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Rachel Sennott appears on the digital interview and at once launches into an apology. “Apologies for the delay!” she says, appearing genuinely remorseful. Despite being only a bit late, she needs to explain. “I tend to talk too much during calls. I had two calls before this, and I’m like, I’ve gotta stop talking!” Thankfully, during an interview, that’s just what is ideal to encounter. Besides, it’s quite predictable. Anyone who know the boldly LGBTQ+ and unapologetically crass film Bottoms—that she penned with the director and appeared in with collaborator the talented actress—would understand that she possesses a lot to share, ranging from on identity, sex, or the merits of starting a youth brawl society. Plus, after watching her new seasonal HBO series I Love LA, it is clear that the star has further insights about the darker side of Gen Z life (At 30, she is a bridge for this generation, on the cusp with a knack for bridging both generations).

Influences and Artistic Direction

The comparisons to the iconic series Girls can’t be avoided and Sennott readily acknowledges an admirer, citing the show in addition to Sex and the City, Insecure and Atlanta as inspirations for I Love LA, which follows the struggles of a social media star Tallulah and her friend who is also aspiring talent manager Sennott’s character. Perhaps, the largest influence on concept belonged to Entourage, that show depicting an emerging Hollywood star making his way in an often-seedy LA scene (notable statement: “happiness eludes everyone but failures in this city”). She started watching it during lockdown, became “captivated”, and decided to put her own twist on it “targeting women and LGBTQ+ viewers”.

“I wanted to make a show where the internet, not Hollywood, was the industry, because my career started online,” she explains. The idea for the series originated—to some extent—from her own, initially fractious, move to LA and from her saturn return, a much-talked-about event for followers. It was a phase that saw her learn some big insights, in her career and individually. “My twenties began with constant public emotional outbursts and disorganization,” she recalls. “After relocating to Los Angeles in my mid-twenties, I found stability, only for things to crumble. It was almost like these biblical tests …”

Starting Out

Raised in Connecticut, Sennott started developing and showcasing humor while pursuing performance at NYU’s Tisch. “I followed traditional paths to get on stage, but nothing clicked,” she states. “I tried out for all the NYU comedy groups, and got rejected from all of them. “None of the university plays cast me either.” And I just felt like, what am I doing here?”

Sennott decided to act independently, appearing at open mics with her friend and posting hilarious (and distinctly) bizarre skits digitally. One, Baby Cult, depicted several females intensely drawn to having babies; a different one portrayed being employed at a trendy retail outlet as similar to being caught in a thriller. In a neat twist of fate, she met Seligman through campus film circles and eventually appearing in her initial project, titled Shiva Baby, a tense comedy set at a religious event with shades of the Safdie brothers’ movie. A recurring idea of her journey, she explains, has been peers giving her a shot, as opposed to the industry at large. Does that mean bypassing the usual powers? “Definitely not them”, she repeats, adding with a laugh: “Our victory isn’t their goal.”

Career Breakthrough

Those who had doubts regarding Sennott earlier will surely be kicking themselves today. Through she describes as a “incredibly circular” story, she seems to have achieved an ideal role. A few years back she posted a clip called about Los Angeles on the internet, in which she mocked Hollywood trailers (“I’m addicted to drugs – we all are”). Now, she’s the co-showrunner (with the co-writer) of a comedy about Angelenos managing advantages of digital stardom (such as partying at a celebrity’s house) with downsides (your friend being accused of being a substance-abusing stealer, and perhaps becoming a “brand unsafe” persona non grata). Some could tempting to create a show about digital influence that was extremely aspirational—or, more problematic, one that belittled at those depicted. This show steers clear of each, creating a representation of privileged twentysomething living that’s candid about the chaos and the appeal.

Nuanced Portrayal

“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