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Rachel Sennott talks comedy, acting ahead of ‘Bottoms’ movie release – The Washington Post
LOS ANGELES — Rachel Sennott thought there would be a regular bar around the corner, but it turns out to be the kind that sells juice. She rolls with it. It’s a sunny day in Los Feliz, so we sit outside at a lone sidewalk table with views of a medical spa. With fresh beet and carrot-turmeric beverages in hand, we dissect her methodical approach to finding work in Hollywood as an actress, writer-producer and aspiring feature director. She suggests that she owes some of her discipline to being a Virgo. The whole scene is so Los Angeles that Sennott, who got her start in comedy, could have written it as parody.
In 2019, before she became an indie darling, Sennott gained notoriety online for an 18-second video mocking tropes of movie trailers set in the city. “Come on, it’s L.A.,” she says in the clip, twirling around in a crop top and trendy sunglasses. “I’m addicted to drugs. We all are. If you don’t have an eating disorder, get one, b—-.”
Sennott, 27, belongs to a burgeoning class of comedic performers bringing her generation’s stories to Hollywood. Propelled by internet clout and film festival buzz, her brazen silliness and self-awareness set her apart. She knows firsthand how strangers sexualize young women online, so she beats them to the punch. A bikini photo might carry the caption, “Congrats to my little brother on graduating,” testing the boundaries of Instagram thirst traps. Another might push back on how social media impacts body image: “If you don’t have anything nice to say about my happy trail DON’T say anything at all!!!”
These exaggerations are grounded in shrewd observations, a trademark of Sennott’s on-screen work as well. Even in a show as outlandish as HBO’s “The Idol,” the critically panned series in which she plays a pop star’s oft-mocked assistant, you get the feeling she is in on the joke.
She began laying the groundwork while attending New York University’s Tisch School of the Arts and still seems to live by that city’s quick pace after moving to the more laid-back coast, where a carefully plotted schedule carries her from one engagement to the next. When we chat on a late June afternoon — roughly two weeks before the Screen Actors Guild joined Hollywood screenwriters on strike — she mentions a marketing meeting planned later that evening for her latest film, “Bottoms,” which opens in select theaters Friday and nationwide next week.
Frenetic energy courses through “Bottoms,” a sex-positive entry to the pantheon of raunchy teen comedies about two unpopular lesbians who start an after-school fight club so they can get closer to their crushes. Sennott co-wrote and produced the film alongside director and former NYU classmate Emma Seligman, who describes Sennott as a treasured partner in navigating an “overwhelming” industry. The two broke out together with their 2021 film “Shiva Baby,” which combines comedy with elements of horror to capture the anxieties of being a modern young woman.
Seligman worked on the “Shiva Baby” screenplay while co-writing “Bottoms” with Sennott, pulling double duty thanks to what she refers to as Sennott’s “children’s agenda.” The actress would consult the whimsical day planner to determine which days they would meet to discuss each project. According to Seligman, Sennott also toted around a printed copy of her “monthly goals and, on another page, her one-year, three-year and five-year goals.”
“I learned a lot from Rachel’s Virgo skills,” Seligman says.
Sennott moved to Los Angeles after booking a network sitcom called “Call Your Mother,” which lasted a season. Before the juice bar, I meet her at a nearby vintage store where a friend used to work. The store offers a solid selection of clothing, though she wonders why there are so many child-size tops sold in the adults section.
When I approach her, she is already holding a pale-pink slip dress in one hand and an iced coffee in the other. This is her second iced coffee of the day, she says, even though her doctor warned her it is bad for her digestion.
One stray comment on Sennott’s gut health and you no longer feel like a stranger — an effect of her internet presence as well. In college and afterward, she earned a social media following with tongue-in-cheek posts about her everyday life: “Going on a date tonight with $11 in my bank account let’s hope he’s not a feminist lol,” she wrote in 2018. Other tweets were more risqué. While sifting through skirts, she explains that her attraction to social media came down to “the same thing as discovering stand-up: wanting to find an outlet, or somewhere to be heard.”
“And you get to see immediately if the joke is funny or not,” she adds.
Sennott grew up in suburban Connecticut as the second of five children in an Irish-Italian family, which encouraged her to “learn how to talk really loud.” She used her voice to direct her siblings in productions at home, be it a reenactment of the 1997 film “Anastasia” or her brother as a news anchor trying to host a segment during a storm. The rain came courtesy of Sennott, who poured water on his head.
