And all of a sudden, Sundays didn’t seem so dreary when I knew they guaranteed the release of an “I Love LA” episode — an HBO series I truly believe to be one for the books.
Rachel Sennott seemed to lace this series with the most iconic, hysterical and witty references, leaving me genuinely shocked that a show could so seamlessly pulse with the vibe of its time and place (an artful blend of the Gen Z energy and the iconic, yet influencer-focused, Los Angeles, California). The weekly releases had me poring over recap sites and Reddit pages, desperate to witness the splash I was sure it would make.
Though I discovered some huge fans of the show, I also found a shocking amount of backlash. To all the people I recommended giving it a watch, I kept hearing just how obnoxious and unbearable it was. I wasn’t sure why I felt so unsettled by this backlash — popular art is sure to elicit all kinds of feedback, and yet some of the criticisms felt misguided to me.
Most of the negativity stemmed from viewers believing that the Los Angeles representation was entirely inaccurate and, therefore, offensive, to native Angelenos. Many argue that the show lacks racial and socioeconomic diversity, ultimately making it just a snobby interpretation of their home.
“I Love LA” was designed to poke at this influencer subculture, resulting in the spotlight of many entitled and privileged characters. This lack of representation illustrates the industry’s broader issues, which often favor certain voices.
This niche influencer demographic, however, is pivotal in creating the satire on which this show runs. It seems obvious that the aim of “I Love LA” was to amplify and critique the social media celebrity culture in Los Angeles, and to criticize the show for this satirized take seems misinterpreted.
Rachel Sennott, the creator, writer and star of the series, is an incredibly smart and witty artist which is what actually seems to largely steer this hate train. It’s like people heard Sennott’s haughty vocal fry and immediately jumped to the conclusion that the show wasn’t intentional with its dialogue and ironic portrayal of Los Angeles transplants.
Since Sennott presents as the fun, loose character she plays on the show, it’s easy for some audience members to believe that’s all she really is. Particularly because she is a woman, it is all the more difficult to be seen as worthy if you do not act ‘like a man,’ serious and sensible. Being bubbly makes you lose credibility.
But, nope. Sennott really has it all; her wit, humor and effervescent quality all contribute to this deliberate and dedicated project.
The two driving responses to this series can be seen in how one views the title: One group takes the “I Love LA” title and wants to make it “I Love Silverlake” because it is outrageously inaccurate of the city as a whole. The other group sees the “I Love LA” title as the exact embodiment of the touristy, superficial group that buys the “I heart NY” shirts, which may be inane but can undoubtedly be entertaining.
I feel aligned with the latter interpretation, and was honestly shocked to experience a show I thought was so funny and relatable to my age group. The show’s strength lies in its withholding of an accurate, holistic Los Angeles, which is why I, as a native Los Angeles County resident, am inclined to push back against that judgment and stand by icon Sennott’s side.
There are shows that are driven and committed to the Los Angeles story, and though the title may deceive you, that is not the “I Love LA” motivator. The series uses a specific, narrow backdrop centered in some LA regions to convey the story of social climbers in pursuit – it is not a story about a genuine LA, but that does not make it any less insightful or entertaining.
I love you, “I Love LA!”
