🔗 Share this article The actress and writer on her hilarious show depicting that messy allure of today's youth existence Rachel Sennott enters the video call and immediately begins an explanation. “I can’t believe I’m late!” she exclaims, appearing truly apologetic. Despite being only slightly late, she wants to clarify. “I tend to talk too much during calls. I had two calls before this, and I’m like, I’ve gotta stop talking!” Thankfully, in this context, that’s exactly what is ideal to encounter. Besides, it’s quite predictable. Anyone who know the unapologetically queer and outspoken film titled Bottoms—that Sennott collaborated on with her creative partner and featured in with her friend The Bear’s standout—would be aware that Sennott holds a lot to say, ranging from on gender, relationships, or the merits of forming a teen fight club. Furthermore, after watching the recent eight-part HBO series titled I Love LA, it is clear that she holds even more perspectives regarding the struggles of young adulthood (At 30, she represents a bridge of the gang, on the cusp adept for bridging different age groups). Influences and Storytelling Approach Parallels to Lena Dunham’s groundbreaking show are inevitable and Sennott admits to being an admirer, referencing it alongside the HBO hit, the acclaimed comedy and the innovative program as guides for I Love LA, which details the struggles of an influencer Tallulah and close companion who is also aspiring talent manager Sennott’s character. Notably, the most significant presence on creative vision belonged to Entourage, the show depicting an up-and-coming A-list actor succeeding in a corrupt LA scene (choice quote: “nobody’s happy in this town except for the losers”). Sennott started watching it throughout COVID-19, became “obsessed”, and resolved to put her own twist on it “with female and queer audiences in mind”. “I wanted to make a show where the internet, not Hollywood, was the industry, because my career started online,” she notes. The inspiration for the series emerged—to some extent—from firsthand, initially rocky, move to Tinseltown and from the cosmic event, a popular occurrence for enthusiasts. That period marked a phase that saw her learn some big insights, in her career and individually. “In my early 20s I was so messy, crying in public everywhere, all the time,” she recalls. “Settling in LA during my mid-twenties brought calm, but soon everything unraveled.” It was almost like these biblical tests …” Humble Origins Growing up in Connecticut, the star started creating and acting comedy while studying theatre 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. “I tried out for all the NYU comedy groups, and got rejected from all of them. 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.” She seized control, appearing at live shows with her friend and posting hilarious (and very) bizarre comedy videos digitally. A particular video, Baby Cult, depicted characters intensely drawn to pregnancy; another envisioned being employed at a trendy retail outlet as akin to being caught in a scary movie. In a neat twist of fate, she encountered Seligman through NYU’s movie community and ultimately featuring in her first film, titled Shiva Baby, an anxious film set at a religious event with echoes of the intense thriller. A recurring idea of her career, she says, has been contemporaries offering opportunities, as opposed to established gatekeepers. So the old guard wasn’t helpful? “Not the gatekeepers”, she repeats, stating humorously: “Our victory isn’t their goal.” Rising Success Anyone who had doubts about Sennott previously will likely be kicking themselves now. In what she calls a “astonishingly complete” story, she seems to have manifested the perfect project. Previously she uploaded a clip titled on LA life on the internet, in which she mocked Hollywood trailers (“Everyone’s hooked on something”). Years later, she’s executive producer (with Emma Barrie) of a show about LA residents balancing benefits of digital stardom (such as celebrating at Elijah Wood’s house) with downsides (your client being suspected of being a substance-abusing stealer, and perhaps becoming a “brand unsafe” outcast). It would be simple to make a series about online fame that was horribly glamorous—or, more problematic, one that punched down at its subjects. This show does neither, making for a depiction of advantaged millennial life that’s frank about the grot and the appeal. Nuanced Portrayal “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