After moving to New York, she enrolled in a drama program that didn’t feel like the most natural fit. Then she went on a date to an open mic night and it clicked: Maybe she could try this instead of fighting for a role in a Shakespeare play. (“No hate to Shakespeare,” she says. “I really love him.”)
The adrenaline kicked in during Sennott’s first comedy set; she was so sure she killed it. “And then you do your second night and you suck,” she says.
But failure, however devastating, can double as a form of security: If you’re already at the bottom, why not try something new? Sennott, who was raised Catholic and arrived at college without any sexual experience, found that joking about her dating life gave her “a sense of control.” And so came to be the bawdier side of her humor.
A pile of clothes has accumulated in Sennott’s arms, so she steps into a fitting room to try them on. A stretchy blue top doesn’t stretch enough. A sweater isn’t even worth commenting on. The pink slip dress, she can’t quite decide on. She steps out of the room and looks back toward the mirror, examining how the straps sit on her shoulders. She tilts her head to the side.
“Does it look too virgin-y?” she asks.
There was never a question that Sennott would play the lead in “Shiva Baby,” Seligman’s thesis project about a directionless college student who runs into her sugar daddy at a Jewish mourning ritual. It was clear from the moment the actress auditioned for the part. With an established interest in the power dynamics of sex, Sennott was “very dropped in and really understood the character,” according to the director.
Seligman admits it can sound “silly and pretentious” to talk about a student film this way, but they took their work seriously even then. Sennott was one of the few people at NYU who “asked me about my goals in a way that was genuinely curious and excited,” Seligman says.
The feature adaptation of “Shiva Baby” expands on the premise with a new strings-heavy horror score, the addition of the protagonist’s ex-girlfriend (played by Molly Gordon) and a larger focus on — surprise! — the sugar daddy’s wife (Dianna Agron) and actual baby. Sennott anchors the claustrophobic film with a performance that bubbles beneath the surface, but cuts the tension every once in a while with deadpan line delivery. “I don’t really want to be, like, a girlboss … that’s not my thing,” her character says when the unknowing wife offers her a job.
Sennott says she draws on personal experiences for most of her work. As in “Shiva Baby,” she was once a college student nervous about the future and could relate to the character’s creeping insecurities.
They shot the film in 2019 and released it during the pandemic, when its heightened anxiety and sense of dread spoke directly to the moment. The hyper-fixation on internet discourse didn’t hurt: “Literally I feel like the movie did well because of 20-year-old girls tweeting about it,” Sennott says. The film’s official website quotes multiple tweets, including one describing it as “Uncut Gems for hot Jewish sluts.”
“Bottoms” was a new experience for Sennott on almost every level; not only was she more invested in the screenplay this time around, but she was also an executive producer on a project with a considerably larger budget and scale.
The film reunited Sennott with fellow comedian Ayo Edebiri (FX’s “The Bear”), her co-star in the 2020 Comedy Central web series “Ayo and Rachel Are Single.” The show critiqued modern dating culture without letting their characters off the hook. “Bottoms” also resists giving its protagonists an out. The teenagers are foils to one another, the hotheaded PJ (Sennott) balanced by her shy best friend, Josie (Edebiri). They create a fight club for more selfish reasons than female empowerment. That they each wind up with bloodied faces in their quests to woo popular girls shouldn’t surprise fans of Sennott’s work. She wouldn’t dare pull a punch.
Sennott is who you want on set when “s— hits the fan,” according to Seligman, who says the actress was “really good at being a camp counselor” to the rest of the 20-somethings pretending to be high-schoolers. She was as integral to the ensemble cast of last year’s “Bodies Bodies Bodies,” a comedic slasher featuring co-stars such as Amandla Stenberg and Pete Davidson that made waves with its bold satire of internet-addled Gen Zers.
The film takes place at a mansion party that goes awry when a hurricane causes the power (and WiFi connection) to go out. What happens to petty, self-obsessed rich kids when they lose their lifeblood? Sennott contributes the sharpest comedic performance, playing the chatty friend with a podcast nobody likes. As the tension ramps up, one character reveals that another hate-listens to the show. Sennott begins to sputter, then screams like her life depends on it: “First of all, a podcast takes a lot of work, OKAY? You have to organize the guests, you have to do a Google Calendar and, and, and — you build a following. IT TAKES A LONG F—ING TIME. And I’ve been working on it for a while.”
According to “Bodies” director Halina Reijn, Sennott has “no vanity in what she does.”
