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The performer appears on the digital interview and right away starts an apology. “I can’t believe I’m late!” she exclaims, appearing really remorseful. Although she's only a bit delayed, she needs to justify. “My phone conversations always run long.” I had two calls before this, and I’m like, I’ve gotta stop talking!” Thankfully, in this context, this is exactly what one hopes to hear. Moreover, it’s fairly predictable. Viewers familiar with the unapologetically openly gay and unapologetically crass film Bottoms—which Sennott collaborated on with her creative partner and appeared in together with collaborator The Bear’s standout—can already know that Sennott has a lot to discuss, be it about roles, sex, or the pros of creating a high-school brawl society. Plus, by the end the new eight-part program I Love LA, viewers realize that the star holds further perspectives on the challenges of young adulthood (As a millennial, Sennott is a bridge for this generation, straddling eras adept for bridging different age groups).

Influences and Creative Vision

The comparisons to Lena Dunham’s groundbreaking show can’t be avoided and the actress admits to being a fan, naming the show alongside the HBO hit, the acclaimed comedy and Donald Glover’s series as inspirations for I Love LA, which details the struggles of an influencer played by Odessa A’Zion and her friend who is also aspiring representative Maia. Notably, the largest spot on concept belonged to Entourage, the HBO sitcom focusing on an up-and-coming A-list actor navigating in a gritty LA scene (memorable line: “only the unsuccessful find joy here”). Sennott began viewing it amid COVID-19, became “obsessed”, and resolved to create a new version 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 says. The concept for the series came—in part—from personal, initially fractious, move to Tinseltown and from the astrological phase, a frequently discussed occurrence for followers. It was an era that saw her learn some big insights, professionally and personally. “In my early 20s I was so messy, crying in public everywhere, all the time,” 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

Growing up in New England, Sennott began developing and showcasing comedy while pursuing acting at a prestigious arts school. “I followed traditional paths to get on stage, but nothing clicked,” she says. “Every campus humor group turned me down after tryouts.” 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 decided to act independently, taking the stage at amateur nights with Ayo and posting hysterical (and very) weird online content on the internet. One, titled Baby Cult, centered on a group of women obsessively fixated on motherhood; a different one portrayed working at the preppy clothing store Hollister as like being trapped in a horror film. In a neat twist of fate, she met Seligman through campus film circles and ultimately starring in her directorial debut, titled Shiva Baby, a tense dramedy set at a Jewish wake with hints of Uncut Gems. The big theme of her career, she says, has been people her own age giving her a shot, as opposed to established gatekeepers. Does that mean bypassing the usual powers? “They were not involved”, she confirms, continuing with a laugh: “They prefer we don’t succeed.”

Rising Success

Those who questioned regarding her earlier will likely be regretting it now. Through she describes as a “wild, full-circle” development, she appears to manifested an ideal role. Previously she uploaded a video titled “it’s LA” on the internet, in which she lampooned film promos (“I’m addicted to drugs – we all are”). Years later, she’s executive producer (with her partner) of a show about Angelenos balancing advantages of internet fame (such as celebrating at a famous actor’s house) with its pitfalls (your associate being accused of being a substance-abusing thief, and potentially becoming a risky pariah). It would be tempting to create a program about digital influence that was horribly glamorous—or, worse, one that belittled at the characters. I Love LA avoids both, creating a portrait of privileged millennial living that’s honest about the mess and the appeal.

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