The star appears on the digital interview and at once launches into an explanation. “Apologies for the delay!” she states, seeming genuinely apologetic. Although she's only a couple of minutes delayed, she feels compelled to clarify. “I tend to talk too much during calls. “Previous discussions went over, and I realized I talk too much!” Fortunately, in this context, that’s just what is ideal to encounter. Additionally, it’s fairly unsurprising. Viewers who know the fearlessly queer and brash project Bottoms—which Sennott co-wrote with Emma Seligman and starred in together with close companion The Bear’s standout—would already know that Sennott has a lot to discuss, be it about gender, sex, or the appeal of forming a youth brawl society. And, once you finish her new eight-part show titled I Love LA, it becomes obvious that the star has additional thoughts about the challenges of modern youth (Now in her thirties, she is an honorary member of the gang, on the cusp skilled for bridging both generations).
The comparisons to Lena Dunham’s Girls are inevitable and the actress admits to being a fan, referencing the show alongside the classic series, Issa Rae’s show and Atlanta as influences for the project, which follows the journey of a social media star Tallulah and ally who is also aspiring talent manager Maia. However, the largest presence on concept belonged to the popular sitcom, the HBO sitcom focusing on a rising A-list actor navigating in a corrupt entertainment industry (memorable line: “nobody’s happy in this town except for the losers”). She started watching it during COVID-19, became “hooked”, and chose to create a new version on it “with female and queer audiences in mind”.
“I wanted to make a show where the internet, not Hollywood, was the industry, because my career started online,” she says. The idea for I Love LA originated—to some extent—from firsthand, initially rocky, transition to Tinseltown and from her saturn return, a frequently discussed event for followers. This represented a phase that saw her grasp significant truths, work-wise and personally. “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 was almost like these biblical tests …”
Raised in Connecticut, the star commenced writing and performing humor while pursuing performance at New York University (NYU) Tisch School of the Arts. “I followed traditional paths to get on stage, but nothing clicked,” she states. “Every campus humor group turned me down after tryouts.” I tried out for all the NYU plays and didn’t make it into any of them. “It left me questioning my purpose and place.”
She seized control, appearing at amateur nights with her friend and uploading hysterical (and distinctly) bizarre skits on the internet. A particular video, Baby Cult, centered on several females intensely obsessed with motherhood; a different one portrayed being employed at the brand Hollister as similar to being stuck in a horror film. Interestingly, she connected with Emma through campus film circles and ultimately appearing in her first film, titled Shiva Baby, an anxious film set at a Jewish wake with hints of the Safdie brothers’ movie. The big theme of her career, she notes, has been people her own age giving her a shot, as opposed to established gatekeepers. So, not the gatekeepers, then? “Definitely not them”, she confirms, stating with a laugh: “They prefer we don’t succeed.”
Individuals who questioned regarding her then will surely be regretting it today. Through she calls a “wild, full-circle” turn of events, she appears to achieved the perfect project. A few years back she shared a video called “it’s LA” online, in which she lampooned film promos (“Everyone’s hooked on something”). Years later, she’s the co-showrunner (with her partner) of a show about city dwellers balancing the perks of online celebrity (such as socializing at a famous actor’s house) with drawbacks (your client being suspected of being a substance-abusing thief, and possibly becoming a unreliable outcast). It would be tempting to create a show about online fame that was horribly aspirational—or, even less favorable, one that mocked at those depicted. The series does neither, creating a representation of advantaged twentysomething existence that’s honest about the chaos and the glamour.
“Many programs portray youth and online life with disdain and mockery,” she observes. “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
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