The star joins the online meeting and immediately starts an excuse. “Apologies for the delay!” she says, sounding really remorseful. Despite being only a bit late, she needs to justify. “I tend to talk too much during calls. “Earlier calls made me late—I just can’t stop chatting!” Fortunately, for a writer, that’s exactly what you want to encounter. Additionally, it’s fairly unsurprising. Those who have seen the boldly openly gay and unapologetically crass movie Bottoms—that Sennott co-wrote with the director and featured in alongside close companion the talented actress—will be aware that Sennott possesses plenty to say, ranging from on gender, relationships, or the appeal of starting a teen combat group. Plus, after watching the recent seasonal HBO series I Love LA, it is clear that she has additional insights about the struggles of modern youth (As a millennial, Sennott serves as an honorary member for this generation, straddling eras with a knack for bridging millennials and Gen Z).
Guiding Lights and Storytelling Approach
Likenesses to Lena Dunham’s Girls naturally arise and Sennott readily acknowledges a fan, naming the show in addition to the classic series, Issa Rae’s show and the innovative program as guides for her series, which tracks the journey of an influencer Tallulah and her friend and fledgling talent manager Sennott’s character. Notably, the biggest presence on concept belonged to the popular sitcom, that program about a rising Hollywood star making his way in an often-seedy Hollywood (memorable line: “nobody’s happy in this town except for the losers”). Sennott discovered it amid the pandemic, became “captivated”, 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 inspiration for the series came—partly—from her own, initially fractious, transition to LA and from the astrological phase, a frequently discussed event for astrology heads. It was a phase that saw her understand major insights, professionally 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 was almost like these biblical tests …”
Humble Origins
Brought up in New England, Sennott commenced writing and performing comedy while pursuing acting at NYU’s Tisch. “Despite trying every conventional route, I couldn’t find my footing,” she explains. “Auditions for university comedy troupes led to universal rejection. I tried out for all the NYU plays and didn’t make it into any of them. “It left me questioning my purpose and place.”
Sennott decided to act independently, performing at open mics with her friend and uploading hysterical (and distinctly) unconventional online content on the internet. A particular video, Baby Cult, depicted a group of women fetishistically obsessed with pregnancy; another imagined being employed at the brand Hollister as similar to being trapped in a scary movie. In a neat twist of fate, she connected with Emma through NYU’s movie community and ultimately appearing in her initial project, titled Shiva Baby, an anxious film set at a religious event with echoes of the intense thriller. The central motif of her career, she explains, has been people her own age giving her a shot, as opposed to traditional networks. So, not the gatekeepers, then? “Definitely not them”, she confirms, continuing with a laugh: “Our victory isn’t their goal.”
Career Breakthrough
Those who had doubts about Sennott earlier will surely be feeling foolish currently. Through she describes as a “wild, full-circle” development, she has created an ideal role. Previously she posted content called “it’s LA” online, in which she lampooned Hollywood trailers (“Everyone’s hooked on something”). Six years on, she’s a lead creator (with Emma Barrie) of a comedy about LA residents juggling the perks of internet fame (such as socializing at a famous actor’s house) with its pitfalls (your friend being labeled as being a substance-abusing criminal, and potentially becoming a risky persona non grata). One might tempting to produce a show about internet celebrity that was extremely glamorous—or, even less favorable, one that mocked at its subjects. I Love LA steers clear of each, resulting in a representation of advantaged millennial existence that’s honest about the mess and the appeal.
Balanced Perspective
“Many programs portray youth and online life with disdain and mockery,” 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