“No vanity, no ego, none,” Reijn says. “Just insane intelligence. She’s way more than an actress. She’s a total creator. … But at the same time, she’s just a wild animal, you know?”
In mid-August, a user on X, formerly known as Twitter, called “best of rachel sennott” shares some devastating news: The comedian’s account has been deactivated. Someone else requests everyone “keep me and my girls in your thoughts as we mourn the account of our prophet.” A post with more than 16,000 likes notes that Sennott’s and Edebiri’s accounts were both deactivated, pairing this observation with a clip of a woman being driven away in an ambulance.
Could Sennott have been worried about social media aging poorly?
“I definitely feel like we’re going to have to reckon with that as a society, at some point,” she had said in June, immediately poking fun at herself for making a statement with such gravitas.
She seems more concerned with the present. While she remains “grateful” that Twitter helped jump-start her career, she has been “separating myself from it a little because I think I’m really sensitive and it’s hard to see people saying stuff about you that is mean. I’m trying to give myself a little space.”
Sennott recently said in Interview magazine that she was thinking of directing a feature about “the lowest I ever was, [which] was when I was tweeting during sex,” and clarifies to me that this is “not necessarily a biopic.” It sounds like an extension of her approach to stand-up, funneled through fiction: If a memory makes her anxious or uncomfortable, she can reclaim it by finding the humor in it.
Sitting outside the juice bar, with her new slip dress in a bag at her feet, she tells me what her father taught her to help set her priorities straight.
There are three circles, she says.
In the first circle is what you can control; the second, what you can influence; and the third, what you have no power over. Focusing on the first two circles is fair game.
The third?
Forget about it.
Rachel Sennott is styled in Theory.
fight news
What time is Floyd Mayweather vs. John Gotti III today? Schedule, main card start time for 2023 exhibition boxing fight – Sporting News
Floyd Mayweather once again steps inside the ring to compete in an exhibition fight. This time, he faces someone with legit combat sports experience and a last name nobody will ever forget. Mayweather faces John Gotti III, the grandson of infamous gangster John Gotti, on June 11.
The fight is inside the FLA Live Arena in Florida and airs on the Zeus Network.
Gotti turned pro in 2017. Winning five in a row to start his MMA career, Gotti lost his last fight in 2020 against Nick Alley. The 30-year-old has since competed in boxing bouts, winning two contests in the past eight months.
Calling this fight a “pinch-me moment,” Gotti has nothing but respect for Mayweather. However, he will not let his fandom get in the way of what he needs to do.
MORE: Boxing vs. MMA history: Mayweather vs UFC’s McGregor and more
“I’ve been following him since I was eight years old,” Gotti said via Boxing Scene. “This was my idol. This was a guy I did school projects on. It was a guy I looked up to. The fact that I’m in a position to stand across the ring from Floyd is a tremendous honor. But make no mistake, June 11, I’m bringing bad intentions to that man. I don’t care if it’s an exhibition or not. You signed to fight me, there’s no quarter. It’s kill or be killed.”
This is the latest exhibition for Mayweather, who retired in 2017 at 50-0. In 2018 he teamed with RIZIN and beat young kickboxing star Tenshin Nasukawa via TKO. Mayweather fought Logan Paul and former training partner Don Moore in non-scored bouts. He beat Mikuru Asakura and YouTuber Deji in 2022 via TKO. In February, Mayweather went the distance against MMA fighter Aaron Chalmers.
Here is all you need to know regarding Mayweather vs. Gotti, from the time, channel, and card.
Mayweather vs. Gotti begins at 6:30 p.m ET | 3:30 p.m. PT. Ringwalks are scheduled for 10 p.m. ET | 7 p.m. PT, depending on how long the undercard fights last.
MORE: How to bet on combat sports
Floyd Mayweather vs. John Gotti III can be streamed on Zeus Network.
Fans in the U.S. can pre-order the fight for $15.99. They can also sign up for the network at the annual rate of $59.99 per year. In the U.K., the pre-order price is about £13, $21 in Canada, and $23 in Australia.
MORE: History of boxing video games
Daniel Yanofsky is a combat sports editor at The Sporting News.
Chuck Palahniuk’s Fight Club 2 comic brings back the character played by Jared Leto in the movie for an unexpected, but critical role.
Angel Face, played by Jared Leto in the Fight Club film adaptation, makes a surprise return in Chuck Palahniuk's comic book sequel to his original Fight Club novel – coming back with both revenge, and, oddly enough, love on his mind, following the vicious beating he received from the Narrator a decade earlier.
