Rachel Sennott’s “I Love LA” Masters Gen-Z Cultural Comedy 

Written by Avery Melhado. Graphic by Avery Melhado.

From laser hair removal sessions with branded “I Love LA” underwear to carefully crafted photoshoots on giant swans and in kiddie pools, the hype around “I Love LA” (previously known as “Untitled Rachel Sennott Project”) is real. Even before the show received its official title, Rachel Sennott’s following as an internet It girl garnered support from fans of her previous work in movies like “Bottoms,” “Bodies Bodies Bodies” and “Shiva Baby.” With her new series “I Love LA,” she has created a comedic masterpiece that embodies the cultural influence of Gen-Z humor and the problems that inevitably come with it. 

Sennott, the creator, director, executive producer, writer and star of the show, is clearly wearing all of the hats – and styling them well. The HBO series follows chronically online best friends Maia (Rachel Sennott), Tallulah (Odessa A’zion), Alani (True Whitaker) and Charlie (Jordan Firstman) as they navigate life in Los Angeles post-grad. Their antics are balanced only by Dylan (Josh Hutcherson) – Maia’s sweetie, good-guy boyfriend, who offers a breath of fresh air from the extreme nature of the other characters. Each actor brings to their character a sense of realness and authenticity, even if the authenticity in question is the falsehood of the classic L.A. persona. The cameos and supporting roles are just as thoughtful, including a certain fan-favorite actress sporting a British accent and a mullet whose appearance filled the theater with excited screams. 

In the first episode, Maia and Tallulah are reunited by a surprise from Alani on Maia’s Saturn-return birthday after a friendship falling-out, which leads to her managing Tallulah’s growing social media fame and guiding her through trials that only Los Angeles could present. From threatening each other with kitchen knives to bathroom confessions of platonic love and karmic ties, the duo proves that they can out-crazy the crazy and find a way to exist against the vapid desert landscape of L.A..

It’s easy to tell that the cast members of “I Love LA” are best friends both on and off the screen, with inside jokes and comedic cadences that make you want to start riffing along with them. Sennott, A’zion and Whitaker even talked about how their improv developed throughout the filming of the show, and how riffing off each other’s jokes and writing to the actors’ personalities allowed the characters to truly shine. Sennott discussed how the show was inspired by her life, with Maia and Tallulah representing different versions of herself from different points in her own personal development. She played off the idea of feeling lonely and isolated in a new city while dealing with friendship dynamics and climbing the social ladder. 

In a world where success is measured by Marc Jacobs Heaven campaigns and Balenciaga bags, Sennott has created something tangible and memorable that grasps hold of fleeting trends and social media moments. Through kitschy dialogue said with elongated vowels and perfect vocal fry, each scene of every episode presents a different side of the internet archetypes we’ve become familiar with – their failures, their triumphs and even their moments of self-awareness.

Of the standout scenes, the most memorable was the montage of Alani and Tallulah driving a Bronco in their bikinis to Randy Newman’s “I Love L.A.,” a nod to the original music video released in 1983. Of course, Newman’s video didn’t include clips of two girls high at Erewhon, which really sets the tone for Sennott’s interpretation of how the culture of Los Angeles has developed. From the Sonny Angel figurine on the dashboard of the car to the Courage Bagels namedrop, the references balance timelessness with modern relevance in a way that feels both silly and seamless. 

In the post-showing Q&A, Sennott mentioned the costume design specifically – how it had to be current and stylish without playing into trends that would date the looks. The show as a whole avoids this trope of microtrendiness well. It plays into the laughable nature of Gen-Z while staying self-aware. Though many new shows have tried to profit off this angle of youthful satire, none have been able to do it quite like “I Love LA.” Sennott’s vision feels true to life, not like some industry executive tried to write a script that plays to younger audiences.

We’ve seen the proof of Sennott’s genius marketing and iconic comedic style. From the social media promotion to the actual set and script, “I Love LA” is tastefully camp without being cringeworthy, culturally relevant without feeling dated. The show is a nugget of gold amidst a sea of media trying (and failing) to relate to young people. Sennott, alongside her cast and crew, has mastered the art of the modern sitcom – funny and relatable with character archetypes we’ve all seen in real life, whether through our friends or on our phones. It’s clear from only the first episode that the Sunday night releases will bring friend groups together, rooting for the problematic characters as much as the obvious favorites. By the end, everyone will be sure to love L.A. just as much as they do.