The performer appears on the digital interview and at once begins an apology. “Oh my God – I’m sorry!” she says, seeming truly apologetic. She is only slightly behind, she feels compelled to clarify. “I have such a problem, because I’m a yapper on the phone. “Previous discussions went over, and I realized I talk too much!” Thankfully, during an interview, that’s exactly what one hopes to experience. Additionally, it’s pretty expected. Viewers who have seen the fearlessly LGBTQ+ and brash film titled Bottoms—which Sennott penned with her creative partner and featured in alongside her friend The Bear’s standout—will already know that Sennott possesses much to share, ranging from about identity, sex, or the merits of forming a teen combat group. Plus, by the end her recent multi-episode HBO series titled I Love LA, it becomes obvious that she has further perspectives regarding the darker side of modern youth (As a millennial, Sennott is a relatable figure to younger audiences, on the cusp adept for bridging millennials and Gen Z).
Influences and Storytelling Approach
Likenesses to the iconic series Girls are inevitable and Sennott admits to being a fan, referencing it in addition to the HBO hit, Issa Rae’s show and Donald Glover’s series as guides for I Love LA, which follows the travails of a social media star played by Odessa A’Zion and her friend who is also fledgling representative Maia. However, the largest presence on creative vision was reserved for the popular sitcom, the HBO sitcom depicting a rising Hollywood star succeeding in a gritty LA scene (memorable line: “nobody’s happy in this town except for the losers”). She started watching it amid the pandemic, became “captivated”, and chose to add a fresh perspective on it “targeting women and LGBTQ+ viewers”.
“My aim was to focus on digital fame over traditional entertainment, as my own beginnings were on the web,” she says. The idea for this project emerged—in part—from personal, originally rocky, transition to LA and from her astrological phase, a popular occurrence for followers. That period marked a time that saw her learn some big insights, in her career 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. “The struggles felt almost mythic in scale…”
Humble Origins
Brought up in Connecticut, Sennott began developing and showcasing humor while studying theatre at a prestigious arts school. “I went through all the proper channels to try to perform, and they weren’t gelling,” she states. “Auditions for university comedy troupes led to universal rejection. 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.”
Sennott decided to act independently, performing at open mics with Edebiri and sharing hysterical (and decidedly) weird skits on the internet. A particular video, Baby Cult, centered on a group of women obsessively obsessed with pregnancy; another imagined working at a trendy retail outlet as similar to being trapped in a scary movie. Interestingly, she met Seligman through the university’s film scene and eventually starring in her initial project, Shiva Baby, a tense dramedy set at a religious event with hints of the intense thriller. A recurring idea of her career, she notes, has been people her own age offering opportunities, as opposed to traditional networks. So, not the gatekeepers, then? “Definitely not them”, she confirms, continuing humorously: “Our victory isn’t their goal.”
Manifesting Dreams
Anyone who were skeptical regarding Sennott previously will likely be kicking themselves now. In what she calls a “astonishingly complete” story, she appears to achieved an ideal role. In 2019 she posted a clip titled “it’s LA” on social media, in which she lampooned film promos (“Everyone’s hooked on something”). Now, she’s a lead creator (with her partner) of a comedy about city dwellers balancing advantages of online celebrity (such as partying at Elijah Wood’s house) with downsides (your client being suspected of being a substance-abusing thief, and possibly becoming a “brand unsafe” pariah). It would be simple to make a series about online fame that was extremely aspirational—or, worse, one that mocked at those depicted. I Love LA does neither, creating a depiction of advantaged young adult life that’s frank about the grot and the appeal.
Balanced Perspective
“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
