The actress and writer exploring the hilarious comedy depicting that messy appeal of younger generation lifestyle
The star appears on the video call and at once launches into an apology. “I can’t believe I’m late!” she exclaims, seeming genuinely regretful. Despite being only a bit behind, she feels compelled to clarify. “My phone conversations always run long.” “Earlier calls made me late—I just can’t stop chatting!” Luckily, during an interview, this is precisely what one hopes to hear. Additionally, it’s pretty predictable. Those who know her unapologetically LGBTQ+ and outspoken project Bottoms—that Sennott co-wrote with Emma Seligman and appeared in alongside collaborator The Bear’s standout—would be aware that Sennott holds a lot to discuss, ranging from about identity, intimacy, or the merits of forming a high-school brawl society. And, by the end the recent multi-episode show I Love LA, it becomes obvious that she has further thoughts regarding the darker side of young adulthood (At 30, Sennott represents a bridge to younger audiences, straddling eras with a knack for bridging millennials and Gen Z).
Guiding Lights and Artistic Direction
Parallels to Lena Dunham’s groundbreaking show naturally arise and the actress admits to being a fan, referencing it together with the HBO hit, Insecure and Atlanta as influences for her series, which follows the struggles of a social media star played by Odessa A’Zion and close companion who is also aspiring talent manager portrayed by Sennott. However, the biggest presence on the moodboard was reserved for Entourage, that program focusing on an emerging Hollywood star succeeding in an often-seedy entertainment industry (notable statement: “happiness eludes everyone but failures in this city”). Sennott discovered it amid lockdown, became “obsessed”, and chose to put her own twist on it “targeting women and LGBTQ+ viewers”.
“I sought to highlight online platforms as the new industry, since my professional journey launched there,” she says. The concept for this project came—partly—from firsthand, originally rocky, move to Tinseltown and from the cosmic event, a much-talked-about event for astrology heads. That period marked an era that saw her learn major life lessons, professionally and in private life. “During my younger years, I was chaotic, often breaking down in public,” she admits. “After relocating to Los Angeles in my mid-twenties, I found stability, only for things to crumble. It was almost like these biblical tests …”
Humble Origins
Growing up in the East Coast, Sennott started writing and performing humor while pursuing acting at a prestigious arts school. “I went through all the proper channels to try to perform, and they weren’t gelling,” she explains. “I tried out for all the NYU comedy groups, and got rejected from all of them. “None of the university plays cast me either.” “I wondered why I was even there at all.”
Sennott decided to act independently, taking the stage at live shows with Ayo and sharing hilarious (and decidedly) unconventional skits on the internet. One, titled Baby Cult, followed several females fetishistically obsessed with pregnancy; a different one portrayed being employed at a trendy retail outlet as akin to being caught in a horror film. By chance, she met Emma through NYU’s movie community and ended up featuring in her directorial debut, titled Shiva Baby, a tense film set at a religious event with hints of the intense thriller. The big theme of her career, she says, has been peers giving her a shot, as opposed to established gatekeepers. So the old guard wasn’t helpful? “Definitely not them”, she confirms, stating amusedly: “They don’t want us to win.”
Career Breakthrough
Individuals who had doubts regarding her previously will likely be kicking themselves currently. In what she labels a “incredibly circular” story, she has created her dream vehicle. In 2019 she posted a clip named about Los Angeles on social media, in which she mocked movie previews (“Substance abuse is rampant here”). Years later, she’s the co-showrunner (with the co-writer) of a series about LA residents managing the perks of internet fame (such as socializing at Elijah Wood’s house) with downsides (your friend being labeled as being a intoxicated stealer, and potentially becoming a unreliable outcast). It would be easy to produce a program about digital influence that was overly idealized—or, even less favorable, one that belittled at the characters. I Love LA steers clear of each, creating a representation of privileged twentysomething living that’s frank about the mess and the shine.
Empathetic Approach
“Numerous series present younger generations and digital culture in a derogatory manner,” 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
