The performer enters the digital interview and right away begins an apology. “Oh my God – I’m sorry!” she says, seeming truly remorseful. Although she's only a couple of minutes behind, she needs to justify. “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 precisely what you want to hear. Moreover, it’s quite predictable. Those who know the unapologetically LGBTQ+ and unapologetically crass project titled Bottoms—which Sennott collaborated on with her creative partner and appeared in alongside collaborator Ayo Edebiri—will understand that Sennott possesses a lot to discuss, whether about gender, relationships, or the appeal of creating a youth combat group. Plus, after watching her new eight-part program titled I Love LA, it becomes obvious that the star carries additional thoughts about the darker side of young adulthood (As a millennial, she represents a bridge for this generation, straddling eras adept for bridging different age groups).
Inspirations and Artistic Direction
The comparisons to Lena Dunham’s groundbreaking show naturally arise and the actress admits to being an admirer, referencing the show in addition to the classic series, the acclaimed comedy and the innovative program as inspirations for the project, which follows the journey of a social media star played by Odessa A’Zion and close companion who is also aspiring agent Maia. However, the largest influence on concept was reserved for Entourage, that program focusing on an emerging A-list actor succeeding in a corrupt LA scene (choice quote: “nobody’s happy in this town except for the losers”). She discovered it amid the pandemic, became “captivated”, and resolved to put her own twist on it “with female and queer audiences in mind”.
“I sought to highlight online platforms as the new industry, since my professional journey launched there,” she says. The concept for this project originated—in part—from her own, initially rocky, transition to LA and from the cosmic event, a frequently discussed event for enthusiasts. This represented a phase that saw her learn significant insights, in her career and in private life. “In my early 20s I was so messy, crying in public everywhere, all the time,” she admits. “After relocating to Los Angeles in my mid-twenties, I found stability, only for things to crumble. It was almost like these biblical tests …”
Humble Origins
Raised in Connecticut, the star began writing and performing humor while pursuing performance at NYU’s Tisch. “I went through all the proper channels to try to perform, and they weren’t gelling,” she says. “I tried out for all the NYU comedy groups, and got rejected from all of them. I tried out for all the NYU plays and didn’t make it into any of them. “I wondered why I was even there at all.”
Sennott seized control, performing at open mics with Edebiri and uploading uproarious (and very) unconventional online content digitally. A particular video, titled Baby Cult, followed several females intensely drawn to pregnancy; another portrayed being employed at a trendy retail outlet as similar to being stuck in a horror film. Interestingly, she connected with Emma through the university’s film scene and eventually appearing in her initial project, Shiva Baby, a stressful comedy 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, rather than the industry at large. So, not the gatekeepers, then? “They were not involved”, she emphasizes, stating humorously: “They prefer we don’t succeed.”
Rising Success
Those who questioned about Sennott previously will surely be kicking themselves today. In what she describes as a “incredibly circular” turn of events, she appears to created her dream vehicle. Previously she posted a video called about Los Angeles on social media, in which she lampooned movie previews (“I’m addicted to drugs – we all are”). Six years on, she’s a lead creator (with Emma Barrie) of a show about Angelenos juggling benefits of digital stardom (such as celebrating at a famous actor’s house) with drawbacks (your client being suspected of being a substance-abusing stealer, and possibly becoming a “brand unsafe” pariah). It would be easy to make a program about digital influence that was extremely aspirational—or, more problematic, one that belittled at its subjects. This show avoids both, resulting in a representation of privileged young adult life that’s candid about the chaos and the glamour.
Nuanced Portrayal
“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