Not a Girl, Not Yet a Woman,' they give powerful expression to an inner confusion this musical romance is determined to sort out with an appropriate partner. Unlike for the original characters, a happy ending is no longer off-limits. Shakespeare and Anne wrestle to get the upper hand of a plot that seems to have a mind of its own. Shakespeare pulls a coup at the end of the first act that I won't spoil except to say that what's good for the goose proves dramaturgically viable for the gander. This spirited competition stays in the background, but their marital happiness matters to us. Mach's Shakespeare has the cocky strut of a rapper-producer with a long list of colossal hits. Wicks gives Anne the heartfelt complexity of one of her husband's bright comic heroines. There's a quality of intelligent feeling redolent of Rosalind in 'As You Like It' in Wicks' affecting characterization and luscious singing. But the musical belongs to Juliet, and Webb has the vocal prowess to hijack the stage whenever she's soaring in song. If Juliet's character is still a work in progress, Webb endows her with a maturity beyond her years. She makes us grateful that the Capulet daughter is getting another crack at life. When the big musical guns are brought out late in the second act ('Stronger,' 'Roar'), she delivers them as emancipatory anthems, fueled by hard-won epiphanies. Allison's Angélique is just as much a standout, renewing the bawdy earthiness of Shakespeare's nurse with contemporary sass and rousing singing. If the supporting cast of men doesn't make as deep an impression, the festive comic universe is nonetheless boldly brought to life. '& Juliet' bestows the alternative ending everyone wishes they could script for themselves — a second chance to get it right. This feel-good musical is just what the doctor ordered in these far less carefree times.