Rachel Sennott appears on the online meeting and right away starts an excuse. “I can’t believe I’m late!” she exclaims, appearing truly regretful. She is only a bit late, she wants to explain. “I have such a problem, because I’m a yapper on the phone. “Earlier calls made me late—I just can’t stop chatting!” Luckily, for a writer, that’s just what you want to hear. Moreover, it’s quite predictable. Anyone who know the fearlessly openly gay and brash film titled Bottoms—which she collaborated on with Emma Seligman and featured in with close companion Ayo Edebiri—can already know that she holds much to say, be it about identity, intimacy, or the pros of creating a high-school brawl society. Plus, after watching the latest eight-part show I Love LA, it is clear that the star has even more perspectives about the struggles of young adulthood (As a millennial, Sennott represents a relatable figure of the gang, a tale-end millennial skilled for straddling both generations).
The comparisons to Lena Dunham’s groundbreaking show naturally arise and Sennott is an admirer, naming the show in addition to the classic series, Insecure and the innovative program as influences for her series, which tracks the travails of online personality Tallulah and ally who is also fledgling talent manager Maia. Perhaps, the biggest spot on concept went to Entourage, the HBO sitcom about an emerging celebrity navigating in an often-seedy Hollywood (choice quote: “nobody’s happy in this town except for the losers”). Sennott discovered it during the pandemic, became “hooked”, 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 says. The idea for this project originated—in part—from her own, at first rocky, move to Los Angeles and from the saturn return, a frequently discussed event for followers. It was a time that involved her grasp significant life lessons, professionally and personally. “In my early 20s I was so messy, crying in public everywhere, all the time,” she says. “Settling in LA during my mid-twenties brought calm, but soon everything unraveled.” “It resembled a series of extreme challenges…”
Growing up in Connecticut, the star commenced creating and acting humor while studying acting at New York University (NYU) Tisch School of the Arts. “Despite trying every conventional route, I couldn’t find my footing,” she explains. “Auditions for university comedy troupes led to universal rejection. “Theatre productions at school also didn’t accept me. “It left me questioning my purpose and place.”
She seized control, taking the stage at amateur nights with Edebiri and sharing hilarious (and distinctly) unconventional online content digitally. A particular video, titled Baby Cult, followed characters obsessively fixated on pregnancy; a different one imagined being employed at the brand Hollister as similar to being stuck in a thriller. Interestingly, she connected with Seligman through campus film circles and ultimately starring in her first film, titled Shiva Baby, a tense dramedy set at a funeral gathering with echoes of Uncut Gems. The big theme of her journey, she notes, has been peers supporting her, rather than established gatekeepers. So the old guard wasn’t helpful? “Definitely not them”, she repeats, stating with a laugh: “Our victory isn’t their goal.”
Anyone who were skeptical regarding her previously will certainly be feeling foolish today. In what she labels a “incredibly circular” story, she appears to manifested her dream vehicle. In 2019 she shared a clip titled on LA life on social media, in which she mocked movie previews (“I’m addicted to drugs – we all are”). Now, she’s a lead creator (with the co-writer) of a series about LA residents balancing advantages of internet fame (such as partying at Elijah Wood’s house) with drawbacks (your friend being suspected of being a drug-addled criminal, and possibly becoming a “brand unsafe” outcast). It would be tempting to produce a series about internet celebrity that was extremely aspirational—or, even less favorable, one that belittled at those depicted. This show steers clear of each, making for a depiction of affluent twentysomething existence that’s candid about the chaos and the appeal.
“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
En politisk analytiker med över 15 års erfarenhet av svensk offentlig förvaltning och samhällsdebatt.
Joseph Brown
Joseph Brown
Joseph Brown
Joseph Brown
Joseph Brown