The star appears on the digital interview and right away begins an explanation. “I can’t believe I’m late!” she exclaims, appearing truly regretful. She is only a couple of minutes behind, she needs to justify. “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, during an interview, this is exactly what you want to hear. Additionally, it’s fairly unsurprising. Viewers familiar with her unapologetically queer and unapologetically crass movie Bottoms—which she collaborated on with the director and starred in alongside her friend The Bear’s standout—can be aware that she possesses much to say, ranging from about roles, sex, or the merits of creating a youth brawl society. And, after watching the latest seasonal program I Love LA, it becomes obvious that she has further thoughts on the struggles of young adulthood (At 30, Sennott represents an honorary member for this generation, straddling eras with a knack for bridging millennials and Gen Z).
Influences and Artistic Direction
Parallels to the iconic series Girls are inevitable and Sennott readily acknowledges an admirer, naming the show in addition to the HBO hit, Issa Rae’s show and the innovative program as guides for the project, which details the struggles of online personality played by Odessa A’Zion and her friend and aspiring representative Maia. Perhaps, the most significant influence on the moodboard was reserved for Entourage, the program focusing on an emerging celebrity succeeding in a gritty entertainment industry (choice quote: “happiness eludes everyone but failures in this city”). Sennott discovered it amid the pandemic, became “captivated”, and chose to add a fresh perspective on it “targeting women and LGBTQ+ viewers”.
“I wanted to make a show where the internet, not Hollywood, was the industry, because my career started online,” she notes. The idea for the series came—partly—from personal, at first fractious, transition to LA and from her cosmic event, a popular event for enthusiasts. That period marked an era that saw her learn some big insights, in her career and individually. “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 …”
Starting Out
Growing up in the East Coast, Sennott started developing and showcasing stand-up while studying acting at a prestigious arts school. “Despite trying every conventional route, I couldn’t find my footing,” she explains. “Auditions for university comedy troupes led to universal rejection. “None of the university plays cast me either.” And I just felt like, what am I doing here?”
Sennott seized control, appearing at live shows with Edebiri and sharing uproarious (and distinctly) weird comedy videos online. A particular video, Baby Cult, centered on a group of women fetishistically fixated on having babies; another imagined working at the preppy clothing store Hollister as like being caught in a scary movie. In a neat twist of fate, she connected with Emma through campus film circles and ultimately featuring in her directorial debut, Shiva Baby, a tense film set at a funeral gathering with hints of Uncut Gems. The central motif of her path, she explains, has been people her own age giving her a shot, rather than traditional networks. So, not the gatekeepers, then? “Definitely not them”, she repeats, stating with a laugh: “Our victory isn’t their goal.”
Manifesting Dreams
Anyone who were skeptical about her earlier will likely be feeling foolish now. Through she calls a “wild, full-circle” turn of events, she seems to have manifested the perfect project. Previously she posted a clip titled about Los Angeles online, in which she mocked movie previews (“Substance abuse is rampant here”). Six years on, she’s executive producer (with the co-writer) of a series about LA residents managing benefits of online celebrity (such as partying at a celebrity’s house) with its pitfalls (your friend being accused of being a intoxicated criminal, and possibly becoming a “brand unsafe” persona non grata). Some could tempting to create a series about digital influence that was overly glamorous—or, more problematic, one that punched down at its subjects. This show does neither, creating a depiction of affluent twentysomething existence that’s frank about the mess and the appeal.
Empathetic Approach
“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
