The performer appears on the video call and at once launches into an explanation. “I can’t believe I’m late!” she exclaims, appearing truly remorseful. Although she's only slightly late, she wants to clarify. “I have such a problem, because I’m a yapper on the phone. I had two calls before this, and I’m like, I’ve gotta stop talking!” Fortunately, for a writer, this is precisely what is ideal to experience. Moreover, it’s quite unsurprising. Those who know her fearlessly queer and unapologetically crass movie titled Bottoms—which Sennott collaborated on with Emma Seligman and starred in with close companion Ayo Edebiri—will understand that Sennott has much to share, whether on identity, sex, or the appeal of forming a youth brawl society. Plus, once you finish her latest multi-episode show I Love LA, it becomes obvious that she holds additional insights about the struggles of Gen Z life (Now in her thirties, Sennott is a relatable figure of the gang, on the cusp skilled for straddling millennials and Gen Z).
Inspirations and Storytelling Approach
Likenesses to the iconic series Girls naturally arise and the actress admits to being a fan, naming it in addition to the HBO hit, Insecure and Donald Glover’s series as influences for I Love LA, which follows the struggles of an influencer played by Odessa A’Zion and close companion who is also new representative Sennott’s character. Notably, the most significant spot on concept belonged to the HBO series, the program about an up-and-coming Hollywood star making his way in an often-seedy Hollywood (choice quote: “only the unsuccessful find joy here”). She discovered it throughout lockdown, became “obsessed”, and resolved to add a fresh perspective 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 notes. The concept for the series emerged—to some extent—from personal, initially difficult, relocation to Los Angeles and from her astrological phase, a popular occurrence for astrology heads. That period marked a phase that saw her learn some big truths, in her career and individually. “During my younger years, I was chaotic, often breaking down in public,” she says. “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, Sennott commenced developing and showcasing humor while enrolled in theatre at New York University (NYU) Tisch School of the Arts. “Despite trying every conventional route, I couldn’t find my footing,” she explains. “Every campus humor group turned me down after tryouts.” 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, appearing at amateur nights with Ayo and sharing hysterical (and distinctly) bizarre online content digitally. One, titled Baby Cult, followed characters obsessively drawn to pregnancy; a different one portrayed being employed at the brand Hollister as akin to being trapped in a scary movie. In a neat twist of fate, she encountered Emma through NYU’s movie community and ended up starring in her directorial debut, Shiva Baby, a tense dramedy set at a funeral gathering with hints of the intense thriller. The big theme of her journey, she says, has been people her own age giving her a shot, as opposed to traditional networks. Does that mean bypassing the usual powers? “Definitely not them”, she confirms, continuing amusedly: “Our victory isn’t their goal.”
Career Breakthrough
Those who had doubts about her earlier will certainly be kicking themselves currently. Through she calls a “incredibly circular” turn of events, she appears to achieved an ideal role. In 2019 she uploaded content titled about Los Angeles online, in which she mocked movie previews (“Everyone’s hooked on something”). Six years on, she’s a lead creator (with her partner) of a series about LA residents juggling advantages of internet fame (such as socializing at a celebrity’s house) with drawbacks (your friend being labeled as being a substance-abusing criminal, and potentially becoming a risky persona non grata). One might simple to produce a program about digital influence that was horribly aspirational—or, worse, one that mocked at its subjects. This show steers clear of each, resulting in a depiction of advantaged twentysomething life that’s frank about the mess and the appeal.
Nuanced Portrayal
“There have been a lot of shows that depict young people and their relationship to the internet in this very condescending, hateful way,” 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
