The star appears on the video call and immediately launches into an explanation. “I can’t believe I’m late!” she says, sounding genuinely regretful. Although she's only a bit behind, she needs to explain. “I have such a problem, because I’m a yapper on the phone. “Earlier calls made me late—I just can’t stop chatting!” Luckily, for a writer, this is exactly what one hopes to experience. Besides, it’s quite expected. Those who have seen the fearlessly LGBTQ+ and brash movie Bottoms—which Sennott penned with Emma Seligman and appeared in alongside collaborator The Bear’s standout—would understand that she holds plenty to share, whether on gender, intimacy, or the appeal of starting a youth brawl society. And, by the end her recent eight-part program I Love LA, it becomes obvious that she carries even more perspectives about the struggles of modern youth (At 30, she is a relatable figure for this generation, straddling eras with a knack for bridging millennials and Gen Z).
Inspirations and Storytelling Approach
Likenesses to the iconic series Girls are inevitable and the actress admits to being enthusiastic, naming the show in addition to the classic series, Insecure and the innovative program as guides for I Love LA, which follows the travails of a social media star Tallulah and ally and new talent manager portrayed by Sennott. However, the biggest spot on creative vision belonged to Entourage, the show focusing on an emerging Hollywood star succeeding in an often-seedy entertainment industry (choice quote: “nobody’s happy in this town except for the losers”). Sennott began viewing it throughout COVID-19, became “hooked”, and decided 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 explains. The concept for the series originated—to some extent—from personal, initially fractious, relocation to LA and from her saturn return, a much-talked-about occurrence for enthusiasts. That period marked an era that saw her learn major life lessons, work-wise and individually. “My twenties began with constant public emotional outbursts and disorganization,” she admits. “After relocating to Los Angeles in my mid-twenties, I found stability, only for things to crumble. “The struggles felt almost mythic in scale…”
Humble Origins
Raised in New England, the star began creating and acting humor while pursuing performance at New York University (NYU) Tisch School of the Arts. “I went through all the proper channels to try to perform, and they weren’t gelling,” she explains. “Every campus humor group turned me down after tryouts.” “Theatre productions at school also didn’t accept me. “It left me questioning my purpose and place.”
She seized control, performing at open mics with Ayo and uploading uproarious (and distinctly) weird online content on the internet. One, titled Baby Cult, depicted a group of women obsessively obsessed with having babies; a different one portrayed working at the preppy clothing store Hollister as like being trapped in a scary movie. By chance, she connected with Seligman through the university’s film scene and ultimately featuring in her initial project, Shiva Baby, an anxious dramedy set at a funeral gathering with hints of Uncut Gems. The big theme of her path, she notes, has been peers offering opportunities, as opposed to the industry at large. So, not the gatekeepers, then? “Not the gatekeepers”, she confirms, stating amusedly: “Our victory isn’t their goal.”
Career Breakthrough
Anyone who questioned about her then will likely be kicking themselves currently. Through she calls a “wild, full-circle” turn of events, she appears to manifested her dream vehicle. A few years back she uploaded content called on LA life on social media, in which she parodied film promos (“Everyone’s hooked on something”). Now, she’s the co-showrunner (with her partner) of a comedy about city dwellers managing the perks of digital stardom (such as partying at Elijah Wood’s house) with drawbacks (your friend being suspected of being a substance-abusing criminal, and perhaps becoming a unreliable outcast). Some could simple to create a show about internet celebrity that was extremely idealized—or, more problematic, one that belittled at the characters. I Love LA steers clear of each, creating a depiction of affluent millennial existence that’s honest about the chaos and the shine.
Empathetic Approach
“Many programs portray youth and online life with disdain and mockery,” 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
