🔗 Share this article

Rachel Sennott enters the video call and at once starts an apology. “Oh my God – I’m sorry!” she states, appearing really apologetic. Although she's only a bit delayed, she needs to explain. “My phone conversations always run long.” “Earlier calls made me late—I just can’t stop chatting!” Fortunately, during an interview, that’s precisely what one hopes to hear. Moreover, it’s fairly expected. Those who know the fearlessly LGBTQ+ and unapologetically crass film Bottoms—that Sennott co-wrote with her creative partner and featured in alongside collaborator The Bear’s standout—will be aware that Sennott possesses much to share, whether on identity, intimacy, or the appeal of starting a youth combat group. Plus, by the end her new seasonal show I Love LA, it is clear that the star holds additional perspectives about the struggles of modern youth (At 30, she is a relatable figure for this generation, straddling eras with a knack for straddling different age groups).

Influences and Artistic Direction

Likenesses to Lena Dunham’s groundbreaking show can’t be avoided and the actress readily acknowledges a fan, naming the show alongside the classic series, the acclaimed comedy and the innovative program as inspirations for I Love LA, which details the journey of online personality played by Odessa A’Zion and her friend and new talent manager Sennott’s character. Notably, the biggest presence on concept was reserved for the HBO series, that show about an emerging Hollywood star making his way in an often-seedy entertainment industry (notable statement: “only the unsuccessful find joy here”). She began viewing it throughout lockdown, became “captivated”, and resolved to put her own twist on it “targeting women and LGBTQ+ viewers”.

“I sought to highlight online platforms as the new industry, since my professional journey launched there,” she explains. The idea for this project emerged—partly—from firsthand, initially difficult, relocation to Tinseltown and from the saturn return, a popular phenomenon for enthusiasts. It was a time that included her grasp major insights, in her career and individually. “My twenties began with constant public emotional outbursts and disorganization,” 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…”

Starting Out

Raised in Connecticut, the star started developing and showcasing humor while studying theatre at New York University (NYU) Tisch School of the Arts. “Despite trying every conventional route, I couldn’t find my footing,” she says. “I tried out for all the NYU comedy groups, and got rejected from all of them. “Theatre productions at school also didn’t accept me. “It left me questioning my purpose and place.”

Sennott seized control, performing at live shows with Edebiri and sharing hysterical (and decidedly) bizarre skits online. A particular video, titled Baby Cult, followed characters obsessively drawn to having babies; another envisioned working at the preppy clothing store Hollister as like being stuck in a horror film. Interestingly, she met Seligman through NYU’s movie community and ended up featuring in her directorial debut, titled Shiva Baby, a stressful dramedy set at a religious event with hints of the intense thriller. A recurring idea of her journey, she explains, has been peers offering opportunities, as opposed to the industry at large. Does that mean bypassing the usual powers? “Not the gatekeepers”, she confirms, stating with a laugh: “They don’t want us to win.”

Rising Success

Those who were skeptical regarding Sennott previously will surely be kicking themselves now. In what she describes as a “incredibly circular” turn of events, she appears to achieved an ideal role. A few years back she shared content called about Los Angeles online, in which she lampooned film promos (“Substance abuse is rampant here”). Now, she’s a lead creator (with Emma Barrie) of a comedy about city dwellers balancing advantages of online celebrity (such as partying at Elijah Wood’s house) with downsides (your friend being suspected of being a intoxicated criminal, and potentially becoming a “brand unsafe” pariah). Some could easy to create a program about digital influence that was horribly glamorous—or, more problematic, one that belittled at the characters. This show does neither, creating a depiction of advantaged millennial living that’s honest about the chaos and the shine.

Balanced Perspective

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