Fight Club 2 – by Chuck Palahniuk, Cameron Stewart, Dave Stewart, and Nate Piekos of Blambot – features the son of the Narrator and Marla Singer being kidnapped, with a returning Tyler Durden being the prime suspect, compelling the Narrator to reintegrate himself into Fight Club. In the closing pages of the series' fourth issue, the permanently-scarred Angel Face reappears.
In a brutal display that directly mirrors the original, Angel Face administers a brutal beating to the Narrator. He ends up knocking the Narrator into unconsciousness, which triggers Tyler Durden to awaken in his place at the start of Issue #5. Angel Face knows what's happened immediately, and subsequently is horrified as Tyler mercilessly returns the meeting. It is not until a few issues later, in Fight Club 2 #9, that it is revealed Tyler has been having an affair with Angel Face for quite some time. The Narrator discovers this only when he's awake, rather than Tyler, at a moment Angel Face kisses him.
As the Narrator's therapist says, on the same page as the reveal, ""a sociopath will sleep with anyone to gain her allegiance … or his." The re-emergence of Angel Face gives readers a glimpse of exactly how being a Fight Club member for so many years has worn on Angel Face's body. Aside from the distorted face the Narrator gave him ten years prior, he is littered with scabs, scars, and bruises from decades of sparring. It's clear that Angel Face has clung on completely to the ideas that Tyler put in his head years prior, whether it is because he's a true devotee, or he has nothing else.
Angel Face is depicted as not only unflinchingly loyal to Tyler Durden's ideals, but to the man himself. It remains ambiguous in the text whether Tyler returns Angel Face's feelings, or the extent to which he can feel at all. Angel Face is in love with Tyler – for Tyler, a physical relationship may just be a way to retain Angel Face's loyalty, to continue holding power over him. In this way, it is reminiscent of how the Narrator describes Tyler's relationship with Marla in the opening pages of the original book. "This is about property as in ownership. Without Marla, Tyler would have nothing."
Tyler's connection to Angel Face may not run as deep as with Marla in Fight Club, but Angel Face is still a useful vessel for him, one that someone as possessive as Tyler isn't willing to give up so easily. On the chance that Angel Face may have harbored these feelings in the original Fight Club, it also re-contextualizes their previous dynamic. It certainly offers a new explanation as to why Angel Face stays a follower of Project Mayhem/Fight Club for a decade after the Narrator beat him up. Most certainly, it further complicates Fight Club's iconic twisted love triangle of Marla, Tyler, and the Narrator.
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Joe Anthony Myrick (or JAM) is a comics writer who specializes in, of course, covering the big figureheads of the industry (Marvel and DC), as well as lesser-known indy parties and some personal favorites like BOOM! Studios.
fight news
Ryan Garcia vs. Oscar Duarte fight results, highlights: 'King Ryan' bounces back for late TKO win – CBS Sports
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Although it was far from perfect, Ryan Garcia reminded boxing fans of his explosiveness on Saturday as the junior welterweight star successfully rebounded from the first defeat of his career.
Garcia (24-1, 20 KOs), despite a fight week soaked in drama amid a war of words with his own promoters, showed no mercy to Mexican slugger Oscar Duarte (26-2-1, 21 KOs) in an eighth-round TKO inside the Toyota Center in Houston.
Not only did the victory mark the 25-year-old Garcia’s return to the win column just eight months removed from his knockout loss to Gervonta Davis in their pay-per-view blockbuster, it also marked a successful debut of his new partnership with 2022 trainer of the year Derrick James, who became Garcia’s third head coach in as many years.
“It was a great performance but I just want to give honor to God and give him the glory,” Garcia said. “I fought hard to find myself again. I did a lot of soul searching and I just wanted to thank him.
“[Duarte] was a strong fighter. He took a good punch. He’s a Mexican fighter like me and he’s tough. I hit him with some hard shots but he just kept coming. I started using my legs, just as Derrick told me to between rounds, and it opened up the shots.”
Garcia’s ability to focus was impressive considering the potential distraction of his nasty feud with Golden Boy Promotions, which geared up to an all-new level at Thursday’s final press conference when Garcia, Oscar De La Hoya and Bernard Hopkins took turns airing out their private laundry.
“It just comes with the territory,” Garcia said. “I am a person about moving forward and having a kind heart and showing forgiveness so I just keep it at that. I want to show positivity in this world. I said what I said but I hold no hard feelings.”
