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Rachel Sennott enters the digital interview and right away starts an apology. “Oh my God – I’m sorry!” she says, seeming genuinely apologetic. Although she's only slightly delayed, she feels compelled to justify. “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!” Luckily, for a writer, that’s exactly what you want to hear. Besides, it’s quite predictable. Those familiar with her fearlessly LGBTQ+ and unapologetically crass film Bottoms—that Sennott co-wrote with her creative partner and starred in alongside close companion Ayo Edebiri—can already know that she holds plenty to share, ranging from about identity, relationships, or the appeal of forming a youth brawl society. And, after watching the latest multi-episode HBO series I Love LA, viewers realize that the star has even more thoughts regarding the challenges of modern youth (Now in her thirties, Sennott represents a relatable figure of the gang, on the cusp skilled for straddling both generations).

Influences and Storytelling Approach

Likenesses to Lena Dunham’s Girls are inevitable and Sennott readily acknowledges a fan, referencing it alongside the classic series, the acclaimed comedy and Atlanta as inspirations for I Love LA, which follows the journey of a social media star Tallulah and her friend who is also fledgling talent manager Sennott’s character. Notably, the largest presence on concept went to Entourage, the program focusing on an up-and-coming Hollywood star succeeding in a corrupt entertainment industry (notable statement: “happiness eludes everyone but failures in this city”). She discovered it amid the pandemic, became “hooked”, and chose to put her own twist on it “for the girls and the gays”.

“I wanted to make a show where the internet, not Hollywood, was the industry, because my career started online,” she explains. The concept for this project originated—in part—from firsthand, initially rocky, relocation to LA and from her astrological phase, a frequently discussed occurrence for followers. That period marked a phase that included her grasp significant truths, work-wise and in private life. “My twenties began with constant public emotional outbursts and disorganization,” she admits. “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 …”

Starting Out

Growing up in the East Coast, Sennott began developing and showcasing comedy while pursuing theatre at NYU’s Tisch. “I followed traditional paths to get on stage, but nothing clicked,” she explains. “Every campus humor group turned me down after tryouts.” “Theatre productions at school also didn’t accept me. And I just felt like, what am I doing here?”

She seized control, taking the stage at open mics with Edebiri and uploading hilarious (and distinctly) unconventional online content digitally. A particular video, titled Baby Cult, followed characters intensely obsessed with having babies; another envisioned working at the brand Hollister as like being stuck in a scary movie. By chance, she met Emma through campus film circles and ended up featuring in her directorial debut, Shiva Baby, a stressful comedy set at a religious event with echoes of Uncut Gems. The big theme of her journey, she says, has been peers giving her a shot, instead of the industry at large. Does that mean bypassing the usual powers? “They were not involved”, she repeats, adding with a laugh: “They prefer we don’t succeed.”

Manifesting Dreams

Individuals who were skeptical about Sennott earlier will certainly be kicking themselves currently. In what she describes as a “wild, full-circle” story, she appears to achieved an ideal role. A few years back she posted content titled “it’s LA” online, in which she parodied Hollywood trailers (“Everyone’s hooked on something”). Years later, she’s a lead creator (with the co-writer) of a series about LA residents managing benefits of internet fame (such as socializing at a famous actor’s house) with downsides (your friend being accused of being a substance-abusing stealer, and potentially becoming a “brand unsafe” outcast). One might tempting to make a program about internet celebrity that was extremely aspirational—or, even less favorable, one that belittled at the characters. This show avoids both, resulting in a portrait of advantaged young adult living that’s honest about the mess and the shine.

Empathetic Approach

“There have been a lot of shows that depict young people and their relationship to the internet in this very condescending, hateful way,” 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