The star appears on the online meeting and immediately launches into an apology. “I can’t believe I’m late!” she says, appearing really remorseful. She is only slightly behind, she wants to clarify. “I have such a problem, because I’m a yapper on the phone. “Earlier calls made me late—I just can’t stop chatting!” Fortunately, for a writer, that’s precisely what one hopes to encounter. Besides, it’s fairly expected. Those who have seen the boldly LGBTQ+ and unapologetically crass film Bottoms—that Sennott co-wrote with her creative partner and appeared in with her friend the talented actress—can already know that she has a lot to say, ranging from about gender, sex, or the pros of forming a high-school fight club. And, after watching her new multi-episode program I Love LA, it is clear that she carries even more perspectives on the darker side of young adulthood (At 30, Sennott is a relatable figure to younger audiences, straddling eras adept for bridging different age groups).
Influences and Artistic Direction
The comparisons to Lena Dunham’s groundbreaking show naturally arise and Sennott is an admirer, naming it in addition to Sex and the City, Insecure and the innovative program as guides for the project, which details the struggles of an influencer played by Odessa A’Zion and her friend and new representative Maia. However, the biggest presence on the moodboard was reserved for the HBO series, that program depicting an up-and-coming A-list actor succeeding in a gritty entertainment industry (choice quote: “happiness eludes everyone but failures in this city”). She discovered it during the pandemic, became “captivated”, and resolved to create a new version on it “targeting women and LGBTQ+ viewers”.
“My aim was to focus on digital fame over traditional entertainment, as my own beginnings were on the web,” she notes. The concept for I Love LA emerged—in part—from firsthand, initially fractious, transition to Los Angeles and from her astrological phase, a much-talked-about occurrence for followers. It was a time that saw her learn some big truths, work-wise and in private life. “My twenties began with constant public emotional outbursts and disorganization,” she recalls. “In my mid-20s, I moved to LA and got settled. And then I felt like everything started to just fall apart. “It resembled a series of extreme challenges…”
Starting Out
Raised in New England, Sennott commenced creating and acting comedy while pursuing acting at NYU’s Tisch. “I followed traditional paths to get on stage, but nothing clicked,” she says. “Auditions for university comedy troupes led to universal rejection. “Theatre productions at school also didn’t accept me. “It left me questioning my purpose and place.”
Sennott decided to act independently, appearing at live shows with Edebiri and uploading hysterical (and very) bizarre comedy videos on the internet. A particular video, titled Baby Cult, centered on characters intensely drawn to motherhood; another imagined being employed at a trendy retail outlet as similar to being stuck in a horror film. By chance, she connected with Seligman through the university’s film scene and ended up featuring in her initial project, titled Shiva Baby, an anxious film set at a funeral gathering with hints of the Safdie brothers’ movie. A recurring idea of her path, she notes, has been people her own age giving her a shot, as opposed to established gatekeepers. Does that mean bypassing the usual powers? “Definitely not them”, she confirms, continuing amusedly: “Our victory isn’t their goal.”
Career Breakthrough
Anyone who questioned regarding her earlier will surely be regretting it now. Through she labels a “astonishingly complete” story, she appears to created her dream vehicle. A few years back she posted a video named about Los Angeles online, in which she parodied Hollywood trailers (“I’m addicted to drugs – we all are”). Now, she’s the co-showrunner (with the co-writer) of a comedy about LA residents managing benefits of internet fame (such as partying at a famous actor’s house) with drawbacks (your friend being labeled as being a substance-abusing stealer, and perhaps becoming a risky pariah). Some could tempting to produce a series about internet celebrity that was overly idealized—or, more problematic, one that punched down at the characters. The series steers clear of each, resulting in a portrait of privileged young adult life that’s candid about the chaos and the glamour.
Nuanced Portrayal
“Numerous series present younger generations and digital culture in a derogatory manner,” she says. “I think that young people have been through a lot – I’m mostly thinking of people younger than me, like my little sister, who went to college during Covid, so she had to come home, or my other sister who was doing school online.”|“The younger generation has faced significant
