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The performer appears on the video call and right away starts an explanation. “Oh my God – I’m sorry!” she says, sounding truly regretful. Despite being only a couple of minutes behind, she wants to justify. “My phone conversations always run long.” I had two calls before this, and I’m like, I’ve gotta stop talking!” Fortunately, for a writer, that’s just what is ideal to hear. Additionally, it’s pretty unsurprising. Those familiar with her fearlessly queer and unapologetically crass movie titled Bottoms—that she penned with her creative partner and featured in with close companion the talented actress—would understand that Sennott possesses plenty to discuss, whether on roles, intimacy, or the merits of starting a youth fight club. Plus, after watching the latest seasonal HBO series I Love LA, it is clear that she carries further insights about the challenges of modern youth (As a millennial, she is a relatable figure of the gang, on the cusp skilled for straddling different age groups).

Influences and Artistic Direction

Likenesses to Lena Dunham’s groundbreaking show naturally arise and Sennott readily acknowledges an admirer, citing it in addition to the classic series, Issa Rae’s show and Donald Glover’s series as guides for I Love LA, which follows the journey of an influencer played by Odessa A’Zion and close companion who is also new agent Maia. Perhaps, the biggest influence on creative vision was reserved for Entourage, that HBO sitcom depicting an emerging A-list actor succeeding in a gritty Hollywood (choice quote: “only the unsuccessful find joy here”). She discovered it amid COVID-19, became “obsessed”, and chose 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 explains. The idea for this project originated—partly—from firsthand, originally fractious, move to Tinseltown and from the cosmic event, a popular occurrence for astrology heads. That period marked a time that saw her learn major life lessons, in her career and in private life. “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 …”

Humble Origins

Brought up in Connecticut, Sennott started developing and showcasing humor while enrolled in theatre at NYU’s Tisch. “Despite trying every conventional route, I couldn’t find my footing,” she explains. “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 took matters into her own hands, appearing at live shows with her friend and uploading hilarious (and decidedly) unconventional skits digitally. One, titled Baby Cult, centered on a group of women fetishistically obsessed with motherhood; another portrayed working at the brand Hollister as like being trapped in a scary movie. Interestingly, she met Seligman through NYU’s movie community and ultimately starring in her initial project, Shiva Baby, an anxious dramedy set at a Jewish wake with echoes of Uncut Gems. A recurring idea of her path, she notes, has been peers supporting her, rather than established gatekeepers. So the old guard wasn’t helpful? “They were not involved”, she confirms, stating humorously: “They prefer we don’t succeed.”

Rising Success

Those who were skeptical about her then will likely be kicking themselves currently. In what she labels a “astonishingly complete” story, she seems to have achieved the perfect project. In 2019 she uploaded a clip called “it’s LA” on social media, in which she lampooned film promos (“I’m addicted to drugs – we all are”). Now, she’s the co-showrunner (with Emma Barrie) of a comedy about LA residents balancing the perks of internet fame (such as partying at a celebrity’s house) with downsides (your friend being accused of being a substance-abusing thief, and possibly becoming a risky pariah). Some could tempting to make a show about digital influence that was overly glamorous—or, worse, one that punched down at the characters. The series avoids both, creating a representation of advantaged millennial life that’s candid about the mess and the shine.

Empathetic Approach

“Numerous series present younger generations and digital culture in a derogatory manner,” she observes. “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