The actress and writer exploring her side-splitting show portraying that grotty glamour of younger generation existence
The performer appears on the online meeting and right away launches into an explanation. “Apologies for the delay!” she exclaims, seeming truly regretful. Although she's only slightly behind, she feels compelled to justify. “My phone conversations always run long.” “Previous discussions went over, and I realized I talk too much!” Luckily, for a writer, this is just what one hopes to hear. Additionally, it’s quite expected. Those who know her boldly queer and brash movie Bottoms—that Sennott co-wrote with her creative partner and appeared in together with her friend the talented actress—can understand that Sennott possesses much to share, whether on identity, intimacy, or the merits of creating a teen combat group. Furthermore, once you finish her new multi-episode show I Love LA, it is clear that the star carries additional thoughts on the struggles of young adulthood (At 30, Sennott represents a relatable figure for this generation, a tale-end millennial adept for bridging both generations).
Inspirations and Storytelling Approach
Parallels to Lena Dunham’s Girls can’t be avoided and Sennott readily acknowledges a fan, naming the show alongside the classic series, the acclaimed comedy and Donald Glover’s series as influences for I Love LA, which follows the travails of a social media star Tallulah and close companion who is also new agent Sennott’s character. However, the largest presence on the moodboard went to the popular sitcom, the program about a rising Hollywood star making his way in a corrupt LA scene (notable statement: “nobody’s happy in this town except for the losers”). She started watching it during lockdown, became “captivated”, and chose to create a new version on it “for the girls and the gays”.
“I wanted to make a show where the internet, not Hollywood, was the industry, because my career started online,” she says. The inspiration for I Love LA came—in part—from her own, initially fractious, relocation to Los Angeles and from her astrological phase, a frequently discussed occurrence for enthusiasts. That period marked a phase that saw her grasp major insights, work-wise and in private life. “During my younger years, I was chaotic, often breaking down in public,” she admits. “Settling in LA during my mid-twenties brought calm, but soon everything unraveled.” It was almost like these biblical tests …”
Early Beginnings
Growing up in the East Coast, Sennott began writing and performing stand-up while pursuing acting at NYU’s Tisch. “I followed traditional paths to get on stage, but nothing clicked,” she says. “I tried out for all the NYU comedy groups, and got rejected from all of them. “None of the university plays cast me either.” “It left me questioning my purpose and place.”
She decided to act independently, appearing at open mics with Ayo and sharing hysterical (and distinctly) weird skits digitally. A particular video, titled Baby Cult, followed characters fetishistically obsessed with motherhood; a different one envisioned working at the brand Hollister as akin to being trapped in a thriller. By chance, she connected with Emma through NYU’s movie community and ended up starring in her first film, titled Shiva Baby, a tense comedy set at a religious event with hints of the intense thriller. A recurring idea of her path, she notes, has been contemporaries offering opportunities, instead of the industry at large. So, not the gatekeepers, then? “Definitely not them”, she emphasizes, stating humorously: “Our victory isn’t their goal.”
Rising Success
Anyone who questioned about her previously will likely be feeling foolish now. In what she calls a “incredibly circular” turn of events, she seems to have achieved an ideal role. In 2019 she posted a video titled about Los Angeles on the internet, in which she mocked film promos (“I’m addicted to drugs – we all are”). Six years on, she’s a lead creator (with her partner) of a comedy about LA residents balancing benefits of internet fame (such as celebrating at Elijah Wood’s house) with drawbacks (your associate being suspected of being a intoxicated stealer, and potentially becoming a unreliable outcast). It would be simple to produce a show about internet celebrity that was extremely glamorous—or, more problematic, one that mocked at the characters. This show steers clear of each, resulting in a representation of advantaged millennial existence that’s honest about the mess and the shine.
Balanced Perspective
“Numerous series present younger generations and digital culture in a derogatory manner,” 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
