Rachel Sennott appears on the video call and immediately starts an apology. “I can’t believe I’m late!” she says, sounding genuinely remorseful. Despite being only a bit behind, she needs to clarify. “I tend to talk too much during calls. “Previous discussions went over, and I realized I talk too much!” Luckily, for a writer, this is exactly what you want to encounter. Besides, it’s fairly expected. Those familiar with her fearlessly queer and unapologetically crass film titled Bottoms—which she collaborated on with her creative partner and featured in together with close companion Ayo Edebiri—would be aware that she holds plenty to discuss, ranging from on roles, intimacy, or the merits of starting a youth brawl society. Furthermore, once you finish her latest eight-part show I Love LA, it becomes obvious that she carries further perspectives on the struggles of modern youth (As a millennial, Sennott is a bridge for this generation, a tale-end millennial with a knack for bridging millennials and Gen Z).
Influences and Storytelling Approach
Parallels to Lena Dunham’s groundbreaking show are inevitable and the actress is enthusiastic, referencing it alongside Sex and the City, the acclaimed comedy and Atlanta as inspirations for her series, which follows the struggles of an influencer played by Odessa A’Zion and ally and fledgling representative Maia. Notably, the biggest influence on concept belonged to the HBO series, that show depicting an emerging celebrity succeeding in a corrupt entertainment industry (memorable line: “nobody’s happy in this town except for the losers”). Sennott started watching it throughout lockdown, became “captivated”, and resolved to add a fresh perspective on it “targeting women and LGBTQ+ viewers”.
“I sought to highlight online platforms as the new industry, since my professional journey launched there,” she notes. The inspiration for this project emerged—to some extent—from personal, at first rocky, relocation to Los Angeles and from the astrological phase, a frequently discussed event for enthusiasts. It was a phase that included her understand significant insights, work-wise and in private life. “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…”
Early Beginnings
Brought up in the East Coast, the star commenced writing and performing humor while pursuing acting at New York University (NYU) Tisch School of the Arts. “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. “None of the university plays cast me either.” And I just felt like, what am I doing here?”
She decided to act independently, taking the stage at open mics with Ayo and uploading hysterical (and distinctly) unconventional comedy videos digitally. A particular video, Baby Cult, followed characters fetishistically drawn to motherhood; another imagined being employed at the brand Hollister as similar to being stuck in a scary movie. Interestingly, she encountered Emma through NYU’s movie community and ultimately featuring in her first film, Shiva Baby, a stressful dramedy set at a religious event with echoes of the Safdie brothers’ movie. The big theme of her path, she explains, has been peers supporting her, as opposed to established gatekeepers. So the old guard wasn’t helpful? “Definitely not them”, she repeats, stating amusedly: “Our victory isn’t their goal.”
Manifesting Dreams
Those who had doubts regarding her earlier will likely be kicking themselves today. In what she calls a “astonishingly complete” story, she appears to achieved an ideal role. A few years back she shared content titled on LA life on the internet, in which she mocked movie previews (“Everyone’s hooked on something”). Six years on, she’s executive producer (with the co-writer) of a show about LA residents juggling the perks of internet fame (such as celebrating at a celebrity’s house) with its pitfalls (your client being accused of being a substance-abusing stealer, and possibly becoming a risky outcast). It would be simple to create a series about internet celebrity that was extremely glamorous—or, more problematic, one that mocked at the characters. I Love LA avoids both, creating a representation of advantaged millennial life that’s candid about the chaos and the appeal.
Empathetic Approach
“Many programs portray youth and online life with disdain and mockery,” 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