Despite the highlight-reel finish to the fight, which began when Garcia stung Duarte with a beautiful check left hook in Round 8, the total sum of Garcia’s comeback performance was a mixed bag.
While it’s certainly a result that could be excused for the first fight of a new relationship between trainer and fighter, Garcia continued to show puzzling (and potentially dangerous) reactions to Duarte’s pressure and spent most of the middle rounds avoiding exchanging of any kind as the crowd booed Garcia’s constant movement.
Yet, the very thing that makes Garcia so dynamic — the lethal combination of his speed and power — exploded virtually out of nowhere in Round 8 to instantly combust a close fight. After hurting Duarte badly with his counter left hook, Garcia exploded with combinations to eventually drop Duarte.
Even though Duarte was able to beat the count, referee James Green didn’t like the look in his eyes and waved off the fight at 2:51 of the round.
“I have a killer instinct,” Garcia said. “Sometimes, when I am hurting somebody that bad, I am just cracking them. But I caught him with a perfect left hook.
“I just had to slow his momentum down. He was building momentum, momentum and I knew I had to cut this off somehow.”
The fact that Garcia outlanded Duarte by a single punch, according to CompuBox, explains how close this fight felt until it was over. Garcia praised James for his effort after the fight and called for a title shot at 140 pounds against WBA champion Rolando “Rolly” Romero.
“It’s our first fight. [James and I] worked hard,” Garcia said. “We are going to build off this and are committed to get better. I’m committing to becoming a world champion so, if Rolly wants it, let’s do this.”
CBS Sports was with you throughout the entire way on Saturday with the live results and highlights below.
R8: Duarte beats the count but the referee doesn’t like what he saw. The fight is stopped! It’s a dramatic finish for Ryan Garcia. Result: Ryan Garcia def. Oscar Duarte via eighth-round TKO
R8: Big left hand from Garcia hurts Duarte and down he goes!
R8: Duarte simply isn’t throwing enough to take advantage of Garcia lowering his output.
R8: The main issue here is that Garcia is actively avoiding any punch exchanges by moving which suggests either an injury or insecurity.
ROUND 8: Good sticking and moving from Garcia, even though the crowd isn’t wrong to boo his lack of output.
R7: Garcia takes the round despite angering the fans late. Score: 10-9 Garcia (Overall: 68-65 Garcia)
R7: Garcia spends the last minute on his bicycle actively avoiding Duarte. The only issue is he isn’t throwing while doing this. It draws boos from the crowd.
ROUND 7: Big attacks from Garcia with powerful right hands. Duarte was covering up and only absorbed partial impact but that statement was felt. Garcia catches Duarte big again with a right cross.
R6: Good counter right hand from Garcia caught Duarte coming in. Score: 10-9 Garcia (Overall: 58-56 Garcia)
R6: Good defense from Garcia as Duarte came forward with punches. Duarte continues to hammer away at the guard of Garcia, hoping one slips through.
R6: Right hand to the body from Garcia. This is almost a modified shoulder roll defense from Garcia and he doesn’t look fully comfortable with it.
ROUND 6: Big right uppercut from Garcia and Duarte looks hurt. Back comes Duarte, however, with body shots.
R5: Close round but Garcia landed the cleaner shots. Score: 10-9 Garcia (Overall: 48-47 Garcia)
R5: Left hook to the body from Garcia lands low and the crowd boos following the referee’s warning.
R5: Good head movement from Garcia to avoid Duarte’s aggressive punches. They trade body shots in the clinch. Garcia is standing up strong this round.
R5: Big uppercuts from Garcia split the guard of Duarte.
ROUND 5: Garcia opens stronger with stinging left hooks to Duarte. Big uppercut from Garcia lands.
R4: Another round for Duarte and he mostly did it with pressure and body shots. Score: 10-9 Duarte (Overall: 38-38)
R4: Duarte warned for a low blow while the two fighters were tied up. Nice left hooks to the body from Duarte.
R4: Good body work from Duarte in the corner. He’s not landing everything flush but the judges have to be taking note of this momentum movement.
R4: The rabbit punch appeared partially to come because Garcia nearly turned his back on the action in trying to avoid Duarte’s pressure.
ROUND 4: More pressure from Duarte backs Garcia up to the corner. Nice body work. Garcia is starting to react in somewhat troubling ways to this pressure. Duarte gets warned for a rabbit punch.
R3: Garcia facing much more resistance here. Good round from Duarte with solid pressure. Score: 10-9 Duarte (Overall: 29-28 Garcia)
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