The star enters the video call and immediately launches into an apology. “Apologies for the delay!” she says, sounding genuinely apologetic. Despite being only slightly delayed, she wants to justify. “I have such a problem, because I’m a yapper on the phone. I had two calls before this, and I’m like, I’ve gotta stop talking!” Thankfully, for a writer, that’s exactly what you want to hear. Besides, it’s quite expected. Viewers familiar with the unapologetically queer and unapologetically crass movie Bottoms—that Sennott penned with her creative partner and appeared in alongside collaborator the talented actress—can already know that Sennott holds a lot to share, whether about roles, sex, or the merits of starting a teen brawl society. And, by the end the recent eight-part HBO series I Love LA, it becomes obvious that she carries even more perspectives about the challenges of modern youth (Now in her thirties, Sennott is a relatable figure for this generation, a tale-end millennial adept for straddling different age groups).
Influences and Creative Vision
Likenesses to Lena Dunham’s groundbreaking show naturally arise and the actress readily acknowledges a fan, referencing it together with Sex and the City, Insecure and the innovative program as inspirations for I Love LA, which follows the travails of a social media star played by Odessa A’Zion and close companion and new agent portrayed by Sennott. Notably, the largest spot on concept was reserved for the popular sitcom, that show focusing on an up-and-coming A-list actor navigating in a corrupt Hollywood (memorable line: “only the unsuccessful find joy here”). She began viewing it amid COVID-19, became “hooked”, and resolved to put her own twist on it “with female and queer audiences in mind”.
“My aim was to focus on digital fame over traditional entertainment, as my own beginnings were on the web,” she says. The concept for this project emerged—to some extent—from her own, originally rocky, transition to LA and from the cosmic event, a frequently discussed event for followers. That period marked a time that saw her grasp major insights, in her career and personally. “During my younger years, I was chaotic, often breaking down in public,” she admits. “Settling in LA during my mid-twenties brought calm, but soon everything unraveled.” It was almost like these biblical tests …”
Starting Out
Raised in New England, Sennott commenced writing and performing stand-up while pursuing theatre at a prestigious arts school. “Despite trying every conventional route, I couldn’t find my footing,” she says. “Auditions for university comedy troupes led to universal rejection. “Theatre productions at school also didn’t accept me. “I wondered why I was even there at all.”
She took matters into her own hands, taking the stage at amateur nights with Ayo and posting hysterical (and distinctly) unconventional online content online. A particular video, titled Baby Cult, centered on a group of women intensely drawn to pregnancy; another portrayed being employed at the brand Hollister as similar to being stuck in a scary movie. In a neat twist of fate, she connected with Emma through campus film circles and eventually featuring in her initial project, Shiva Baby, a tense comedy set at a Jewish wake with echoes of the intense thriller. The big theme of her journey, she explains, has been contemporaries offering opportunities, as opposed to established gatekeepers. So the old guard wasn’t helpful? “Not the gatekeepers”, she confirms, continuing humorously: “They prefer we don’t succeed.”
Rising Success
Those who were skeptical about Sennott then will certainly be kicking themselves today. As part of she calls a “astonishingly complete” story, she seems to have created the perfect project. In 2019 she shared content titled “it’s LA” online, in which she lampooned Hollywood trailers (“I’m addicted to drugs – we all are”). Now, she’s executive producer (with the co-writer) of a comedy about Angelenos balancing the perks of internet fame (such as celebrating at a celebrity’s house) with drawbacks (your friend being suspected of being a substance-abusing thief, and possibly becoming a “brand unsafe” pariah). Some could tempting to make a program about online fame that was horribly glamorous—or, worse, one that belittled at those depicted. I Love LA does neither, resulting in a depiction of affluent young adult existence that’s candid about the mess and the glamour.
Balanced Perspective
“Many programs portray youth and online life with disdain and mockery,” she comments. “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
