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The performer joins the online meeting and immediately begins an explanation. “Oh my God – I’m sorry!” she exclaims, sounding truly remorseful. Although she's only a couple of minutes delayed, she wants to clarify. “My phone conversations always run long.” “Previous discussions went over, and I realized I talk too much!” Fortunately, for a writer, that’s precisely what you want to experience. Additionally, it’s quite unsurprising. Anyone familiar with the unapologetically openly gay and unapologetically crass movie Bottoms—that she penned with her creative partner and starred in together with collaborator the talented actress—would already know that Sennott holds much to share, whether on gender, relationships, or the pros of creating a high-school fight club. Plus, once you finish her latest eight-part program I Love LA, it is clear that the star holds further thoughts on the challenges of young adulthood (At 30, Sennott is an honorary member to younger audiences, on the cusp with a knack for bridging different age groups).

Influences and Artistic Direction

Likenesses to the iconic series Girls can’t be avoided and Sennott admits to being a fan, referencing it together with Sex and the City, Issa Rae’s show and Atlanta as inspirations for I Love LA, which tracks the travails of a social media star Tallulah and ally and fledgling representative Maia. Notably, the largest presence on the moodboard went to Entourage, that HBO sitcom about a rising celebrity navigating in a corrupt Hollywood (choice quote: “only the unsuccessful find joy here”). She started watching it during the pandemic, became “obsessed”, and decided to put her own twist on it “for the girls and the gays”.

“I sought to highlight online platforms as the new industry, since my professional journey launched there,” she explains. The inspiration for the series came—to some extent—from personal, initially fractious, transition to Tinseltown and from her cosmic event, a popular phenomenon for astrology heads. This represented a phase that involved her learn some big insights, work-wise and individually. “In my early 20s I was so messy, crying in public everywhere, all the time,” she says. “In my mid-20s, I moved to LA and got settled. And then I felt like everything started to just fall apart. “It resembled a series of extreme challenges…”

Humble Origins

Raised in the East Coast, Sennott started writing and performing stand-up while enrolled in performance at NYU’s Tisch. “Despite trying every conventional route, I couldn’t find my footing,” she says. “Every campus humor group turned me down after tryouts.” “None of the university plays cast me either.” “I wondered why I was even there at all.”

Sennott took matters into her own hands, performing at live shows with Ayo and posting hilarious (and decidedly) bizarre online content online. A particular video, titled Baby Cult, centered on characters fetishistically drawn to having babies; another imagined being employed at the brand Hollister as akin to being stuck in a scary movie. In a neat twist of fate, she met Seligman through NYU’s movie community and ultimately appearing in her initial project, titled Shiva Baby, an anxious comedy set at a religious event with hints of the Safdie brothers’ movie. The big theme of her journey, she notes, has been people her own age offering opportunities, as opposed to the industry at large. So, not the gatekeepers, then? “Definitely not them”, she repeats, adding humorously: “They don’t want us to win.”

Manifesting Dreams

Those who questioned about Sennott previously will likely be regretting it now. In what she calls a “incredibly circular” story, she seems to have manifested her dream vehicle. Previously she posted a clip titled “it’s LA” on the internet, in which she parodied Hollywood trailers (“Substance abuse is rampant here”). Six years on, she’s the co-showrunner (with her partner) of a comedy about Angelenos managing benefits of online celebrity (such as celebrating at a celebrity’s house) with downsides (your associate being suspected of being a drug-addled stealer, and possibly becoming a “brand unsafe” outcast). One might easy to produce a program about internet celebrity that was overly glamorous—or, even less favorable, one that punched down at its subjects. The series does neither, resulting in a depiction of affluent young adult living that’s candid about the mess and the appeal.

Empathetic Approach

“Numerous series present younger generations and digital culture in a derogatory manner,” she says. “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