Rachel Sennott enters the video call and at once begins an explanation. “Apologies for the delay!” she says, seeming truly remorseful. Despite being only slightly late, she needs to explain. “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!” Thankfully, during an interview, that’s precisely what you want to experience. Additionally, it’s pretty predictable. Those who know her unapologetically openly gay and outspoken film titled Bottoms—which she co-wrote with her creative partner and starred in with her friend Ayo Edebiri—would already know that she possesses much to discuss, be it on identity, sex, or the pros of creating a youth fight club. Furthermore, after watching the latest seasonal show I Love LA, it becomes obvious that the star carries further thoughts about the struggles of young adulthood (At 30, she is a bridge for this generation, a tale-end millennial skilled for bridging both generations).
Inspirations and Storytelling Approach
Likenesses to the iconic series Girls are inevitable and the actress admits to being a fan, citing it alongside the classic series, Insecure and the innovative program as influences for the project, which details the travails of an influencer Tallulah and her friend and fledgling talent manager Sennott’s character. Notably, the largest influence on concept was reserved for Entourage, that program depicting a rising celebrity navigating in a gritty Hollywood (choice quote: “nobody’s happy in this town except for the losers”). Sennott began viewing it throughout lockdown, became “obsessed”, 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 says. The concept for I Love LA came—in part—from her own, initially difficult, relocation to Los Angeles and from the saturn return, a popular occurrence for astrology heads. This represented a phase that saw her learn significant insights, in her career and individually. “My twenties began with constant public emotional outbursts and disorganization,” she recalls. “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
Brought up in Connecticut, Sennott started creating and acting comedy while studying acting at a prestigious arts school. “I went through all the proper channels to try to perform, and they weren’t gelling,” she says. “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?”
She took matters into her own hands, performing at live shows with Ayo and uploading hysterical (and distinctly) weird online content online. A particular video, Baby Cult, centered on several females fetishistically obsessed with pregnancy; a different one imagined being employed at a trendy retail outlet as like being stuck in a horror film. In a neat twist of fate, she connected with Emma through NYU’s movie community and ended up appearing in her directorial debut, titled Shiva Baby, an anxious comedy set at a religious event with shades of the Safdie brothers’ movie. A recurring idea of her journey, she explains, has been people her own age offering opportunities, as opposed to the industry at large. So the old guard wasn’t helpful? “They were not involved”, she emphasizes, continuing amusedly: “They don’t want us to win.”
Manifesting Dreams
Individuals who had doubts about her previously will surely be kicking themselves now. In what she calls a “incredibly circular” turn of events, she appears to created her dream vehicle. Previously she uploaded a video called “it’s LA” on social media, in which she parodied movie previews (“I’m addicted to drugs – we all are”). Years later, she’s executive producer (with Emma Barrie) of a comedy about city dwellers balancing advantages of digital stardom (such as partying at Elijah Wood’s house) with downsides (your client being suspected of being a intoxicated thief, and perhaps becoming a “brand unsafe” persona non grata). Some could easy to produce a show about digital influence that was overly glamorous—or, more problematic, one that mocked at those depicted. This show avoids both, resulting in a depiction of advantaged twentysomething existence that’s honest about the grot and the shine.
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
